White Guard. Comparative analysis of prosaic images of the novel "White Guard" and dramatic "turbine days" three works of Bulgakov

Two works of Mikhail Bulgakov, dedicated to Kiev, are of a huge interest among readers. And it would be strange if they were not attempting to be shielded.

"Turbine Days"

The classic production of Vladimir Basova is 1976 - essentially filmpectacle. In nature, not so much scenes was shot. The role of the turbine house was played by the house 20b according to Andreevsky descent, which appeared Bass more cinematic (now the roof has a roof, and the administration and living room of the theater on Podol is located in it).

"Turbine Days" were removed very close to the text of the play, there are only a few innovations, like the phrase of Basova-Mumylayevsky "How are you going to a herring without vodka?" (It was his improvisation).

What is interesting in the Basovsky film is an unexpected selection of actors.

No, some, it seems like a stencil.

Basilashvili traditionally played merzyeyev (however, Merzlyaev he played later, so that could be the other way around - he always played Talberg ...).

Ivanov received that he had to get with his appearance and voice (though, M.A. himself saw the role of Larosika Tolstoy and Nice, but it didn't even happen in the lifetime formulation of MCAT).

Rostotsky played a boy. Well, although not quite - in the "White Guard" of the Niccock in general a boy's boy, and in the "day of turbine" he is somewhat more meaningful. There is a specific situation - it does not heroitely, and brother covers.

But the three main men's roles, of course, are shielded.

Soft - perfectly unexpected, from the point of view of his acting amplua. He would be perfectly fit into Dr. Turbine, but Colonel Turbines is a combination of a doctor (and, at all at least), Malyshev and Nahi Tours. And ... and who will say that soft is bad in this role?

Lanova - Hero-lover? You are joking? I do not know if the bass joked, but if it's a joke, then more than successful. Lanova in this role is great!

Bass himself, it seems to fit correctly. Who is he at all on our memory? Comedy villain from children's films. Duramar, and only.

It should be understood that the role of Mumylayevsky at Bulgakov is detrimental, and even comic (in the sense that only he gets to joke into this nightmare). But this is clearly the second or even the third plan. In the "White Guard" his main feat - a sustainable pregnancy of Anuti. In the "Turbine Days", this role "ate" crucia and several "replenished". But still she was far from the main thing.

But in the performance of Basova Mumylayevsky, after the death of the turbine, somehow becomes the center of all this company by itself. He is not just joking - he pronounces the most important phrases (by the way, these "most important phrases" - both Turbine, and Mumyuyevsky, they are not Bulgakovsky - they put them in the wise K.S. Stanislavsky, reasonably believing that without "people are not with us" And "For the Council of People's Commissar", the play is simply not allowed to put). In general, the Basov character turned out to be much larger than Bulgakov's plan. Although I would not say that the film was damaged.

What is really sad, so this is what Valentina Titova is lost against the background of beautiful male roles ... But it was Elena who is the main character and in the "White Guard", and in the "day of turbine".

"White Guard"

The play is a play, but the novel is much longer and, in many ways, more interesting (although the play is, of course, more dynamic). However, it is harder to remove the film on it, because even the play of the play turned out to be three-sieves. The result - Sergey Snezhkin took off an eight-player film, quite significantly different from the play, and from the novel, with the number of various author's innovations (not always logical and justified). However, the director is ready to forgive the director for a completely enchanting end of the tape.

Perhaps, Mikhail Porechenkova in the role of Mumylayevsky can be considered a failure. Actually, there is nothing particularly bad in Porechenkov, but we compare His Mumylayevsky with a Basov role. What is there to say here? I do not have another artist for you by this role, who ended with the Great Patriotic War in the position of Assistant Head of the Operational Department of the Artillery Division of the Breakthrough Rent of the Supreme Command Rate ...

The director managed to send the cat under the tail two very peculiar roles, very significant for the novel, and for the play.

Laro was just killed. Most likely, did not find a suitable actor, but ... In general, they were "slaughtered" any interesting scenes associated with this character. Honestly, if the director was going to do this with him from the very beginning, then why was it generally introduced into the picture? Furniture there is so grab.

With Shervinsky, they dealt with literally with sadistic cruelty. The fact is that the surname of Shervinsky in the film wears some kind of impostor - non-school. Yes, he sings and carries the Cherkysk, and then - Frak. But he is not at all "lubricating both cherub." And he is practically not lying (in any case, it is not lying as a Shervinsky, obviously related whip). This is general a person honor who is ready to go to a duel with Talberg.

But with this Neshervinsky everyone communicate as if Shervinsky is in front of them! His objections look quite natural - "For whom you are taking me," but no one wants to speak with him! They speak with Shervinsky, who is simply not. The theater is some kind of absurdity. For what? Gods, poison me, poison ...

As a result, by the way, the scene of the recognition of love, which was so well amented to the lasover and Titov, turned out to be completely failing in Dyatlov and Rappoport.

Actually, good luck from the director was significantly larger.

Very organic turned out to be shacks in the role of crucian. Beautiful Serebryakov in the role of Ne-Tour.

Unfortunately Sergey Garmash in the role of Kozyr-Leshko. By the way, the role is invented almost completely. Bulgakov has a trump card with a rich inner world not from the word "in general." So - a pair of biographical facts. And here - what scope, and even with the ideology. The ideology, by the way, is prescribed rather strange (apparently illiteracy), but you can forgive. The main thing is to learn to the slogan "Moskalei on Knives". And she leads.

Not bad looked at the role of Anuti. The actress may have a great future if she encounters a non-attallive director who will beat her when she needs to cry in the frame.

But the main fortune, of course, is two main roles.

The first luck of the director was an invitation to the role of Alexey Turbine Konstantin Khabensky. First, it's just a strong actor, secondly, it is perfect for this role. Khabensky did not laugh, his role was one of the most successful in the picture.

Except may be, perhaps, only the scene with the murder of Trump-Leshko. She, by the way, is quite Bulgakovskaya - M.A. For a long time he recalled the scene with the murder of the Jew (by the way, the Ogrech of the Director - in the Ranger Text, the Jew comes, and there is no ...) in his film ...), whose witness he was in Kiev. And, ultimately, wrote the story "I killed." Nothing did it. And Bulgakov, and the turbines were killed only in their dreams. The book revenged - the episode did not work.

The second fortune - Ksenia Rappoport as Elena Turbine Talberg. I'm not going to argue with anyone, my opinion - Ksenia perfectly entered the role and beat everyone, besides, Khabensky. And, by the way, did what the Titov was failed - remained in the center of the story. In my opinion - the ideal performer for this role.

And, ah, yes ... It is very interesting to be the role of Ekaterina Vilkova. I did not even understand whether she got the role of Julia Reiss (it turned out, since I paid attention not to her flaws, but on directorial).

The role was contradictory. At the beginning, it appears as literally the slave of Shpolyansky, but then ... Actually, according to the book of Reiss - a very brave and volitional nature. She stays with Shpolyansky in his will, forcing Bulgakov in the hearts to throw, that she, they say - "bad woman."

By the way, no one thought, and how did it happen that Reiss saved the turbine? What did she do at all about the wicket, behind which the petlurovtsy run and shoot? Yes, she was waiting for Shpolyansky ... But waited - the turbine. And I didn't act on the program, starting to save an unfamiliar officer completely to her. The enemy, in fact, does not directly follow from the book that it is the Bolshevik).

Gospel from Shpolyansky

And now we reached the character, which, in fact, shows the director's plan in front of us. Bolshevik and Futurist Mikhail Shpolyansky, in the role of which Fedor Bondarchuk starred. Very successfully, by the way, starred.

In the book, Shpolyansky is a demonic person, but, in fact, it is just a fraudster located in a certain relationship with the unsuitable Ostap Suleimanovich (whoever does not know - Bulgakov worked in the Gudok newspaper with Jewel-Lab Finzilberg and Eugene Kataev. By the way, the Book Shopolyansky does not kill anyone, and his own agitator not only does not substitute under the Petlylaska checker, but on the contrary - saves (this scene fell into the film Basova). This, by the way, is important, but the director, for some reason, this importance is neglected.

In the film, the Demonicity of Shpolyansky (to a large extent - thanks to the game Bondarchuk) is extomed to heaven. This is generally the personification of the evil power, which collapses the very normal life, the need to protect the Turbin officers says ...

This for the sake of him was crippled scene on the square (I, by the way, saw she starred). After all, the scene of the parade and rally of the Bulgakov, which is called, wrote from nature - he probably was in the crowd himself. It would seem that the live artifact of the era with his crazy hands, but not - the director should be challenged with a demonic shpolyansky with another demon - Kozyrem-Leshko, as a consistently destroying "normal life" ...

Interested in the history of the creativity of Bulgakov, probably know about the letter of Stalin Dramaturgu Bill-Belotserkovsky, in which the Great Leader and the teacher subtly hinted thinly that the Bulgakov would have to insert several episodes in "Run" showing the revolutionary creativity of the masses. By the way, the shooters of the "run" later did, by checking the episodes from the Bulgakovsky libretto the Opera "Black Sea" and performed, thus, the wishes of the leader. Bulgakov himself, being infinitely distant from the people, did not do anything like that. But (speculates for the masters of Snezhkin), why not insert the demonic intellectual of Shpolyansky, who, in fact, personifies this very element, breaking the usual course of life?

It is impossible to cope with this element, but she retreats, faced with real feelings ... More precisely, Shpolyansky retreats, giving a turbine life and the church of the Turbine Julia. But this is a romantic assumption quite in the spirit of Bulgakov.

Because 10 years later, Mikhail Semenovich Shpolyansky, not recognized by anyone, in an hour there was no hot sunset at the patriarchal ponds with two writers ...

Roman "White Guard", chapter from which Bulgakov read in friendly companies, in the literary circle "Green lamp", attracted the attention of Moscow publishers. But the most real publisher is Isai Grigorievich Lenznev with his magazine "Russia". The contract was already concluded, an advance was paid when Roman became interested in "subsoil". In any case, one of the publishers "Nedra" suggested Bulgakov to transfer them a novel for publication. "... He promised to talk about it with Isai Grigorievich, because the conditions for the novel were the balls, and in our" depths "of Bulgakov could get incomparably more, - recalled the Secretary of the Publishing House" Subraz "P. N. Zaitsev. - In Moscow, from the editorial board "North" at that time were two: V. V. Veresov and I ... I quickly read the novel and crossed the manuscript Veresayev in the Shubinsky lane. The novel made a big impression on us. I am not thinking about his printed in the "depths", but Veresaev was more experienced and sober me. In a reasonable written recall V. Vesheev, V. Vesheev noted the advantages of the novel, the skill, objectivity and honesty of the author in the show of events and the actors, whites officers, but wrote that the novel was completely unacceptable for the "subsoil".

And Kleztov-Angarsky, having resting at the time in Koktebel and became acquainted with the circumstances of the case, completely agreed with Versereev, but he suggested immediately to conclude a contract with Bulgakov on any other thing his thing. After a week, Bulgakov brought the story "Fat Eggs". The story liked Zaitsev, and Veresaev, and they urgently sent her to the set, without even coordinating her publication with Angarsky.

So I had to the Bulgakov on the bible conditions to print a novel in the journal "Russia" (No. 4-5, January - March 1925).

After the release of the first parts of the novel, all connoisseurs of large Russian literature lived by their appearance. On March 25, 1925, M. Voloshin wrote N. S. Angarskoye: "I was very regretted that you still did not dare to print the" white guard ", especially after reading the passage from it in Russia. In print you see things clearer than in the manuscript ... And in secondary reading, this thing introduced me to me very large and original; As the debut of the novice writer, it can only be compared with the debuts of Dostoevsky and Tolstoy. "

From this letter, it is clear that the Angarsk during his stay in Koktebel Zaitseva gave to read the novel and M. Voloshin, who surrounded his publication in the "depths", because he had already seen in the novel first captured in the literature "soul of Russian gravesti".

Gorky asks S. T. Grigoriev: "Are you not familiar with M. Bulgakov? What is he doing? "White Guard" did not go on sale? "

Bulgakov loved this novel, a lot of autobiographical embodied in it, thoughts, feelings, experiences not only their own, but also their loved ones, who passed all the changes in Kiev and in general in Ukraine. And at the same time, I felt that it would be necessary to still work on the novel ... By the expression of the writer himself, "White Guard" - "This is a persistent image of the Russian intelligentsia as a better layer in our country ...", "an image of an intellectual-noble family, will be imparable historical The fates abandoned during the Civil War in the Camp of the White Guard, in the traditions of "War and Peace". Such an image is quite natural for a writer, blood-connected with the intelligentsia. But this kind of image leads to the fact that the author of them in the USSR on a par with its heroes receives, despite his great efforts to become impassively over red and white, - the certificate of the White Guard-enemy, and having received him, as everyone understands, can consider himself a contractible person in USSR".

The heroes of Bulgakov are very different, different in their aspirations, in their education, intelligence, at the place occupied in society, but for all his heroes is characterized by one, perhaps the most important quality - they want their own, only inherent in them, That personal, want to be themselves. And this trait is especially brightly embodied in the heroes of the "White Guard". It is narrated by a very difficult and conflicting time when it was impossible to understand everything immediately, to understand, to reconcile contradictory feelings and thoughts in themselves. All his novel Bulgakov wanted to approve the idea that people, although in different ways perceive events, relate differently to them, strive for peace, to the established, habitual, established. Good or bad - another thing, but it is absolutely so. A person does not want war, does not want the external forces to intervene in the usual course of his life fate, he wants to believe in everything that is committed as the highest manifestation of justice.

Here and the turbine, I want all the whole family to live together in the parent apartment, where everything is familiar from childhood, familiar, from a little bit of carpets with Louis to clumsy, with loud hours of hours, where our traditions, their human laws, moral, Moral, where the sense of debt in front of the homeland, Russia makes a fundamental line of their moral code. Friends are also very close to them in their aspirations, thoughts, feelings. All of them will remain loyal to civil debt, their ideas about friendship, decency, honesty. They had ideas about a person, about the state, about morality, about happiness. The circumstances of life were such that they were not forced to think deeper than it was taken in their circle.

Mother, dying, rushing children - "live together." And they love each other, worry, suffer if any of them are in danger, they are experiencing together these great and terrible events that occur in a beautiful city - the cradles of all Russian cities. Their life developed normally, without any life shocks and mysteries, nothing unexpected, accidentally did not come to the house. Here everything was strictly organized, streamlined, determined for many years ahead. And if it were not for war and revolution, then their life would have passed in peace and comfort. War and revolution broke their plans, assumptions. And at the same time, something new appeared, which becomes the predominant in their inner world - acute interest in political and social ideas. Already it was impossible to stay aside as before. Politics entered the daily life. Life demanded from each decision of the main issue - with whom to go, to whom to be born, what to protect, what ideals to defend. It is easiest to remain faithful to the old order, based on the worship of the trinity - autocracy, Orthodoxy, nation. Few at that time disassembled in politics, in the programs of parties, in their disputes and disagreements.

Trying to figure out what was still removed by Sergey Snezhkin and showed us through the channel "Russia", I reread the "White Guard" itself, and also read the early editing of the end of the novel and the "Turbine Days". Some of the fragments that seemed to me when viewing are embarrassed from the Stylistics of the novel and are present in the film, I found either in an early editorial board, or in a play, but some were not found anywhere: for example, the scenes where Talberg hints at the German leadership for In the Palace of valuable paintings, the insane scene with a rooster, which a lot of charter scene had a farewell scene of the Shanvinsky Running Hetman Skatman and some others. But the main thing is, of course, the finals in his distortion, invented by snowball and not stacked not only in any of the texts marked by me, but also unthinkable for Bulgakov.

(I don't get talked to amazing, in what kind of hesitation, what arrogance you need to have, not just add, but - rewrite Bulgakov! However, the conversation in one of the following posts, actually about the film).

In the meantime, several important notes are actually about the literary basis of the film.

Despite the fact that I could not find full information about how Bulgakov worked on the "White Guard", after all, I had a sustained impression that the end of the novel was consciously rewritten, and the early editors were completely realized by the author did not satisfy. Indeed, it has much more pattical, banal and knocking out of the stylist of the novel plot strokes, the language is more good, "large" and therefore less elegant. The artistic manner of the early editing of the end of the novel is not more mature Bulgakov, and it seems to me, he completely felt it himself. That is why, despite the fact that individual fragments from the early editorial board fell into the final one, he still rewrote most of the final. I rewrote in such a way that no word forces flinches: everything is extremely concisely and exactly just so to be understood by the reader, but not impressions of the exhausted vulgarity. In the art plan, in my opinion, the "White Guard" is simply flawless.

Talberg - no doubt, a scoundrel, but it is written and read only between the lines, and the lack of gross accusations in the text of the novel is very important for the realization of the level of artistic dating Bulgakov. Shervinsky, of course, calls, everything except music, nonsense, but not in direct speech facing other guests, and in the author's text, i.e. As if to them, that is completely different characterizes it.

In the early editorial office, Elena is experiencing undisguised sympathy to Shervinsky, and their relations are developing into a novel. In the final version of Bulgakov refuses this move and introduces a letter from Talberg, who leaves to Europe from Poland and is going to marry, but Elena holds a distance with Shervinsky.

In an early editorial office, after recovery, the family suits the traditional Christmas holiday evening: in the final edition of the turbine, it simply returns to medical practice without excessive pomp.

Finally, the Roman Turbine with Yulia Reiss and the figure of Shpolyansky is prescribed in the early editorial office: only silent markers on a little failed (just like Nicci, while in the early editorial office, his novel with Irina Nagi Tours was discharged more).

From the final editorial board, the scene was also thrown out with the identification of Nage Tours in Morga - quite the resulting Balabanovskaya in the film, but the final "white guard" is unthinkable in aesthetics.

In general, the final edition is more slender, elegant, but at the same time defined: there are no "intellectual" throwing in heroes, they clearly know how and when to do, and perfectly understand what is happening, and the Germans are making a habit. They are courageous and do not try to hide in the chad of their own evenings (as in the "day of turbine"). And at the end they come not even to the awareness of peace and peace as the highest good (as in the early editorial board), but to something even more absolute and important.

A number of differences in the early and final editors are quite convinced that their mixing is impossible, because Bulgakov deliberately refused the earlier editorial board in favor of later, realizing that the early sinning sining near the non-disabilities, from his point of view, above all, artistic weaknesses.

If we talk about the play "Turbine Days" in connection with the novel, you can briefly say one thing: these are two completely different and in content, and on the artistic expression of the work, and therefore mixing them means to demonstrate a complete lack of understanding that there is a novel and What is a play.

First, in the play, completely different heroes are discharged and derived, and in nature, and according to the formal signs (which is one Alexey Turbin: the colonel and the doctor is completely, not at all the same, even in a sense of the opposite).

Secondly, preparing the play, Bulgakov could not not understand that in order for her to be installed, certain concessions of censorship were needed: from here, there is, in particular, the sympathy of Multihai to Bolsheviks, expressed clearly and categorically. And the entire wake-up atmosphere of the turbine house is also from here.

Heroes "Turbine Days" are really just trying to forget in their narrow circle in the chad of evening fun, Elena openly sympathizes Shervinsky, but in the end, it is returning to Don Talberg (also some kind of discrepancies with a novel!)

In a sense, the declare company of White Guards in the "Days of Turbines" has nothing to do with the circle of people, shown in the novel (by the way, and the White Guard, they do not call them there). The sustainable feeling is created that the heroes of the final editorial board of the "White Guard" are actually not the White Guards, their spiritual and spiritual height is already enough to rise "above the fight": we do not meet in the early editorial office of the novel, nor the more Piese. And it is precisely this height that needs to be realized by shielding the "White Guard". In no case, it does not boil down to the "turbine days" or, even more so, to self-made and unnatural for Bulgakov finals. It is an uncomfortable literary blasphemy and mockery on - I will not be afraid of this epithet! - Brilliant novel.

(director Sergey Sunkin). In an interview with the magazine "Spark", this right on the eve of the show, the cozer of the series Sergey Melkumov admitted: "The book is difficult to film, even anti-cinematographic. In the scenario it was important to preserve the spirit of books and the spirit of the city. Mikhail Afanasyevich in the novel there is no Kiev, he has a city ... This city is ... which did not exist for a long time, I wanted to come up with. We collected it on pebbles, painted. "

Alexey Guskov as Colonel Malysheva. Frame from the film. Photo: Kino-teatr.ru.

Konstantin Khabensky in the role of Alexey Turbine. Frame from the film. Photo: Kino-teatr.ru.

Alexey Serebryakov in the role of Felix Nai-Tour. Frame from the film. Photo: Kino-teatr.ru.

So, the team removed the "white guard", without "source cinematographicness" of the text. What happened at the exit? Many votes already said that - failure. And, in my opinion, this is not at all bad for the series, with roll calls with Roman Bulgakov throughout the tape (with some, alas, caricature of Mikhail Porechenkova in the role of Mumylayevsky and some foulness of Fyodor Bondarchuk in the role of Shpolyansky).
The principal proximity of the text and the screening emphasizes large pieces of the Roman who reads Igor Kvasha for the scenes. They are exactly stitches, "sewing" one to another. Probably, it would be possible to do without them, because the video series is accurate, and the speech of the heroes is almost literally taken from the novel. With the exception of the very end of the cell epopsychie.

The producers of the "White Guard", according to Sergey Melkumov, wanted to give the series "Final with the hope of life." And here instead of the open and at all, the silent finals of the novel, where almost everyone is shot by painful dreams, the film is episodes from Bulgakov's stories about the Civil War. Especially recognizable episode from the story "I killed": on the screen, Dr. Turbines shoots the petlurovsky colonel Kozyr-Leshko, dictator and sadist. Then the selfless doctor save someone from familiar in the "former life," and the authors of the series give him a chance that the Bulgakov has tried himself, - to go to love with Yulia Reiss.

It seemed to me a rather strange one hand to emphasize the "kinship" of the film and the text with extensive quotes, and the other is adding to the story of the plot. Although the sake of justice should be noted that the "transition" from one text to another on the screen is not too striking, and therefore it is organic enough.

Bulgakov generally love with Soviet directors. The first film of the "Turbine Days" - a three-sieved television film - was removed on the order of Goseradio in 1976. The director and the author of the scenario made Vladimir Basov, who played one of the main roles - Mumylayevsky. But, perhaps, the movie would be correct that the author of the scenario himself was Mikhail Bulgakov himself, because the "turbine days" is nothing more than the author's arrangement for the Scene of the Novaya Guard's novel. Basis also reacted to the text of the "travel days" exclusively precisely. Like the duet of scenarios and directories Alexander Alo and Vladimir Naumova, who created an epoching film "Running" in 1970 - the shieldation of the Bulgakov's plays of the same name with the introduction of fragments from the "White Guard" and "Black Sea". Bulgakov, by that time, already thirty years as he rested in the grave, but his widow took part in the filming - Elena Sergeyevna Bulgakov (Shilovskaya). Naumov called it a link between the film crew and Mikhail Afanasyevich, who created the effect of the writer's presence. Many scenes she recommended to remake, and one herself entered the film. This is a scene, where the serve holds a finger along the cheek of one of the white officers who are going to shoot, and says: "To shall shave! And then the dead will be unorded to shave! "

Much bolder was approached by Vladlen Bakhnov and Leonid Gaidai. But now transferring action in a much later era - modern for the creators of the tape and "posthumous" for the author's play - it looks not too successful anachronism.

With the arrival of restructuring on the screen, movies and other works of Bulgakov appeared on the screen. "Dog's Heart" of Vladimir Bortko (1988) - Excellent adaptation, carefully preserved the text of the story and incorporated there several brilliant Fakelov Bulgakov (strictly speaking, the team that took the "white guard" today). A successful find was the use of a filter for the SPIA camera, which set the brown and white gamut and visually who had experienced actions in the 20s. The same admission of Bortko applied in the ten-sterile film "Master and Margarita" (2005), but there was no such artistic unity, as in the "dog heart" failed. However, Bortko, in any of his films, does not sin against the primary sources, holy observing the historical background of the era (even in frankly by the Louppy "Taras Bouvube").

But the "Master and Margarita" Yuri Kara (1994) against the literary foundation suffered very significantly. It is known that the version of Kara did not see the light until 2011 due to disagreements between the director and producers, as well as because of the claims of descendants E.S. Bulgakova, which owns copyright. Disputes of the film creators with copyright owners went because of the "point of view". We must admit, not without reason. Some as Kara read and illustrated Bulgakov better than, let's say, Bortco. (...) But the director's concept itself causes objections - like the heirs of Bulgakov.

Why in the canonical version of the plot inserted an episode from the first, unpublished editorial office - "Black Magazine" (scene on the patriarchs), where Woland pens out Ivan the homeless to instill the icon so as not to seem "intellectual"? After all, the writer personally deleted it from the later versions of the novel, who rewritten, argue Bulgakovied, or five, or six times. However, the scenario liberty of Yuri Kara extends even further: Stalin and Hitler and Hitler are still on the Ball of Satan. But this is contrary to the plot - on the ball in the Roman Bulgakov was only one living guest, Baron Maigel, sent to spying, and he was publicly executed in the eyes of the rest of the villains, already dead, for Woland - "Part of the strength that he always wants evil and forever Makes good. " Plus, the film was disfigured ...

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"Turbine Days" - the most popular Bulgakovskaya Piez was born from the "White Guard" novel. Her premiere took place in Mkat on October 5, 1926. In April 1929, the "Turbine Days" were removed from the repertoire due to a censorship prohibition, after the conversation of Stalin with the Ukrainian writers held on February 12, 1929. The interlocutors of Stalin were the head of the glavicalness of Ukraine A. Petrenko-Levchenko, head of the Agitprop CP KP (b) at A. Hville, head of the All-Ukrainian Union of Proletarian Writers, the Union of Writers of Ukraine I. Kulik, writers A. Desnyak (Rudenko), I. Mikitenko and others . Stalin defended the Bulgakov play, stating: "Take the" Turbine Days ". The common sediment impressions in the viewer remains what (despite the negative sides, what they consist, too, will tell), the general sediment of the impression remains, when the viewer leaves the theater? This is the impression of the uncomfortable strength of the Bolsheviks. Even such people, strong, persistent, in their own way honest, in quotes, must recognize in the end that nothing with these Bolsheviks can do. I think the author, of course, did not want this, in this he is unhappy, it's not about it, of course. "The days of turbine" is the greatest demonstration in favor of the discreet strength of Bolshevism. (Voice from the place: and changement.) Sorry, I can not demand from the writer so that it is necessarily a communist and necessarily conducted a party point of view. For fiction, other measurements are needed: non-obolutions and revolutionary, Sovetskaya - Nonobovaya, Proletarskaya - Unpoletar. But to demand that the literature be a communist, it is impossible. " However, one of the interlocutors said that in the "day of turbine" "illuminated the uprising against the hetman. This revolutionary uprising is shown in terrible tones, under the leadership of Petlyura, while it was a revolutionary uprising of masses, which took place under the guidance of Petlyura, but under the Bolshevik leadership. Here is such a historical distortion of the revolutionary uprising, and on the other hand, the image of the peasant rebel [movement] as (skipping in the transcript) in my opinion, from the stage of the artistic theater cannot be admitted, and if it is positive, that the Bolsheviks have forced the intelligentsia to change to change, That, in any case, such an image of the revolutionary movement and Ukrainian struggling masses cannot be admitted. " Another interlocutor was indignant: "Why are Artists speak German in a pure German language and consider the Ukrainian language to be fully permissible, mocking this language? It is just anti-duty. " Stalin agreed with this: "Indeed, there is a tendency of dismissive attitude towards the Ukrainian language." And the writer Oleksa Desnaak claimed: "When I watched the" Turbine Days ", I first got the fact that Bolshevism defeats these people, not because he is Bolshevism, but because it makes a single great indivisible Russia. This is a concept that rushes to everyone, and this victory of Bolshevism is better not necessary. " The secretary of the Central Committee of the CPSU (b) L.M. Kaganovich: "One Indicative Put".

Stalin once again tried to protect the play: "As for the" day of turbine "- I said that this is the anti-Soviet thing, and the Bulgakov are not ours. (...) But what, despite the fact that this is an anti-Soviet region, from this thing you can take out? This is a discrepant power of communism. They depicted Russian people - turbines and remnants from their group, they all join the Red Army as a Russian army. This is also true. (Voice from the place: with hope for rebirth.) Maybe, but you have to admit that both Turbines themselves, and the remnants of his groups say: "People against us, our leaders were sold. Nothing remains how to conquer. " No other strength. This also needs to be recognized. Why are these plays put? Because there is little real plays or not at all. I am against the ultimately deny everything in the "Turbine Days" to talk about this play as a play that gives only negative results. I believe that it basically still gives more than minuses. "

When Stalin directly asked A. Petrenko-Levchenko directly: "What do you want, actually?", He answered: "We want our penetration to Moscow to have their result with the removal of this play." Voices from sites were confirmed that this is the unanimous opinion of the whole delegation, and that instead of the "travel days" better put the play of Vladimir Kirchon's play about the Baku Commissioners. Then Stalin asked Ukrainians, whether to put the "hot heart" of the Ostrovsky or Chekhovsky "Uncle Vanya", and heard that the island was outdated. Here Joseph Vissarionovich reasonably objected that the people could not look only the communist plays and "the worker does not know whether it is a classic thing or not classic, but looks what he likes." And again, it was not bad to responded about the Bulgakov play: "Of course, if the White Guard will look" the days of turbine ", it will hardly be satisfied, will not be satisfied. If the workers perched the play, this is the overall impression - this is the power of Bolshevism, nothing can be done with her. People are more subtle notice that there is a lot of changeability here, of course, this is a negative side, the ugly image of Ukrainians is an ugly side, but there is another side. " And on the proposal of Kaganovich, that the chief executive could fix the play, Stalin objected: "I do not consider the chief operational center of artistic creativity. He is often mistaken. (...) You want him (Bulgakov. - Aut.) Real Bolshevik painted? Such a requirement cannot be submitted. You demand from Bulgakov to be a communist - this cannot be demanded. No plays. Take the repertoire of the art theater. What are there? "The gates of the kingdom", "hot heart", "Uncle Vanya", "Figaro's marriage". (Voice from the place: Is it a good thing?) What? This is a trifle, the bad thing. Jokes of Darmotov and their servants. (...) Maybe you will protect the face of Petlures? (Voice from the place: no, why?) You can't say that with Petlura proletaria walked. (Voice from the place: In this uprising, the Bolsheviks participated against the hetman. This is a rebellion against the hetman.) Petlurovsky headquarters if you take that he is poorly depicted? (Voice from the place: We are not offended by Petlura) there are also cons, and pros. I believe that mostly advantages more. "

But on the proposal of Kaganovich, one of the Ukrainian writers has concluded that at the time when Ukraine is fully struggling both with great chauvinism and local, Ukrainian chauvinism, but in the RSFSR with great-torely Chauvinism is not fighting enough, "although the facts of chauvinism in relation to Ukraine can find a lot."

However, in general, Stalin listened to criticism by Ukrainian communist writers and sanctioned the ban "Days of Turbines". He had to convince Ukrainian writers until the time before the time, which he stands for the development of Ukrainian culture and protect Ukraine from the manifestations of great chauvinism. The removal of "travel days" has become a certain symbolic gesture here.

On February 16, 1932, Stalin's personal instructions were resumed. By that time, a course was taken to gradual deucleation and Russification of Ukraine, so that the distortion of the Ukrainian language could no longer be supplied to Bulgakov in guilt.

"Turbine Days" persisted on the scene of the Art Theater until June 1941. In total in 1926-1941, the play took 987 times. If it were not for almost a three-year forced break, the play would certainly have passed on the stage much more than 1000 times. At the beginning of the Great Patriotic War, the art theater toured in Minsk. The performances continued until June 24, 1941. During the bombing, a building was destroyed, where the theater gave performances, and all scenery and costumes of the play "Days of Turbines" were burned. The play was not resumed on the Mchat stage until 1967, when the "Turbine Days" were again staged at the art theater by the famous director Leonid Viktorovich Varpakhovsky.

During the lifetime of Bulgakov, the play "Days of Turbines" and did not appear in the press, despite its unheard of popularity. For the first time, "Turbine Days" were published in the USSR in the Bulgakov collection of two plays (together with the play about Pushkin "last days") only in 1955. It should be noted that 21 a year earlier, in 1934, two translations of the "Turbine Days" were published in Boston and New York, performed by Y. Lyons and F. Bloch. In 1927, a translation into German was made by K. Rosenberg in Berlin the second edition of the Bulgakov play, who worn in the Russian original name "White Guard" (the publication had a double name: "The days of turbine. White Guard).

Since the "Days of Turbines" was written on the reasons of the "White Guard" novel, the first two editions of the play were the same name with the novel. Work on the first edition of the Plays "White Guard" Bulgakov began in July 1925. This was preceded by the following dramatic events. On April 3, 1925, Bulgakov received an invitation to the director of the Art Theater Boris Ilyich Vershilov to come to the theater, where he was offered to write a play on the basis of the novel "White Guard". Verkhilov, Ilya Yakovlevich Potakov, Mark Ilyich Prudkin, Olga Nikolaevna Androvskaya, Alla Konstantinovna Tarasova, Nikolai Pavlovich Khmelev, Macks Mkhata Alexandrovich Markov and other representatives of the young troupe of the Art Theater were looking for a play of a modern repertoire, where they could all get decent roles and, in the case Success, breathe a new life in the brainchild of Stanislavsky and Nemirovich-Danchenko. Having read the publication of the Novaya Guard's novel in the journal "Russia", young Mkhatovs have already been able to assess the huge dramatic potential of the novel. Interestingly, Bulgakov has a plan to write on the basis of the "White Guard" the play was born back in January 1925, i.e., before the proposal of Verchilov. To some extent, this idea continued the idea carried out in Vladikavkaz in the early Bulgakov play "Turbine Brothers" in 1920. Then autobiographical heroes were transferred during the 1905 revolution times.

In early September 1925, he read in the presence of Konstantin Sergeevich Stanislavsky first edition of the play "White Guard" in the theater. In the first edition of the play there were five acts, and not four, as in the next. Almost all the plot lines of the novel were repeated here and almost all its basic characters were preserved. Alexey Turbin still remained a military doctor here, and among the actors there were colonels of Malyshev and Nagi-Tours. This editors did not satisfy MCAT due to its prolongedness and the presence of duplicate characters and episodes. In the next edition, which Bulgakov read the MCAT troupe at the end of October 1925, Nay-Tours had already been eliminated and his replicas and heroic death were transferred to Colonel Malyshev. And by the end of January 1926, when the final distribution of roles in the future performances were made, Bulgakov removed Malysheva, turning the Alexey Turbine in the personnel colonel-artilleryman, the actual expressant of the ideology of white movement. As we have already mentioned, artillery officers in 1917-1918 served husband of Sisters Bulgakov Hope Andrei Mikhailovich Zemsky and the prototype of the Multi-Nikolai Nikolayevich Songevsky. Perhaps this circumstance prompted the playwright to make the main heroes of the play by artilleryrs, although the heroes of the play as the heroes of the novel, and do not have to act as artilleryrs.

Now it is the turbines, and not Nah-Tours and Malyshev died in the gymnasium, covering the waste of junkers, and the camera's chamber of the turbine house exploded the tragedy of the death of his owner. But the turbines also gave her white idea saving catharsis.

Now the play basically developed. In the future, under the influence of censorship, a scene was lifted in the Petlyurian headquarters, because Petlyo Wolnitsa in his brutal elements very much resembled Red Army. It should be noted that in the early editors, as in the novel, the "turnover" of Petlyurovtsev in the Reds emphasized "red tails" (slabs) on their dads (some Petlyurovsky Rogengi really wore such sludges). The objection censorship also caused the name of the play "White Guard". Ks. Stanislavsky under pressure from the chief designer offered to replace him with "before the end", which Bulgakov categorically rejected. In August 1926, the parties agreed on the name of the "Turbine Days" (the "family of turbine" appeared as an intermediate version). On September 25, 1926, "Turbine Days" were resolved by the chief executive committee for setting only in the Art Theater. In recent days, before the premiere had to make a number of changes, especially in the final, where all the growing sounds of "International" appeared, and Mumyuyevsky forced to pronounce the Red Army toast and express readiness to serve in it: "At least I know that I will serve in Russian Army, "and at the same time to proclaim that instead of the former Russia will be new - as great.

L.S. Karum recalled about the "travel days": "The first part of his novel Bulgakov reddished in the play called" Turbine Days "(in reality, it should be noted rather not about the alteration in the play of the first part of the novel, but about writing the original play based on the novel. Since Alexey Turbin now died in the building of the gymnasium, then in the final stage occurring at the moment when Petlurovtsy leave the city under the onslaught of the Red, the role he played in the novel, actually took Mumylayevsky. - B.S. ). This play is very wondered, because for the first time on the Soviet scene, though not direct opponents of Soviet power were dismissed, but still indirectly. But the "companion officers" are somewhat artificially tinted, cause vain sympathy, and this caused an objection to setting the play on the stage.

The business in the novel and the play is played in the family, the members of which serve in the ranks of the hetman troops against Petlurovtsev, so there is practically no white anti-Bolshevik army.

The play has suffered a lot of flour while hitting the scene. Bulgakov and the Moscow Art Theater, which put this play, had to deepen it many times. So, for example, at one party in the house, the turbine officers - all monarchists - sing the anthem. Censorship demanded that officers were drunk and sang the anthem to Nestroyly, drunk voices. (Here Karum is clearly mistaken. After all, in the text of the novel, the singing of the novel occurred at a party, on which Alexey Turbin, as well as Shervinsky and Multoyevian fast drink. – B.S.)

I read the novel a long time ago, the play watched a few years ago, and therefore my novel and the play merged into one.

It should only say that my similarity is done in the play less, but Bulgakov could not refuse himself in pleasure, so that someone didn't hit me on the play, and the wife married another. Only Talberg is going to the Denikinian army (negative type), the rest disagree after taking Kiev by Petlisters, who is where. "

Under the influence of the image of Multoyevsky in the play of Bulgakov, he had somewhat produced this image in that editing of the end of the "White Guard" novel, which was published in Paris in 1929. In particular, an episode with an abortion was removed, which the maid of Turbine Annie is forced to do from Mumylayevsky.

"Turbine days" had completely unique success among the public. It was the only play in the Soviet theater, where the white camp was not shown not caricature, but with undisguised sympathy, and his main representative, Colonel Alexei Turbin, was endowed with obvious autobiographics features. Personal decency and honesty of opponents of the Bolsheviks were not questioned, and wines for defeat were entrusted to the headquarters, generals and political leaders who failed to offer a political program acceptable for most people and properly organize a white army. For the first season of 1926/27, the play took 108 times, more than any other performance of Moscow theaters. "Turbine Days" used love by an intelligent non-partisan public, while the public party sometimes tried to arrange obstruction. Second wife of playwright L.E. Belozerskaya in his memoirs reproduces the story of one familiar about the Mkhatovsky performance: "There was a 3rd action" Turbine days "... Battalion (more correctly - Artillery Division. - B.S. ) crushed. The city is taken by Gaidamaks. The moment is tense. In the window of the turbine house glow. Elena with Larioski waiting. And suddenly a weak knock ... both listened ... unexpectedly from the public an agitated female voice: "Yes, open the same! This is your! " This is the merger of the theater with life, which only can dream of playwright, actor and director.

But how did you remember the "Turbine Days" to a person from another camp - criticism and censor of Osaf Semenovich Lithuanian Many who made the Bulgaki plays from theatrical stage: "The premiere of the Art Theater was notable in many ways, and above all, the fact that it participated in it mainly the youth. In the "Days of Turbines", Moscow first met with such actors as Khmelev, Janshin, Dobronravov, Sokolov, Stalisan, - with artists, the creative biography of which was in Soviet times.

Maximum sincerity with which young actors depict the experiences of the "knights" of white ideas, evil punishers, the executioner's executioners, caused sympathy of one, the most insignificant part of the auditorium, and the indignation of the other.

I wanted or did not want this theater, but it went out so that the performance called us to regret, humanly treat the lost Russian intellectuals in shape and without form.

Nevertheless, we could not fail to see that a new, young piglery of artists of an artistic theater, who had every reason to stand in one row with glorious old men, comes to the scene.

And indeed, soon we had the opportunity to rejoice at the wonderful creativity of Khmelev and Dobronravov.

In the evening, the premiere literally miraculously seemed to all participants in the play: And Yanishin, and Prudkin, and Stalisan, and Khmelev, and in particular Sokolov and Dobronravov.

It is impossible to transfer, as I struck my exceptional, even for students of Stanislavsky, the simplicity of Dobronravov in the role of Captain Mumylayevsky.

Years have passed. In the role of Mumylayevsky began to protrude Toporkov. And we, viewers, I really want to say to the premiere participants: Never forget the Mumylayevsky - Dobronravov, this simple, a bit of a clumsy Russian man, really deeply understood everything, very simple and sincerely, without any solemnity and comprehensible pattics, which recognized their bankruptcy.

So he, an ordinary infantry officer (in reality - artillery. - B.S. ), what we saw a lot in the Russian scene, for the most ordinary thing: sitting on the bed and tightened the boots, at the same time dropping certain words of recognition of the capitulation. And behind the scenes - "Internationale". Life goes on. Every day you will need to pull the service, and maybe even a military strap ...

Looking at Dobronravov, I thought: "Well, this, perhaps, will be the commander of the Red Army, even be sure to!"

Mumyevsky - Dobronravov was much smarter and more considerable, deeper than his Bulgakov prototype (and Bulgakov himself, we note, - smarter and more considerable criticism of Lithuanian. - B.S. ).

The player of the play was Ilya Yakovlevich Sudakov, who was just a year older than Bulgakov himself, and the main director - COP. Stanislavsky. It is in the work on the "day of turbine" a young troupe of Mkat really formed.

Almost all Soviet criticism rug the Bulgakov play together, although sometimes risked praise the Mkhatov playing, in which the actors and the director managed to overcome the "reaction plan" of the playwright. So, the People's Commissar of Enlightenment A.V. Lunacharsky claimed in the article in Izvestia on October 8, 1926, immediately after the premiere, that in the play, "the atmosphere of a dog wedding around some kind of red wives reigns," he considered it "semi-pepology of white-guard", and later, in 1933, called " The days of the turbine "" drama discreet, even if you want a fishing capitulantism. " In the article of the magazine "New Spectator" of February 2, 1927, Bulgakov, who made the album of the cuttlelling of reviews on his works, stroked the following: "We are ready to agree with some of our friends that" Turbine Days "a cynical attempt to idealize White Guard, but we do not doubt That it is the "Turbine Days" - Ospen Number in her coffin. Why? Because for a healthy Soviet viewer, the most ideal slush can be shedding, and for extinct active enemies and for passive, flabby, indifferent ordinary people, the same slush can not give either the charge or charge against us. Anyway, as a funeral anthem cannot serve as military march. " The playwright in a letter to the government on March 28, 1930, noted that 298 "hostile and abusive" feedback and 3 positive were accumulated in his album, and the vast majority of them were devoted to the "turbine days." In almost the only positive response on the play, N. Mukhvishnikov's review in the Komsomolskaya Pravda dated December 29, 1926, it was the answer to the violent letter of the poet of Alexander Slessmansky, who called Bulgakov "Novoburzhouaznny Gluff." Mupponants tried to convince Bulgakovsky opponents that "on the threshold of the 10th anniversary of the October Revolution ... It is completely safe to show the viewer of living people that the viewer is the opposite, and cosmatic priests from agitatu, and the puzzled capitalists in the cylinders," but not the critics convinced.

In the play, as in the novel, the negative character is Talberg, concerned about only his career and produced now in the colonels. In the second edition of the play "White Guard", he quite shurredly explained his return to Kiev, which was about to take the Bolsheviks: "I am perfectly informed. Hetmanschi was a stupid lap. I decided to return and work in contact with the Soviet authorities. We need to change political milestones. That's all". However, for censorship, such an early "replacement" of such a non-patious character, like Talberg, turned out to be unacceptable. As a result, in the final text of the play, Talberg had its return to Kiev, Talberg had to be explained by a business trip to the Don to General P.N. Krasnov, although it remained unclear why this character was not distinguished by courage chose such a risky route, with a race to the city, which was still hostile by white Petlurovtsy and were about to take the Bolsheviks. Suddenly flashed the love of his wife Elena as an explanation of this act looked quite fake, because before, hastily leaving to Berlin, Talberg did not show any particular concerns about the left spouse. The return of the deceived husband directly to the wedding of Elena and Shervinsky needed Bulgakov to create a comic effect and the final admission of Vladimir Robertovich (so now Talberg was called).

The image of Talberg in the "Days of Turbines" came out even more repulsive than in the "White Guard" novel. Karum, naturally, did not want to recognize himself a negative character, because of what we remember, his family broke all relations with Mikhail Afanasyevich. But in many ways, the Colonel Talberg written off him was one of the strongest, although very repulsive places images. To bring such a service in the Red Army, according to censors, it was impossible. Therefore, instead of returning to Kiev, in the hope of establishing cooperation with the Soviet government, Bulgakov had to send Talberg on a business trip to Don to Krasnov. On the contrary, under pressure from the chief executive committee and MCAT, a significant evolution in the direction of changeover and the illegal adoption of the Soviet power has undergone a pretty Mumylaevsky. Here, a literary source was used here for such a development - Roman Vladimir Zzabrina (Zutsov) "Two Worlds" (1921). There, the lieutenant of the Kolchakov Army of Ragimov explained his intention to go to the Bolsheviks: "We fought. Honestly razz. Our not Bareret. Let's go to those whose beat ... in my opinion, and the birthplace, and the revolution is just a beautiful lie, which people cover their skin interests. So people are arranged that whatever meanness they do, will always find an excuse. " Mumyevsky in the final text speaks of its intention to serve the Bolsheviks and break with a white movement: "Pretty! I'm fighting with nine hundred fourteenth years. For what? For Fatherland? And this is the Fatherland when they threw me on a shame?! And again go to these bodies?! Well no! Have you seen? (Shows Shish.)Shish! .. What am I, Idiot, is indeed? No, I, Victor Mumylayevsky, I declare that I don't have anything more with these bastards of the generals. I finished! .. "Zzabrinn Ragimov The carefree-water-watering song of his comrades was interrupted by the declamination:" I am a commissar. In the chest fire! " In the final text of the "Turbine Days", Mumylaevsky inserts into the White Hymn - "Tolera Oleg" toast: "So for the Council of People's Commissars ..." Compared to Ragimov Mumylaevsky in his motifs, it was strongly arranged, but the vitality of the image was completely preserved.

The essence of the changes in the play compared to the novel, so raised hostile to the Bulgakov critic I.M. Nosynov:

"Now it is not necessary to justify more for your change, for the adaptation to the new life: this is a passed stage. Now the moment of meditation and repentance for the sins of the class also passed. Bulgakov, on the contrary, using the difficulties of the revolution, trying to deepen the ideological attack on the winner. He once again overestimates the crisis and death of his class and is trying to rehabilitate him. Bulgakov recycle his novel "White Guard" in the drama "Days of Turbines". Two figures of the novel - the Colonel Malyshev and the Turbine doctor - are connected in the form of Colonel Alexei Turbine.

In the novel, the Colonel betrays the team and he saves himself, and the doctor dies not as a hero, but as a victim. In the drama - the doctor and colonel merged into Alexei Turbine, whose death is apotheosis of white heroism. In the novel, the peasants and workers teach the Germans to respect their country. The revenge of the peasants and the workers of German and Hetman's enslares of Bulgakov assesses as a fair sentence of fate "Gadam". In the drama, the people are only the wild Petlipov gang. In the novel - the White Culture is the restaurant life of "Caircase prostitutes", the sea of \u200b\u200bdirt, in which the trees of turbine. In the drama - the beauty of the flower of turbine is the essence of the past and a symbol of perishing life. The task of the author is the moral rehabilitation of the past in the drama. "

The critic did not stop in front of the direct distortion of Bulgakov texts and ideas. After all, in the novel, the doctor Alexei Turbin does not die, but only it turns out to be wounded. The colonel of the same Malyshev in the novel does not "betray the team" for the sake of his own salvation, but, on the contrary, he first saves his subordinates, a 5-way division, which is more to protect any more, and only then leaves the gymnasium building.

In the early editors of the "Turbine Days", created in 1925, Mumylayevsky in the middle of the feast offers a drink for the health of Trotsky, because he is "cute." In the final, in response to the replica of Studzinsky: "Did you forget what Alexey Vasilyevich predicted? Do you remember Trotsky? - Everything came true, he, he, Trotsky goes! " - Viktor Viktorovich claimed, and as if quite soberly: "And fine! Gorgeous thing! Whether my power, I would assign it to his commander! " However, by the time of the premiere of "Turbine Days" in October 1926, Trotsky was derived from the Politburo and was in the opal, so that it was impossible to pronounce his name from the scene in a positive context.

Bulgakov attracted an outstanding personality of Trotsky - the main military leader of the Bolsheviks during the Civil War, against which the future Author of the "White Guard" was able to fight for several months as a military doctor of the Armed Forces of the South of Russia in the North Caucasus. In the diary "under the fifth", the writer responded to the temporary removal of Lev Davydovich on the disease from the execution of official duties, regarding this as a defeat of the chairman of the Revolutionary Council in the struggle for power. On January 8, 1924, the publication in the newspapers of the relevant bulletin of Bulgakov commented on unambiguously: "So, on January 8, 1924, Trotsky exposed. What will happen to Russia, knows one God. Let him help her. " Obviously, he considered Trotsky's victory yet less evil compared with the arrival of Stalin and closely blocked with him in that period G. Zinoviev and L.B. Kamenev, married, by the way, to say, on the sister of Trotsky Olga. At the same time, the writer did not share the common opinion that the collision of Trotsky with the rest of the Politburo could lead to armed confrontation and mass riots. In the post made on the night of December 20-21, 1924, Bulgakov called the most important event of the last two months "split in the party, called the Book of Trotsky" Outer Lessons ", a friendly attack on him all the leadership of the party headed by Zinoviev, Link Trotsky under The pretext of the disease south and after that - calm. The hopes of white emigration and internal counter-revolutionaries on the fact that history with Trotskyism and Leninism will lead to bloody clashes or coup within the party, of course, as I assumed, did not justify. Trotsky ate, and nothing else. Joke:

- Leo Davidych, how is your health?

"I don't know, I haven't read today's newspapers yet (a hint of a bulletin about his health compiled in completely ridiculous colors)." It should be noted that both in the anecdote, and in the main text of the record there are some sympathy of the Trotsky. Opponents of the chairman of the Revoensuit are called "leaders", which "eaten" their comrade in the party.

For Bulgakov Trotsky - the enemy, but the enemy, in many respects worthy of respect.

In the play of Bulgakov did not try to flatter the former Chairman of the Revoensuit, but only reflected the opinion, widespread among the white officers. I'll get up to the testimony of my grandfather, by the way, like Bulgakov, Doctors, B.M. Sokolova, who in 1919 in Voronezh failed to talk with the head of the counterintelligence in His head of the Schuro Esuul Kargin. For some reason, for some reason, without any reason, considered the grandfather red, but was configured very friendly, invited him to dine and admitted him at the table: "You have one real commander - Trotsky. Eh, I would be like that - we would definitely win. " It is curious that under the influence of an outstanding, no matter how to treat it, the personalities of Trotsky at different times were people, very far from communist ideas and the Bolsheviks party.

By the way, about the fact that Kargin was the head of the counterintelligence of the corps, my grandfather could and make a mistake. The only one known to me was the name of Kargin - this is Alexander Ivanovich Kargin, 1882 years of birth, produced in Esauli on December 29, 1915, and on March 9, 1917, appointed by the commander of the 20th Don Cossack battery. January 31, 1919, he was produced in military elders. He died on January 6, 1935 in the French city of Kan. His "Karginskaya" battery is mentioned in the novel "Quiet Don". True, my grandfather remembered Kagina as Esoula, but he could also be revealed to the latest rank, which he received in the imperial army. Kargin was the Don Cossack, and the Shkuro commanded the corps from the Kuban and Terek Cossacks. However, in Voronezh, the top of the Shkuro also passed the Don Cossack Corps of General QC Mamontov.

In the 1926/27 season, Bulgakov in Mkate received a letter, signed by Viktor Viktorovich Multilaevsky. The fate of an unknown author in a civil war coincided with the fate of the Bulgakov hero, and in the following years it was as utter as the creator of the "White Guard" and "Turbine Days". The letter reported:

"Dear author. Remembering your cute attitude towards me and knowing how you were interested in one time of my fate, I hurry to inform your further adventures after we broke up with you. Having waited in Kiev's arrival of red, I was mobilized and began to serve a new government not for fear, but for conscience, and with the Poles fought even with enthusiasm. It seemed to me that only the Bolsheviks are the real power, a strong faith in her people, which carries Russia and the prosperity of Russia, which will make strong, honest, direct citizens from the man in the streets and securities. Everything seemed to me that the Bolsheviks are so good, so smart, so smoothly, the word, I saw everything in the pink light before it turned red and almost became a communist, and my past saved me - nobility and officers. But the honeymills of the revolution pass. NEP, Kronstadt uprising. I, like many others, passes a passion and pink glasses begin to repaint in darker colors ...

General meetings under a vigilant inquisitorial look of Moscow. Resolutions and demonstrations from under the stick. The small bosses, having a view of the Vote God and lies to each typist (it seems that the author of the letter was familiar with the corresponding episodes of the Bulgakovskaya story "The dog's heart", unpublished, but we went to the lists. - B.S. ). No understanding of the case, but look at everything from the guardian. Komsomol, spying towing with passion. Workers delegations are noble foreigners resembling Chekhov generals at the wedding. And lies, lies without end ... Login? These are either men who are kept for power and comfort, which they never seen, or mad fans thinking to break through the forehead with a wall (under the latter, obviously, it was implied, first of all, had already fell into Opal L.D. Trotsky. - B.S. ). And the most idea! Yes, the idea of \u200b\u200bwow, rather foldable, but absolutely not implemented as the teachings of Christ, but Christianity and clearer, and more beautiful (it seems, "Mumylaevsky" was familiar with the works of Russian philosophers N.A. Berdyaev and S.N . Bulgakov, arguing that Marxism took the Christian idea and simply transferred it from heaven to Earth. - B.S. ).

So-s. I am left now at the broken trough. Not financially. Not. I serve and at current times - wow, I am interrupted. But it's not believing a lousy. After all, it does not believe anything and do not love anything - this is the privilege of the generation of us, our shift is intense.

Recently, or under the influence of a passionate desire, fill out a mental emptiness, or, indeed, it is, but sometimes I hear a little catchy notes of some new life, real, truly beautiful, not having anything in common with the royal or with Soviet Russia. I appeal to the great request for you on my own behalf and on behalf, I think, many other are the same as me, empty soul. Tell me from the scene, whether the pages of the magazine, right or an esopov language, as you wish, but just let me know, do you hear these barely catchy notes and what they sound about?

Or all this self-deception and the current Soviet emptiness (material, moral and mental) is permanent phenomenon. Caesar, Morituri Te Salutant (Caesar, doomed to death greet you (lat. - B.S. )».

Words about the Esopov language indicate the acquaintance of the author of the letter with the Pilleton "Bagrous Island" (1924). As the actual answer, "Mumylaevsky" can be viewed by the play "Bagher Island", written on the basis of this fechelon. Bulgakov, turning a parody of replacement in the "ideological" play inside the play, showed that everything in modern Soviet life is determined by the All-Russian Creative Creative Freedom of Officials, like Savva Lukich, and no spons of the new one can be. In the "Turbine Days", he still identified hopes for some better future, therefore introduced, as in the novel, the last effect of the Epiphany Christmas tree as a symbol of hope for spiritual revival. To do this, the chronology of the action of the play against the real one was shifted. Later Bulgakov explained this to his friend P.S. Popov: "The last action events are related to the holiday of baptism ... spread timing. It was important to use the Christmas tree in the last action. " In fact, the leaving of Kiev by Petlurovtsy and the occupation of the city by Bolsheviks occurred on February 3-5, 1919, and in the novel, this chronology is generally observed, since the Epiphany Christmas tree precedes the leave of the city by Petlisters, which occurs on the night of the 3rd. But in the play of Bulgakov suffered these events for two weeks ahead to combine them with the Epiphany holiday on the night from the 18th to the 19th of January.

Criticism collapsed on Bulgakov for the fact that in the "Days of Turbines", the White Guards appeared by tragic Chekhov heroes. O.S. Lithuanian dubbed Bulgakovskaya play with a "cherry garden" of white movement, questioning rhetorically: "What is the case of the Soviet viewer to the suffering of the Ranevskaya landowners who ruthlessly cut down the cherry garden? What is the case to the Soviet viewer to the sufferings of external and internal emigrants about the untimely deceased white movement? " The critic A. Orlinsky dropped the dramaturgu the accusation that "all commanders and officers live, fight, die and marry without a single twenty, without servants, without the slightest contact with people from any other classes and social mess." On February 7, 1927, on the dispute in the theater of the Vsevolod Meyerhold, dedicated to the "Turbine Days" and "Love Yarova", Bulgakov answered critics: "I, author of this play" Turbine Days ", former in Kiev during the hetmans and petrol rails, who saw White Guards in Kiev From the inside of the cream curtains, I argue that the twins in Kiev at the time, that is, when events occurred in my play, it was impossible to get the weight of gold. " "The days of turbine" in a much larger extent was a realistic work than his critics made validity, unlike Bulgakov, as given ideological schemes. On the same dispute, the playwright explained why he removed his servant from the play by Anuti, who was present in the novel. Since the play and so it turned out to be too stretched in time, it had to ruthlessly cut the characters and entire plot lines. And critics and directors demanded to add a servant to the play, which was supposed to symbolize the people. Bulgakov recalled: "... the director tells me:" Give a servant. " I say: "Mill, where am I Dena?" After all, out of the play, with my own participation, huge pieces were laid out, because the play did not fit the scenes in the size of the scene and because the last trams go at 12 o'clock. Finally, I brought to white cation, wrote a phrase: "And where is the Anyuta?" "Anyuta went to the village." So, I want to say that this is not a joke. I have an instance of the plays, and in it this phrase is about servants. I personally consider it historical. "

After many years after the premiere of the "Turbine Days" premiere, the Military Attachment of the German Embassy in Moscow saw in the pre-war years Major General Ernst Kestring. By the end of the war, he served until the general of Cavalry, commanded the Eastern troops, in which the Russian Liberation Army A.A. Vlasova, he was released from the American captivity in 1946 and peacefully died in 1953. He testified with the German diplomat Hans von Hevervart attended with Cestring in the theater: "In one of the scenes, the play was required to evacuate the hetman of Ukraine of the Scopadian, so that he would not get into the hands of the Red Army. In order to hide his identity, he was changed into a German form and carried onto stretchers under the supervision of the German Major. While the Ukrainian leader was transferred in this way, the German Major on the stage said: "Pure German work," everything is with a very strong German accent. So, it was Kestring that was the Major that was attached to the scorpin during the events described in the play. When he saw a performance, he resolutely protested against the fact that the actor uttered these words with a German accent, as he, Cestring, spoke in Russian completely freely. He complained about the director of the theater. However, contrary to indignation of Cestrings, the performance remained the same.

Of course, decades later, Hervart obviously confused the details. In the stage edition of the "Days of Turbines", unlike the novel, the evacuation of the hetman is headed by Major, and General von Shchrat (although, together with him, Major von Dust), and the phrase about "clean German work", naturally, they say not the Germans , and Shervinsky. But in general, it seems, you can believe the diplomat: a similar incident actually took place. A native of Russia Cestring (he was born in 1876 in the estate of Silver Ponds in the Tula Province, graduated from the Mikhailovsky Artillery School and went to Germany only on the eve of World War I) really spoke Russian without any accent and was indeed the German Military Mission With the hetman scores. But Bulgakov know this, naturally, could not. However, it seems that he predicted it. The fact is that Bulgakovsky Schratt speaks Russian with a strong accent, then completely clean and most likely the emphasis is needed by him only to finish the conversation with Hetman, unsuccessfully seeking German military support.

In the play compared with the novel, the image of the hetman was significantly expanded and quoted. Bulgakov widdled over the attempts of hetman in the army and the Ukrainian language in the army and in the civil service, which he did not really owe. He showed the leaning of hetman to poscomm and chatter. Pavel Petrovich Skoropadsky was a brave General, who earned the Georgiev Weapon and Order of St. George of the 4th degree in the first world war, but absolutely nothing did not mean in politics, which resulted in the tragedy both for the Ukrainian people and for Russian officers. In the characteristic of the hetman, Bulgakov relied not only on his own impressions of the personality and politics of the hetman, but also on the memories of well-known scorpin memoirs. So, already in 1921, the journalist Alexander Ivanovich Maryarevsky (as a military correspondent of the "Russian Word" subscribed: A. Sumy) published a book about the scorpusk under the eloquent name "Dictator trembling and timid". Maryarevsky as a military correspondent spent two weeks together with the scorpin during the war and made the most favorable impression from the future hetman. But it changed sharply when they met again in Kiev. Maryarevsky, who became the head of the Print Bureau, was repeatedly invited to scorepads to dinner and had the opportunity to talk about political topics several times. In his book, we find the source of the speech of Alexey Turbine, implacing the hetman for its reluctance to form the Russian army: "Looking at the persons surrounding the scorpin, I immediately found that most of them were purely pyccquica citizens, without every shade of Ukrainians, and that the real citadel of Ukraine It was placed only in the cabinet of Poltava, appointed by the general writer, the custodian of state press, is rather honorable than an administrative position.

I gradually became clear to me that the benevolent fate sent Russian bourgeoisie, intelligentsia and everyone who does not sympathize with the Bolshevik coup respite to pass the exam or re-exclaim to the right of existence in an oasis protected by other people's troops and headed by a temporary dictator. True, under one condition - to repaint during the Ukrainian colors.

On the territory of Russia, two competing principles were allegedly created. Soviet Russia and Russia of Scoropads. Russia seemed to be divided into two camps, without the need to conduct a civil war, only in order for the power of intelligence to peel one another. At the same time, Russia of Scoropads was in conditions of a thousand times more favorable than the Communist Russia of Lenin. Ukrainians demanded a little. Their existence only did not have to be forgotten, until the time rewarding them to those tempting for them, but inadvenous toys, which constituted their original dream, to give them Mov and give an external Ukrainian management style. The inconvenience of the existence of a Ukrainian question could be used for the benefit of all Russia and painlessly exit the situation. "

This maxima reminds Talberg's words that "we are fenced off from the Bloody Moscow Operetki" German bayonies.

However, as Maryevsky emphasizes, "almost Mova was impracticable; For a number of official institutions, there were no terms in the Little Russian language, they had to still invent, even in the Galician language there were no terminology for the fleet, since there was never a fleet. " Helpless attempts by the Shervinskogo make a report on "High Move" just illustrate this thought.

All the favorable opportunities had missed the favorable opportunities, completely cleaned a loan of the confidence of society that had stagnant stability and order. According to Maryarevsky, "A Russian society has fallen brilliantly at the reexuming, which did not find any cohesion and the slightest healthy egoistic self-preservation instinct. After the first blows of Bolshevism, the majority felt in a panic to Ukraine, most frivolously damaged a breather.

What can I reproach a person's personally who failed to "take a bull for the horns"? He was one of the atoms of this society of the past. Atom, tried to become the leader. But the burden of past convictions, views, schools and snorkens were given only a leakage hero, attached the capacious nature of the whole Kiev state education.

Fortunately, because the tragedy with a civil war would happen otherwise. Better is the opener. "

As we remember, it is the sheepskin who calls the hetman regime Bulgakovsky Talberg.

According to Maryarevsky, all his ministers of the Scopadian cheated, and he did not know or did not want to expose the lie: "We gradually getting a general position of affairs and the result of the work of the hetman, ministries and office, I saw my own way that the state apparatus reigns Velipa Volokita and Tolerating, but I was sure that the combat general I knew at the front would be waging in the hetman.

While all the day of the hetman was occupied only by the reception of individuals and officials with reports. Scopadian loved to speak very much. This weakness was raised by the ministers, leaving him after the reports. But the ministers spoke no less; They infinitely tightened their meetings, evading the debate on the merits.

As far as I knew, perfectly aware of the Germans behaved very correctly, encouraging the creative initiative, from where it would emerge, they constantly insistently reminded the government and hetman on the need to take certain reasonable measures. But hardly the tenth part of these instructions was performed. And if the case was exceptional importance, they were forced to spend it themselves, of course, spending it sometimes not so smoothly, as they would have done these Russian hands, which the government was completely indifferent to what the fact. Among the ranks of the government, even some confidence was created that still the Germans will do, and will make it better ...

Most officials Lgali Hetman, pretending to be brilliantly, and only reports about official breakfasts and lunch were passed to the print. Browsing them in a row, it was possible to make a reason not too flattering about the performance of the dictator and hetman. The Germans were transmitted, as they were transmitted, too, began to be disappointed in the state abilities of cute and charming "Paul" and was looking forward to the arrival of his wife Alexandra Petrovna, obviously thinking that with the arrival of her a more creative, and not a decorative atmosphere. "

Of course, with the arrival of the spouse of the hetman, the situation did not improve. Maryevsky very accurately described the reason for the failure of the hetman on the Niva State Construction: "Bold and decisive on the front, p.p. Scorepadian booze in front of his desk, as an inexperienced administrator, who did not know the truth without quotes. Taking one, presented to him in the finished form, he changed him in half an hour to another, also prepared by some random tips. "

The memoirist and about the hatred of the peasants to Getman, generated by his support for the landowners: "When I arrived in Kiev, the hetman's reputation was already very submunched among a significant part of the peasants with a person with a punitive expedition, which was sent around the villages who participated in the defeat of the landowners.

There was a case when the landowner demanded 30,000 kharbovans from the peasants for the vine chopped by them, which since then has already managed to repel again, and that that was cut down, cost no more than two to three thousand at the highest rating. The punitive expedition was suspended, but the result of it in the form of unfriendly continued to exist, and the antigenetman propaganda was very successful on this basis. "

Maryarevsky is as skeptical as Bulgakov, assessed society, gathered in Kiev in Kiev at Spripad: "Kiev, with its semi-micoin -itious society, was not a completely successful item for the formation of a new healthy state-owned start. To give such a definition of the Kiev Society, it seems to me, not too rash. Not to mention the general political illiteracy, most of Kiev residents lived theaters, concerts, visits to each other and cafe. The bazaar and market rumors rely on the basis of a public opinion created for the current day, the newspapers somewhat smoothed rumors of early morning brought by a servant, but for the day the phone and meeting with acquaintances turned over again the bottom of everything that was judged in this "public opinion" ...

"Hetman" could mean dictator, president and power prince, in fact it was an ordinary cavalry general of the royal service - a signboard that could be smeared with the desired most paints, the Cardboard Motok, which was wound by law enforcement "...

As Maryarevsky recognized, after the fall of Emperor Wilhelm and the beginning of the Petlyurovsky uprising, "I didn't believe in serious contact with the Entente, and for a few days the serious military units had no opportunity. And the reluctance with which they went to volunteers, despite the rise among the Russian part of society, suggested that the failure is inevitable.

I had to transfer telegrams and radiotelegrams that I got first-hand; They reported: about landing the French, their advancing towards the Fasting about the sympathy and support of the Kiev volunteer parts. As it was subsequently, these telegrams were fabricated by the headquarters of Petlyura, intercepting radio and telegrams sent by the hetman and answered on them. " These optimistic telegrams disoriented the heroes of the "White Guard", and then caused their hatred.

Literary critic V.Ya. Lakshin at one time noted that the famous appeal of Stalin in speech on July 3, 1941 - the first speech to the Great Patriotic War: "I appeal to you, my friends!" - Most likely goes back to the processing of a turbine to junkers in the gymnasium. The Gensek impressed the Colonel Turbin in the brilliant performance of Nikolai Khmelev - the enemy is a real, uncompromising, written without caricature and "without omissance", but recognizing the inevitability of the inevitability and the pattern of victory of the Bolsheviks. It must be stolen the pride of the communist leader, attached confidence in its own forces, and it was not by chance that Stalin remembered Turbine (Bulgakovsky) words into the critical first weeks of war.

Stalin in the play especially liked Alexey Turbin performed by Khmelev. E.S. Bulgakov recorded on July 3, 1939 in the diary: "Yesterday morning, Khmelev's telephone call - asks to listen to the play (" Batum ". - B.S. ). The tone is increased, joyful, finally again play M.A. in the theatre! Etc. In the evening we have Khmelev, Kalischean, Olga. Misha read several paintings. Then dinner with a long seat after. Conversations about the play, about MHT, about the system. The story of Hmeleva. Stalin once said to him: Play Alexei well. I even dream your black mustache (turbine). I can not forget. "

By the way, the interpretation of the image of the turbine, which he gave Khmelev and who liked Stalin so much, was not accepted by some fans of Bulgakovsky creativity. So, writer V.E. Ardes in February 1962 wrote to the director S.S. Yutkevich: "About Khmelev N.P. I want to say this: I did not see him in the theater and in the movies. In the movie he did not make a special impression on me. Of course, it was seen that the actor is strong, thin, intelligent, developing and talented. But in the theater I remained dissatisfied with it in three roles that believes it to their achievements. Alexey Turbine, in my opinion, Khmelev played incorrectly. His turbines were too "official" some kind. Not from this family was the elder brother of Niccles and Leli. Recall that in the "White Guard" novel, who was the author himself turned into a play on turbines, Colonel Turbines was written by a doctor, and not a carving officer. Yes, it does not matter directly. But without influencing the image, such a fact cannot be left. Khmelev in the "Days of Turbines" succumbed to the temptation to play a "brilliant officer". He was cut, abused the outer side of height, etc. And I would like to see the doomed intellectual. So conceived M.A. Bulgakov. "

But what is surprising, the scene in the gymnasium, when Turbin dismissed the division, realizing the meaninglessness of the continuation of the struggle and seeking to save hundreds of young lives coincided with the image of one of those who opposed Stalin on the other side of the front at the very end of World War II. The Italian Prince Valerio Borghese until September 1943 commanded the special 10 flotilla of MAS (small anti-rags), and after the surrender of the royal government of Italy, I created and headed the Volunteer Marine Corps of San Marco - the most combat-effective joint of the army created by the Italian Social Republic created by Mussolini ( or the "Republic of Salo" - by the government's location). The 15,000-thousand Division Borghese fought both against the Anglo-American troops and against Italian partisans. At the end of April 1945, German troops in Italy capitulated. Mussolini tried to run to Switzerland, but an inglorious end found on the way. Borghese did not follow the proposal to shut down with him to the Swiss border. This is how the Borghese Biographer Pierre Dargeza is described on April 25: "Returning to the barracks of San Marco Division, Borghese closed in his office ... about 22 hours. 30 minutes. One of his intelligence officers presented a report on the last underground meeting of the National Liberation Committee of the North of Italy, held in the morning of the same day in Milan. The state of complete combat readiness was announced in the partisan army. People's Tribunals were created ... It was envisaged that all the fascists of the "Republic of Salo", captured with weapons in their hands or trying to resist, can be executed in place ...

The prince was not worthwhile to lose time if he wanted to save his life and the life of his soldiers! There was only a short night ahead. He took advantage of her to change his people to civil and let them go free to try to get to their homes, distributing them those small money that he had. By morning the barracks were empty. Only the man of twenty most faithful associates refused to leave him. During the day, on April 26, Borghese made and disperse them, and in the evening, changing himself, left the office himself.

"I could call death to help," he remembered later ... "I could relatively easily move abroad." But I refused to leave my homeland, family and comrades ... I never did that for which a real soldier could be ashamed. I decided to send my wife and four children in reliable refuge, and then wait for the climate to soften, and then surrender to the authorities. " Borghese did it - and stayed alive, like all the soldiers and officers of his division.

I think this coincidence is by no means random. After all, the prince's wife was a Russian emigrant Countess Daria Olsufyeva, and she was certainly "Turbine Days" and saw, and read. So Bulgakovskaya Piece A few years after the death of the playwright, may have helped to escape thousands of people. You imagine how to know how Borghese declares to their fighters: "Duchy just fled to Switzerland in the German Most. Now there is a commander of the German group of Army General Fitingofe. " Separate hot heads offer: "It is necessary to break into Bavaria, to Albert Kesselring under the wing!" And Borghese convinces them: "There you will meet the same Bardak and the same generals!"