Fantastic realism is a term applied to various phenomena in art and literature.

Usually the creation of the term is attributed to Dostoevsky; However, the student of creativity of the writer V. N. Zakharov showed that this is a delusion. The first one who used the expression "Fantastic Realism," was Friedrich Nietzsche (1869, in relation to Shakespeare). In the 1920s, this expression uses Evgeny Vakhtangov in the lectures; Later, it was established in domestic theater as defining the creative method of Vakhtangov.

It seems that "Vakhtangovskoye" is a sharp transition from the Golden century - in a century of silver, from the classical reformity of Stanislavsky - in the audacity of modern, in a restless world of retro, in a special philosophy, where fantasy has more truthfulness than reality itself. The profession of directors became the case of intellectuals, young doctors, accountants, engineers, teachers, civil servants, girls from decent families gathered near Vakhtangov. The theater for the intelligentsia, as his Stanislavsky thought, became the theater of the most intelligentsia, collected by the vahantangov under the banner of his studio. "Vakhtangovskoye" is "illegal" forms into any era, even when the wisdom of formalism was the most terrible word. Being, as well as Stanislavsky, a director-psychologist, Vakhtangov just searched for his good in another - the psychology of the image was revealed to them in theatrical convention, in masks of the eternal life masquerade, in circulation to distant theatrical forms: to the comedy del Arte in the "princess of Turandot", to Mysteries in the "Gadibuk", to the Forsa in the Chekhov "Wedding", to morality in the "Miracle of St. Anthony". "Vakhtangovskoye" is a special artistic concept of "fantastic realism", outside this concept there is no essentially a single performance of Wakhtangov, as there is no better creation of his great spiritual female - Gogol, Dostoevsky, Sukhovo-Kobylin, Bulgakov.

The Wakhtangov Theater is stubbornly, it is difficult to seek his Vakhtang trail, and God forbid him many good luck on this path. We will only remember that the vachtans first in the series of brilliant Russian directories told the theater that he didn't have to refuse anything to declare archaic, it was not necessary to pay a convention, to welcome alone realism. Theater is all at once: both classic text, and free improvisation, and the deepest acting reincarnation, and the ability to see the image from the side. The theater, as Vakhtangov thought, is a fundamental "non-reflection" of a particular historical day, but the reflection of its inner, philosophical essence. Vakhtangov died under the sparky, as if champagne, Waltz from his play, he died under the ovations of the Moscow public of the twenties, which standing welcomed the modern performance in front of the features of eternity.

"Fantastic realism" - Wahtangov began to search, pushing out from the two opposite basics of the Art Theater Stanislavsky (by the way, it should be noted that the theater during the life of Vakhtangov was called the 3rd Studio MHT) and Meyerhold Theater. It can be said that in its performances - and it is possible to say more specifically - in his play "Princess Turandot" on the fairy tale of Carlo Gotszi, the external expression of scenery and costumes are combined (not quite such as Vsevolod demilievich, but still) with a psychological depth peculiar to performing MHT. Carnival entertainment was combined with strong internal experiences.

Wachtangov tried to disconnect the actor and the image that the actor embodied. The actor could go out in ordinary clothes and talking to the topical theme for the country, and then changed the scene on the fantastic outfit and reincarnated in the play character.

Principles of the Wakhtangov Theater.

All techniques gave the feeling that it was on the one side the theater, but on the other there. The principle of organization of action taken from Del Artte theater, for example, the people who occupied the audience between scenes, sought to the full seriousness of the game and did not tolerate hypocrisy. The scene is simultaneously actually and insanely conditionally, i.e. (Newspaper Cup). Was for the real relationship of 2 people of the actors, the permissions of the game itself. Stanislavsky believed that unnecessarily combine the convention and life.
The main X-ki Theater Vakhtangov:
1. Theater theater Theater is a holiday and for the actor and for the viewer.
2. Theater is a game, a game with the subject, the details of the costume, with a partner, insert numbers that created a general atmosphere: (wand, like flute).
3. Improvisation.
4. The speech was perceived as parody.
5. Lighting, also creates an atmosphere
6. Music is also conditional, creates a general atmosphere or transmits emotional state.
The scene took place theatrical bright, holiday game.

His actor Vakhtangov found in the face of Mikhail Chekhov, in which he saw an ally to his ideas. Wahtangov approves the priority of the actor's identity over the manner created. When Wahtangov, I wanted to try to play a role in my performance, and she was playing Chekhov, I realized that it was impossible, since everything he had given to Chekhov.
The last performance of Vakhtangov Princess Turandot K.Hotszi (1922) is still perceived as the most sign. Turandot with all distantness from the revolution sounded as "anthem of the winning revolution." Wahtangov acutely felt the poetics of the game theater, its open convention, improvisation. In this theater, much from the ancient sources of the scene, folk playing, square and bolagated spectacles. The game seems to be charged with the air of Russia of the 1920s. And the paradox is that 1921, hungry and cold, and as if not at all having fun. But in spite of everything, the people of this era are filled with a romantic mood. The principle of "open game" becomes the principle of Turandot. The game of the actor with the viewer, with theatrical way, with the mask becomes the basis of the performance. Performance holiday. And the holiday is on the holiday that everything changes in places. And the Vakhtangov artists play tragedy comedy.
The Vakhtang himself did not consider "Turandot .." by the standard, since each performance is a new form of the expression.

Ticket number 17. Nemirovich-Danchenko on the essence of directorial and acting creativity. No. 19. Grain of play and 2nd plan.

Just in case a little about the creative path.

N.D. 1858-1943.

Born in the Caucasus in the Military Family.

Entered Moscow University. Brought up on the traditions of the Small Theater. It was shocked by the game Yermolova. What comes to become a theater critic.

Was on the tour of the Munich Theater. He began to write plays: "The price of life."

1896 put forward to the Griboedovsky Prize, refused to favor the seagull.

1891 creates a studio

She sees the play of Stanislavsky Othello, it is very impressive. In working with Stanislavsky, N_D expresses its position on the playwork of the play. It considers that the actor is the heart of the theater and everything should go to help him.

It is he who invites Chekhov to theater. "He will find both Gorky.

In 1910, the Karamazov brothers, Julia Caesar puts, Sunday of the Tolstoy 1930.37 Anna Kehkinj with Tarasova, Love Svorovaya, 3 sisters and the king of LIR.

Gives scene.zhizn novels.

The rapidly increasing distance between authentic artistic values \u200b\u200band is actively replicated and - alas! - Widespread mass art in his very vulgar version there is a process, of course, irreversible. "To what is fruitlessly arguing with the century" (Pushkin). Any time is inclined to read itself untreated, lamentation is meaningless and always have a taste of obscurantic conservatism. Important not complaints, but understanding, awareness of the process.

In the space of "irreal", fantastic art, which is devoted to the article, the dominant role fell out, of course, the cinema, as a formaking artistic phenomenon of the XX-XXI centuries, besides, it is the movie most of all capable of combining and high quality.

It is enough to recall and compare the films of German expressionism led by the Immortal Dr. Caligari Cabinet Robert Wine, Bunuel, Greenway paintings, Blow-up Antonioni, Tarkovsky tapes with popular fantasy blockbusters, including entire virtual mega-spaces (from films before comics) "Star Wars". Fantasy, the sacrament of the "second plan" becomes a lot of little and rapidly reduced.

With the artist Nikolai Danilevsky, about the art of which I wrote an article with a year ago, we talked a lot about the phenomenon that was called "fantastic realism." Fine art next to the cinema, by virtue of its much more chamber in the current world of role, remains a certain laboratory, closed, but the active world, where the fantastic start (delivered, fortunately and from the possibilities and the burden of cash special effects) develops in the silence of workshops.

The longer our conversations lasted, all the more became obvious: the current terminology is so confused, troubled and uncertain, its fundamental concepts are used so arbitrarily and even slightly, that without a detailed analysis of the basic meanings, definitions, no discussions are unthinkable.

The result was the proposed text.

Explain seemingly clear - what can be harder. "Fantastic realism" - the helping chain of associations stuffed by the Oskowing of Associations stretches behind this term. Here and Hoffman, and Gogol, and Dostoevsky, even Kafka, Bulgakov, Orwell, philosophical fiction, glamorous quasi-literature fantasy and then - right up to computer games and other peg, not to mention the artists. Bosch, Archimboldo, Francisco Goya, the famous Vienna School of Fantastic Realism, Böhlin, Vrubel, Somov, Odilon Redon, Surrealists - in all these names and trends there are something to fantastic realism. Even the obvious cereals from the visible spurred are not so simple. Especially - few people think that even two of these words, of which it is so familiar definition, is used approximately, and, most importantly, in completely different meanings, sometimes opposite.

Without pretending to establish some general standards, it is necessary to define a conventional, but a certain meaning of these concepts in this context. It should bear in mind the following:

The concept of "realism" in the application of various types of artistic creativity to the analysis of various types of artistic creativity is blurred. Goethe said that exactly the depicted Pug is another Pug, and not a new product of art. Like: Most often, the "realism" is innocently understood as a certain "loose of reality", recognition, understandability and accessibility, which leads to the reduction of the term and makes it synonymous with accessibility in the vulgar sense of the word. Here, realism goes into the space of mass culture and is identified with it.

A somewhat more professional understanding of the term reduces him to a constant approximation to a foggyly understood "truthfulness" and represents the realism of hardly the goal of evolution. In this case, the history of literature and other arts is defined as a continuous movement towards perfection (as it was often approved in Soviet aesthetics), whereby the mediocre artist of the Biedermeyer, the secondary mobile phone or the socialist representing as artists who are superior in some sense of Goyua or Valentina Serov.

Often, the term "realism" was used in relation to the factually ideologized, artistic trends that counteracted (or would like to counteract) with any audacious search, which aims to enrich expressive funds (say, romanticism); Then the Kourbe was preferable to Delacroix, and Korolenko - Dostoevsky.

From here - a completely ridiculous understanding of realism, as a flow that has its own style and chronological framework, which enters into the controversy, and even in battle, with romanticism, impressionism, and even more so with abstraction. Moreover, the logical series is considered (on the example of France of the XIX century) "Romanticism is realism - impressionism." At the same time, it is overlooked that realism is not a period, but the immanent quality of any genuine art and as ridiculous assumption that, say, Hoffman is not a realist, Delacroix - unlikely, but the artists of the Bidermeer and, of course, the Mobile - Realists. How to deal with fid, ruble, Jotto and Dante remained unclear.

Realism has traditionally been understood (and it is understood by this) as an axiological, estimated category, in other words, became synonymous with high quality.

These traditional ideas are completely confused by all ideas about the term "realism".

In this context, realism is considered as a method immanent (constantly inherent) to any real art, since each genuine artist is consciously or unconsciously - seeks to create exactly and on the measure of forces objective like a world, but his own idea about himwhich he perceives as the only true one.

Exactly representation About the world, not the world itself.

For both the Egyptian artist who created the geometrized, rolled on the plane of the likeness of a person, and Ellin - the author is accurate if not a copy, then a strikingly similar, poetic image, and a medieval master, striving to abandon all bodily and striking to "image of the soul" and showing not so much The body, how much the hieroglyph of emotions, and even an abstractionist looking for a straight plastic analogue of the world of subconscious - all of them fixed to the same goal. To the creation of art and (according to its representation) of the truthful analogue his truth And only her.

And opposed in the history of realism (in the proposed understanding) is not impressionism or romanticism, but two other, eternal, as it) trends: formalism and naturalism.

Floodless passionate for the flirtatious and entertaining form, the experiment, as such, as contraindicated with art, as killing copying visible in order to create illusion reality. Realism in a high and serious understanding of the term, both between Scylla and Charibda, is developing in the eternal opposition to these two poorly, but seductive extremes. The extremes that usually like the public. In large-scale manifestations, even in these areas there are always even more simplified options representing the naive viewer of vulgar publicly available options.

Thus, at first it is possible to declare genuine artistic quality Like Sine Qua Non realism. Moreover, that both formalism and naturalism by definition are outside of genuine art.

Do not forget that (since the history of art is inseparable from the history of public taste) of the perception of the visual arts changed far from synchronously with the development of the art itself. At the time, when, according to the story of Plinia, the birds flew to peck the grapes on the picture of Zeevxis, and Zeevxis himself took the cover written by Paarracing for the tissue itself, the assessment of the art was reduced only to the degree of illusion (for many, such a primitive assessment principle remains relevant). "Whiteramor" for descendants, Greek statues were painted in bright colors at one time, but the time required conventions, the sculpture became monochrome and turned through, speaking by Didro in Muse "passionate, but silent and secretive (Silencieuse Et Secrete)." Illusory painting turned into a cute salon genome "Blogs".

The ideas of positivism in the direction of which the everyday Lyubomadria developed, and the situation was developed, made in the middle of the nineteenth century and the theoretical concept of "realism" by synonymous with the approval in the art of an invisible truth. Naturally, at this time the concept truth It was left both from sentimentally-educational, and from the elevated heroic ideas of romanticism (official aesthetic was the notion of "educational realism"). Romance - even as a system of forms - was far from tough and concrete social issues (in this sense, even freedom Delacroix was perceived as a deviation from social truth).

However, a direct image of a fantastic (fabulous, mythological) is in full opposition to "fantastic realism. An example of this - the work of Gustava Dore: completely reliable Dragons, giants, lead, monsters, etc. transferred with naive and greatest reliability. The imagination of a child enchanted a terrible fairy tale, implemented with artistry and scope, but without much taste, and most importantly, without any plastic subtext, everything is applied, there is no imagination.

If a big Western painting has kept the devotion to the ideals of the artistic form, thereby inspiring the "firm of art" and seeing priorities in it, the Russian visual tradition put forward an idea to the fore.

At the turn of the centuries (German "JahrhundertWende" seems to be much more capacious than the usual "line of centuries", or "FIN FIN DE SieCle") art has changed rapidly. However, for most of the readers and spectators, for the liberal Russian intelligentsia, the messianic role of art was still a priority. Changes in the artistic language have not yet occupied universal attention: no matter how innovator in the field of artistic form was not, for example, Dostoevsky, his books were perceived, first of all, as moral phenomena.

In the West and bold social ideas are most often implemented in the new artistic form (Goya, Delacroix, Kurba). In Russia, it is usually in more than traditional. The feat of the animals partly has already been realized as a self-disstaining: the sermon is verbal and in art visual turns into tonazyny rigorism. And if fantastic in the highest achievements of Russian literature (Gogol, Dostoevsky), precisely because of the priority of the word was still perceived as a natural part of the real, then in the visual arts reign otherwise.

Russian writers, in fact, are almost in no way related to the visual arts. The life of the Russian man flows entirely under the sign of the inclined Chela, under the sign of deep thought-up, after which any beauty becomes unnecessary, any shine is false. He rises only to delay him on a human face, but in it he is not looking for harmony or beauty. He seeks to find her own thoughts, his own suffering, his own destiny and the deaf roads for which there were long sleepless nights, leaving these traces. . This special gift of the visa and brought up great writers: without him there would be no Gogol, nor Dostoevsky, nor Tolstoy. But he cannot create great artists. The Russian person lacks an impassism to look at the face from a picturesque point of view, that is, calmly and disinterested as a subject, without taking human participation in it; From contemplation, he imperceptibly moves to compassion, love or willingness to help, that is, from the shaped content to the plot. Not by chance, Russian artists wrote "plots" for a long time. So Rainer Maria Rilke wrote about Russian culture, which he knew and loved.

It was later that this "plot" later became the main object not only protest, but also cruel, sometimes excessive condemnation by young Miriskusnikov.

"Get away from the backwardness of Russian artistic life, get rid of our provincialism and get closer to the cultural west, to purely artistic Camers (italics My, MG) of foreign schools, away from the literature, from the tendentiousness of the mother-in-law, away from the helpless dilettantism of quasinators, away from our subsidiary Akademism "(Alexander Beno'a).

Freedom of fantasy (we are not talking about fabulous plots in the spirit of Vasnetsov or Repein Sadko) Only partly began to peck over Vrubel, but the tragic events of the revolution and the following changes in the social life of Russia stopped the tradition, which can be very conventionally called Russian fantastic realism.

However, to some extent, the search for fantastic synthesized and with the magical value of the abstract form.

So I. Black square Malevich in his silent, Grozny, strangely sullen significantly.

He entered into a white flickering field so that there is an unprecedented feeling of non-air, not empty cosmic, not "abstract", in the decorative sense of the word, space, but space in general - a kind of thick "spatial substance". Space devoid of starts and ends, length and scale, in relation to which the black rectangle is perceived as a kind of "zero-space", "anti-space", "black hole", "superheavy star" - from those categories of the highest sample of the poetic scientific Fiction, which will appear after half a century. None of his corners are equal to 90 degrees, it remains in eternal formation, as alive. The square and the background seems to float in the same plane, in visually felt weightlessness (Malevich invented the term "plastic landslide", guessing the possibilities of anti-gravity), without speaking forward and not retreating deep into, creating a powerful feeling of an extractable idea of \u200b\u200bthe primary elements, about a kind of foundations " The periodic table "forms, or using the expression of Khlebnikov, about the" construction of the alphabet of concepts. " Fiction, however, fiction? The epigraph is an answer to this question. "I have existed in your imagination, and your imagination is part of nature, it means that I have existed in nature."

It costs carefully and carefully consider the phenomena, which are often perceived by the audience precisely similar to the viewers and, it became possible to seem like naturalistic.

Easy to take naturalism and works created in the course of the flow, called hyperealism - from French HyperRealisme (Other names: "Photorealism", "Supervalism", "Cold Realism", "sharp-phocus realism"). This is a wide movement in Western, above all, the American art, who has declared itself from the mid-1960s and the abstractionism actively opposition. The world, seen and objectified as if through impassive photo optics (often and with its help), scrupulously reproduced in an artistic work, so photoinformation is reincarnated into information pictorial. Hyperealistic patterns and sculptures argue impersonal accuracy, offering the viewer a unique manual image based on a mechanical reproductive basis, approve the celebration of a visible reality over artistic will, creative subjectivity. The similarity with reality becomes together and aggressive, and poetic - the artist hyperealist offers the viewer an image that does not require creativity - even more detailed than the material world itself. This is concluded by commonness, a peculiar aesthetics of the world consumption is created, the human habitat is reproduced, where the person himself with his emotions and thoughts is practically absent.

But - oddly enough - and in this, supervolve, the supermasterial principle of reproduction of the objective world lightening deeply hidful fiction, deaf anxiety.

Photorealism with his (according to the expression of one of the critics) "Blassy gloss" of items to some extent associated with the American consciousness - with the masters of the period of "romantic subjects" in the United States, for example, with the famous Edward Hopper.

Picture Early Sunday morning (1930, the Museum of American Art of the Whitney, New York) Hopper pays a strange attractive force, a piercing feeling of American flexibility, American urbanism, very far from crowded images of skyscrapers or the Brooklyn bridge. The effect of the cinematic foot frame (the composition of many artist's paintings, might goes back to the aesthetics of cinema at Hopper lasts as much as the audience wants, and the artist knows how to confirm the viewer. The beginning of the day is perceived by the beginning of life, children's wary of the joy, the effect of Jamais Vu (T . e. The effect of the achnance, new discovery of a familiar place), when the usual rival habitat seems to be mysterious and unknown. Hopper, reaches this feeling, remaining in the space of hyperealistic protocol accuracy. Probably precisely because in persistently reliable, front, "still lifestyle" An ordinary image of a brick house of a brick house, in which, behind closed windows for tired and boring tenants is still the night, the breath of the early bright solar freshness, which the viewer spied Together with the artist. Instant state of light and air in a stale and boring Mirka, flashed as the presence, as the possibility of a different look, probably in this secret.

The effects of this kind are implemented and the anthropomorphism of precisely painted, but still live architecture, the ability to convey loneliness at home in an empty field ( Railway house, 1925, Moma, New York). It is curious that this picture has become a source of scenery for the famous film Psychosis (1960). It became an unexpected - let the hyperection - the image of something seen as if for the first time, too, the move in the formation of fantastic realism.

By the way, returning to Hichkhoka in particular and to the cinema in general, it is possible to add that the glare and poeticization of the larger details in cinema may well become (and becomes!) Poetic and quite metaphorical (it became, with a shade of "fantasticity") part of the artistic whole . The accented material detail of the same Hichkhok (very far from the high "Arthaus") to the famous still lifes, Lukino Wisconti, Greenway, Tarkovsky, precisely with its objectivity, presentation, motionlessness, becomes both an effective counterpart, and, at the same time, a dynamic accompaniment of live actors and a dynamic chamber, accompaniment, sometimes more eloquent than the plot itself and the game of artists ..

A similar secret force in the "almost film or photographic" image of an ordinary scene possess the works of another American classics Andrew White, starting with his recognized masterpiece World of Christina (1948, Moma, New York). Even the viewer is unfamiliar with the plot (an almost paralyzed woman is depicted), a certain tragic catharsis is guessing in the painting. Here it is fashionable to remember the term Franz Roha "Magic Realism".

Simple, even the ordinary perception of unthinkable, as well as the paradoxical perception of ordinary - one of the foundations of this kind of vision. Here is the phrase from the Hoffmanovskaya story Golden pot: "He turned and came out, and then everyone understood that an important little man was, actually, a gray parrot (Eigenlich Ein Grauer Papaii War)." No one was afraid, everyone just laughed - a domestic misunderstanding in the world of the Hoffmaniada.

In the structure of fantastic realism, a frequent and important component - as if the presence of two registers of perception: an ordinary ("important little man") and an incredible (it is not known why it is already a parrot), synthesized in unity of undelivered secrets - intellectual or emotional. At the same time, in contrast to a fairy tale or legend, fantastic realism persistently seeks to grounding the irrational and approval of the dialectic unity of imagined and material. In the story of the same Hoffman Spirit The lord of the otherworldly forces appears in the image of an army major and causes a ghost, reading the text from French grammar: "It should be indifferent, what means I will use<...> To show a touch of my connection with the world of perfume. " Occupacy, vulgarity of the situation emphasizes the scale of otherworldly horror.

The cult of underworld (this is very important) the other alarm reigned in the so-called metaphysical painting ("Scuola Metafisica"). Longing on infinity I called my picture of 1911, the Italian artist George de Kiriko.

"What I listen, nothing costs, there is only what I see with open eyes, but even better - closed," Jorgio de Kiriko wrote. Direct connection with the title (yes and the meanings) of the last film Kubrick Eyes Wide Shut…

For Kiriko, the most valuable qualities of the picture was touching with a dream or a children's dream. A strange compound of mystical ideas, anxiety, aspiration to values \u200b\u200bprimarily internal life, constant associations with antiquity (in Roman, "Caesarian" its feeling), but dead, stationary - such a world becomes a habitat of his characters.

His picturesque dreams are amazingly reliable. Kirico to a certain extent does the same as Kandinsky, and Clee, but lumbering their unconscious in the subject form.

However, items do not turn inside out the vague spheres of spiritual secrets, do not suppress the viewer with disgusting materialized details of hidden or depressed representations, which will be characteristic of surrealists, for many works of Ernst and especially given with its "felonized" and detailed nightmares.

In a discovered empty world of paintings de Kiriko, they reign not passion, pain, life or death, but only their remote, sinking "visual echo." Landscapes after spiritual battles, fossil scars, tragedies who wrapped with marble monuments themselves. Sometimes in a painful dream, like a man in dangerous, inevitable space sees from the side. In a dream, he often feels like a small, shifted proportions and spaces in a huge world. In the paintings, de Kiriko constantly owes this effect of a painful unrecognizing - "Jamais Vu" (familiar, seemingly seen for the first time) - quality, as not yet already noted, immanent to any understanding of fantastic realism.

Pictures of Kirico - and in fact, the sleep space, where there are no distances where items are removed or close only thanks to some promising hints, somewhere that it seems more substantial, from the far suddenly turns into close as in the movies using a modern zone. The slow kaleidoscope of visions from which it is impossible to awaken, dominate the objects and people. The binding of the artist on canvas, the subjects remain in non-intersecting spatial worlds. They are from different dreams.

The life-shifted non-existent (if it does not remain within the framework of the fairy tale, myth, and does not claim to materialize the refinery images of the subconscious) in the simplified version, it turns into a large-scale falsification.

So big temptation for the artist practitioner - to link the meaning of "fantastic realism" with straightforwards to the world of subconscious fantasy surrealism. That art should immerse their roots "to the depths of the unconscious", the Tzara also argued - one of the talented theorists of Dadaism and Surrealism. Unfortunately, the superficial "salon" understood "unconscious" turned out to be extremely popular: the French are right, arguing that "learned half-instruit double sot)". Self-confident insistent leads to aggressive ignorance.

Unfortunately, the averaged consciousness captives in the first head of the speculative and darling (although very spectacular) creativity was given, perceived as a certain absolute, no longer pronounced criticism, artistic analysis, as a phenomenon that came out beyond the context of art itself. The most understandable and entertaining of surrealists, lowered the images of the subconscious to the level of modern computer cinema energy, he was doomed to success and became the first large-scale representative of the modernist kic, the mass version of intellectual in its essence of the artistic flow.

Unlike many of his famous contemporaries, Dali was and remained not only a bad painter, but also a mediocre drawrower. The lethargy of the picture and the simplified palette made the same approximity in his paintings, the lack of professional magic, which is usually characteristic of art demagogues, lowering art to the level of "culture of consumption." This is confirmed by a massive cult given, existing by this time among and distant from true interest in the art of circles. The work was given to a simple leather in the oldest world of surrealism, and modernism thanks to which even inertially and lazily thinking spectator feels the celebration of his own intelligence. The artist sought to concern all the religion, politicians, sex, finding all the straightforward and together spicy answers, masterfully invented and filled with rare plastic monotums. The petty naturalness is unthinkable deprives the images given (for the rare and serious exception) of true tragedy.

And if Ernst, Mason, Georgia O'Keff, Miro and many others really created their imaginary worlds, really based on the images of the unconscious or convincingly modified, i.e. in other words, portrayed artistic picture of spiritual secrets, Dali claimed on a kind of naturalistic protocol of frankly simulated visions, creating falsified, but those who want to seem genuine quasi-documentary images.

Much more important for the modern realization of the ministry of fantastic realism Rene Magritt. The artist did not seek to caress the eye of the viewer (what was given to claimed very persistently, seeking how repelling his characters would not be, to tritely understood, but still attractiveness, to the effect of "soussicity", surrealistic Trompe-L "Oeil). Magrit was limited simply by visual information about what produced his inventive imagination. And these partly reconditioned, although the image executed with the protocol skill is indeed shipped with roots "to the depths of the unconscious" (Tzara).

In the texture, color, linear buildings of Magrit decidedly, there is no desire to please the taste of the average man, his scary It is devoid of sweet attractiveness, it is not based on naturalistic details. But most of all, on a removed and always meaningful, meaningful comparison of objects and phenomena, sometimes inscriptions.

Believing that painting is only a means of communication of ideas, it practically ceases to be interested in the "art substance". Magrit possessed a special gift: in its comparisons of ordinary things, the elevated horror arose, which is characteristic of visions, delirium, severe sleep. The everyday life of things in the alarming touch of Magrit is inspiring a challenged and terrible alarm.

The metaphor of uncapped fear, not images of the subconscious, and those pictures that the unconscious sends us are not yet deciphered - this is the area where Magrit does not know equal.

One of the secrets of Magritis - in the ability to frightening simplicity, without encryption and plastic hints - to put the viewer in front of a clearly fixed "frame", as if the subconscious of the visible substantive world. So, watercolor In praise dialectic (Eloge de la Dialectique) (1936, the private collection) becomes an emotional and frightening metaphor of the famous Gegelian judgment that the inner, deprived of external, cannot be internal: it depicts a house visible through the house window, inside it, and not outside - the typological situation of the nightmare, Subject and impassively stable.

Magritic anticipated a lot by creating a kind of guide to the labyrinths of postmodern art. His inscriptions in the paintings, saying, say that the handset is not a handset (as it is only its image or simply because the audience is carried out an intellectual-absurdist game), - direct path to conceptual structures. Combining fragments of classic paintings with its own painting, facing the body, cold and rational eroticism, undoubted cinematicity, proximity to science fiction the highest sample. And, of course, a suspended side view of himself and its work, a multiple cold reflection, where the "frames" of the lubricarglock are reflected in ordinary and unusual mirrors so many times that they again begin to seem reality. And when Magritis wrote his picture Attempting impossible (La Tentative de L'Impossible) (1928, private collection), portraying the writing model of the artist, created an unprecedented and together accurate equivalent of a subconscious creative act: under the artist's brush arose in the room of the room, and not on the canvas the real living body, and everything around it remained, probably only painted plane.

Of particular importance in our context, one of the most amazing paintings of Magritt The key to the fields (1936, Collection of Tissren-Barnemis), where fallen fragments of broken window glass retain the visible through them recently landscape, a picture that enlisters many meanings and, of course, opening new perspectives not yet filmed movies and even computer effects.

We add that a lot of terminological and essential confusion arises in cases where the artist or some union of artists in the process of hasty self-identification themselves find a name. This happened to Vienna School of Fantastic Realism (WIENER SCHULE DES PHANTASTISCHEN REALISMUS), at the turn of the XIX-XX centuries. Consisting of artists, mainly oriented on surreal roots. Interesting Masters - Albert Paris Guteherslo (Albert Konrad Kitreiber), Ernst Fuchs, Arik Brower, Anton Lemden, Rudolf Hauser, Wolfgang Hutter, etc., they more or less experienced the influence of Max Ernst, and, of course, most of all Restrained were on external hypertrophied frightening effects, connected using decorative effects, partly echoing with the stylistry of the cossion. The flow was distinguished by frank eclecticism, although in painting Guteterslo (Group Theority) there is undoubted temperament and picturesque dramatic energy, anticipating the opening of German expressionism. One way or another, the declared name belongs only to history, but very far from the genuine problems of "fantastic realism."

Naturally, Soviet aesthetics practically eliminated the fantastic beginning of the context of realistic art, as naturally, and the fact that from the late 1980s it began to return from the territory of the underground at the exhibition sites and gained a well-known success (especially in the world of gallery art).

The city itself contributes a lot of things. St. Petersburg is one of the youngest famous cities in the world who has managed to both the imperial capital, and the regional center, a city that changed the faces and lichni, the city is three times (or, more precisely, four times!) Changed the name, probably and fate. "If Petersburg is not the capital, then there is no St. Petersburg. It only seems that it exists "(Andrey White).

Looking for a raging and real - Pushkinsky "Proud Istukan" Pushkinsky Pushkinsky. And the same Pushkin rows, who begin with the words "love", hardly disproved by the "heavy-volonal" jumping of the idol, pursuing the unfortunate madman. And this is also Pushkin (1828):

The city is lush, the city is poor,
Spirit of captivity, slim species,
Heaven Vault Green-Pale,
Boredom, cold and granite.

Not so much gloomy judgments have been expressed about any city, although he remains "hares and the divine" of "full countries".

"All deception, everything is a dream, everything is not what it seems!". "The most deliberate city over the world" (Dostoevsky); "And the city is my iron-gray" (block). Even Chekhov is not at all a St. Petersburg writer - so saw in the inhabitants of St. Petersburg "the special breed of people who are specially engaged in having every phenomenon of life; They can not even pass by hungry or suicide without saying vulgarity "(the story of an unknown person).

The city itself is a solid quotation, sometimes it seems that he aroused the will no Peter, but the movements of goose more feathers, would he have been without nightmares of Hermann or Galydek, without a flour of Raskolnikov, without a damage! And without sublime and merciless dreams of doomed Decembrists, without political killings, without the "three revolutions", which we taught us so proud. All deception, everything is a dream?

In the Ice Petersburg stage, the winds of European culture were painfully illuminated by passions, seen through the "magic crystal" of the city and those who wrote about him.

And the "filmphere" softly poetned and decorated the city: he was spread by the fields of the rugged asphalt under the wheels of Emki-Tysti Petitov's chaood - the future of the great singer (Sergey Lemeshev) and the Zisa of the Great and Stupid Tarakanova (Erast Garin) in musical history, surrounding funny Americanized Utopia Light cast iron lanterns and Patrician facades of St. Petersburg palaces; The city became the scenery of romantic fantasies of revolutionary fairy tales, his plants arranged by the skill of excellent film operators, turned into the scenery of famous films about Maksima, "the legends were going on in the world of prose," said Verkoren, and Leningrad wrapped in a magical legend about himself. What is the "doubtful fantastic light, like us, in St. Petersburg" (Dostoevsky).

But, unfortunately, it is the salon, an entertaining version of "fantastic realism" attracts the public, seeking to join the elementary, calling, which is only pretending to be deep and complex.

As Nikolai Danilevsky said, my thoughtful interlocutor is something like-minded, and then the opponent: "The distinctive feature of St. Petersburg fantastic realism, from similar directions in the absence of catharsis. This is a "fairy tale with a unhappy end". Here I completely agree with him. Moreover, it is he who consistently tries to find in his artistic practice if not a happy end, then genuine artistic quality, without which any experiment is doomed. Refusing to traditional figurativeness, the artist is looking for and finds a purely plastic equivalent to his vision, where fantasy becomes the most truth.

There is probably other ways. In the meantime, we made the first steps to understand the root system of "fantastic realism". Soothes - in the process of implementation. Many artists simply call themselves "fantastic realists." Each has the right, everyone proves it in its own way.

It must be assumed that fantastic realism is a concept primarily involving the desire for a meaningful, stylisticly unified formal system (similarity with nature, the traditional object may not be), but Sine Qua Non is the integrity, the suggestion and individuality of the artistic substance Implementing the presentation of the artist on phenomena outside sensual experience.

The only way to stand in the world with whom you have to deal - know more about it.

Footnotes

* Nikolai Sergeevich Danilevsky is the founder of the Petersburg School of Fantastic Realism.
1 RILKE R. M .. Moderne Russische Kunst-Bestrebungen. SAMTLICHE WERKE IN ZWOLF BANDEN. Frankfurt a. M., 1976, BD 10. S. 613-614
2 Benoita A. The emergence of the "World Peace", L., 1928, p. 21.
3 cyt. By: 100 Oeuvres Nouvelles 1974-1976. Musee National D'Art Moderne. P., 1977. P. 24

Mikhail Yuryevich Herman - Soviet and Russian writer, art historian, doctor of art historian, professor, member of the International Association of Art Critics (AICA) and the International Council of Museums (ICOM), a member of the International Pen-Club and the Union of Russian Writers, Member of the Union of Journalists of St. Petersburg and the International Federation of Journalists (IFJ). Leading Researcher of the State Russian Museum

Special thanks for the materials provided Nikolay Danilevsky

Herman M. Yu. Fantastic realism: myth, reality, this day (answers to unkind questions). - St. Petersburg, Pushkin Museum: Almanac. Vol. 8, All-Russian Museum of A.S. Pushkin, 2017. - 432 s., With IL. - ISBN 978-5-4380-0022-8.)

; Later, it was established in domestic theater as defining the creative method of Vakhtangov.

Fantastic realism in painting - adheres to an artistic tendency, a related magical realism, which includes more surreal, supernatural motives. Close to surrealism, but unlike the latter the principles of the traditional machine image "in the spirit of old masters" adheres to the latter; Rather, it can be considered a late version of symbolism. Since 1948, there is a "Viennese School of Fantastic Realism" in painting, which carried a pronounced mystico-religious character, turning to the timeless and eternal topics, studies of the hidden corners of the human soul and focused on the traditions of German Renaissance (representatives: Ernst Fuchs, Rudolf Huusner).

The basis of the "Vienna School of Fantastic Realism"

Together with Arikom Brower, Wolfgang Hutter, Rudolph Huusner and Anton Lemden, Ernst Fuchs baskets school, or even rather creates a new style "Fantastic Realism". Its violent development falls at the beginning of the 60s of the 20th century. Five of her brightest representatives of Fuchs, Brower, Lemden, Huusner and Hutter became the main group of the whole future movement, Clarwein, Esher, Jofra, who brought from their national schools every manner and the work technique appeared. Pate, Helnwein, Hekelman and Val, Odd Nerdrum also constituted part of the overall movement. In Switzerland, Higer worked.

Modern Russian literature

Nowadays, actively promotes the concept of "fantastic realism" Vyach. Sun. Ivanov.

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Literature

Excerpt characterizing fantastic realism

"No, I'll go, I'll certainly go," Natasha said decisively. "Danila, hedgered to us, and Mikhaila so that he went with my sopholy," she turned to his skill.
And so then in the room Danile seemed indecent and hard, but to have some business with the lady - it seemed impossible for him. He lowered his eyes and hurried to go out, as if it did not touch him before, trying to do not accidentally damage the lady.

The old graph, always holding a huge hunt, now she passed the whole hunting of his son, on this day, on September 15, having fluttered, gathered himself too.
An hour later, the whole hunt was at the porch. Nikolai with a strict and serious view, showing that no time to engage in trifles, passed by Natasha and Petit, who were told to him. He inspected all parts of the hunt, sent forward the flock and hunters in the race, sat down on his red dona and, hurrying his dogs, drove through the hund in the field leading to the Otradno order. The horse of the old graph, the playful merenka, called the vifela, led by the graphic sterepiece; He himself had to directly leave the yeast on the left LAZ left him.
All the hounds were derived 54 dogs, under which, donzzha and skaters, 6 people left. In addition to the gentlemen, there were 8 people, followed by more than 40 greyhounds, so with the Lord's arms, there were about 130-dogs and 20 tie hunters in the field.
Each dog knew the owner and nickname. Each hunter knew his work, place and destination. As soon as they came out for the fence, everyone without noise and conversations evenly and calmly stretched along the road and the field that were leading to the Otradnensky Forest.
As the horse's field went through the field of the horse, occasionally spanking on the puddles, when they passed through the road. The misty sky continued imperceptibly and evenly descend to the ground; The air was quiet, warm, silently. The occasionally heard that the hunter's hunting, then the snoring of the horse, the punch of the arapist or the dog's swelling, who did not go in his place.
Having left the vest, five more riders with dogs seemed to meet the Rostov hunt from the fog. Ahead went fresh, a beautiful old man with big gray mustache.
"Hello, Uncle," Nicholas said, when the old man drove up to him.
- Clean business march! ... So I knew, "Uncle spoke (it was a distant relative, a poor neighbor of growth)," he knew that they would not suffer, and it's good that you were going. Clear Marsh! (It was the favorite saying uncle.) - Take the order now, and then my gyrchik reports that Ilagins with hunting in the rootes are worth; You have you - a clean thing march! - Under the nose, the brood will take.
- There and I go. What, dump the flocks? - asked Nikolai, - dump ...
The hounds were connected in one flock, and the uncle with Nikolai went nearby. Natasha, wrapped with scarves, from under which a face lively with brilliant eyes was visible, prompted to them, accompanied by the Pete and Mikhail Hunter who were not lasting from her, who was pressed with her. Petya, she laughed and beat, and pulled his horse. Natasha deftly and confidently sat on his raven Arabchik and the right hand, without effort, besieged him.
Uncle looked at Petya and Natasha. He did not like to join a balobiness with a serious hunting.
- Hello, uncle, and we are going! - shouted Petya.
- Hello, hello, do not give dogs, - Uncle said strictly.
- Nikoleka, what a lovely dog, drowk! He recognized me, "Natasha said about his favorite riding dog.
"Drunila, firstly, not a dog, and lugout," I thought Nikolai and looked strictly to my sister, trying to make it feel that the distance that was supposed to share them at this moment. Natasha understood it.
"You, Uncle, don't think that we prevent somebody," Natasha said. We will become in your place and do not move.
"And a good deal, a graphic," said Uncle. - Only from the horse do not fall, - he added: - And then - a clean thing march! - nothing to stay on something.
Otradnensky order island seen in the stake in a hundred and dazhing approached him. Rostov, deciding finally with the uncle, where to throw down the hounds and pointing to Natasha place where she stands and where it could not run away, headed over to the ravine.
- Well, nephews, you become on the mother, "said Uncle: Chur does not stroke (go).
- How will have, Rostov answered. - Karai, Fuit! He shouted, responding with this appeal to the words of Uncle. Karai was an old and ugly, bordian dog, known by the fact that he was alone biral a wolf. All steel in places.
The old graph, knowing the hunting of the Son, hurried, and did not have time to drive up to the place, like Ilya Andreich, cheerful, ruddy, with shaking cheeks, on his merry, rolled down the green to the lazes left him and, racing the fur coat and putting the hunting Shells, got to her smooth, sweat, Smirny and Good, Dressed as he, Voflyan. Horses with shivers sent. Count Ilya Andreich, although not a hunter in the soul, but who knew firmly hunting laws, drove into the edge of the bushes, from which he stood, disassembled the reins, recovered on the saddle and, feeling ready, looked back smiling.
His vintage, but a ridiculous ride, Semyon Chekmar stood beside him. Chekmarier kept three dick on the joint, but also the heated, like the owner and horse, - wolfhounds. Two dogs, smart, old, smalleled without svop. The steps on a hundred way in the edge stood another steady graph, Mitka, desperate ride and a passionate hunter. The graph on an old habit came out before the hunt of the silver charm of hunting casserole, bored and washed off his beloved Bordeaux.
Ilya Andreich was a little red from wine and driving; His eyes, filled with moisture, especially glittered, and he, wrapped in a fur coat, sitting on the saddle, had a kind of a child who was going to walk. Lucky, with drawn cheeks, settled with his own business, looked at the Barin, with whom he lived 30 years old soul in the soul, and, understanding his pleasant arrangement of the Spirit, waited for a pleasant conversation. Another third face went carefully (it can be seen, it was already scientuated) because of the forest and stopped behind the graph. The face was an old man in a gray beard, in a female hood and a high cap. It was the jester Nastasya Ivanovna.
- Well, Nastasya Ivanovna, - winking to him, said the Graph, - you only outflow the beast, you will task.
"I myself ... with a mustache," said Nastasya Ivanovna.
- Schshshsh! - stuck the count and turned to Semen.
- I saw Natalia Ilyinichna? He asked the seeds. - Where's she?
"They have got up with a roaster from the heads from the heat," the Semyon answered smiling. - Also ladies, and the hunt has bigger.
- And you are surprised, Semyon, how she goes ... and? - said the count, at least a man at the time!
- How not to divide? Boldly, deftly.
- Is Nikolache where? Over lidovsky riding? - The column asked the chopot.
- So accurately with. They know where to become. So subtly ride know that we are taking Divo with Danila, "said Semen, knowing what to please Barina.
- Well goes, and? And on the horse, what about what?
- Picture to write! How to make me from Zavarzinsky Biananov pound fox. They began to jump, from the hassiness, passion - a horse a thousand rubles, and there is no price sedoka. Yes, such a well done to search!
"Search ..." repeated the count, apparently sorry that the seed speech soon was over. - Search? - he said, turning the floors of the fur coat and getting a tobacco.
"Judge, like a dead in all regalia, I got out, so Mikhail then Sidory ..." Semyon did not agree, hearing a clearly distributed gon-in-air gon with the upset of no more than two or three hounds. He, tilting his head, listened and silently looked around Barina. - I flick on the brood ... - he whispered, right on the Lyadovskaya.

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What does "fantastic realism" mean

Encyclopedic Dictionary, 1998

fantastic realism

artistic tendencies related to magical realism, including more surreal, supernatural motives. Close to surrealism, but unlike the latter the principles of the traditional machine image "in the spirit of old masters" adheres to the latter; Rather, it can be considered a late version of symbolism. Among the characteristic examples is the work of V. Tubka or the masters of the "Vienna School of Fantastic Realism" (R. Hausener, E. Fuchs, etc.).

Wikipedia

Fantastic realism

Fantastic realism - The term applied to various phenomena in art and literature.

Usually the creation of the term is attributed to Dostoevsky; However, a researcher of the writer V. N. Zakharov showed that this is a delusion. Probably the first who used the expression "Fantastic Realism," was Friedrich Nietzsche (1869, in relation to Shakespeare) .nachgelassene Fragmente 1869-1874 Herbst 1869:

Die Griechische Tragödie IST Von Maßvollster Phantasie: Nicht Aus Mangel An Derselben, Wie Die Komödie Beweist, Sondern Aus Einem Bewußten Princip. GEGENSATZ DAZU DIE English TRAGÖDIE MIT IHREM PHANTASTISCHEN REALISMUS, VIEL JUGENDLICHER, SINNLICH UNGESTÜMER, DIONYSISCHER, TRAUMTRUNKENER.

In the 1920s, this expression uses Evgeny Vakhtangov in the lectures; Later, it was established in domestic theater as defining the creative method of Vakhtangov.

Fantastic realism in painting - adheres to an artistic tendency, a related magical realism, which includes more surreal, supernatural motives. Close to surrealism, but unlike the latter the principles of the traditional machine image "in the spirit of old masters" adheres to the latter; Rather, it can be considered a late version of symbolism. Since 1948, there is a "Viennese School of Fantastic Realism" in painting, which carried a pronounced mystico-religious character, turning to the timeless and eternal topics, studies of the hidden corners of the human soul and focused on the traditions of German Renaissance (representatives: Ernst Fuchs, Rudolf Huusner).

Vital truth and the truth of the theater.Aesthetic principles of E. Vakhtangov, his director's manner has undergone a significant evolution for 10 years of its active creative activity. From the maximum psychological naturalism of the first productions, he came to the romantic symbolism of Rosmertsholm. And further - to overcoming the "intimate-psychological theater", to the expressionism "Erica XIV", to the "Puppet Grotesque" of the second edition of the "Miraclery of St. Anthony" and to the open theatricality of the "Princess of Turandot", called one of the critics "critical impressionism". The most surprising in the evolution of Wakhtangov, according to P. Markov, this is the organicity of such aesthetic transitions and the fact that "all the achievements of the" left "theater accumulated by this time and often rejected by the viewer, the viewer willingly and enthusiastically accepted Vakhtangov."

Wahtagov often changed some of his ideas and hobbies, but always purposefully went to the highest theatrical synthesis. Even in the limit nude princess of Turandot, he remained faithful to the truth he received from the hands of K.S. Stanislavsky.

Three outstanding Russian theater figures had a decisive influence on him: Stanislavsky, Nemirovich-Danchenko and Sulezhitsky. And they all understood the theater as a place of public education, as a way of knowledge and approval of absolute vitality.

Wahtangov more than once recognized that the consciousness of the fact that the actor should become cleaner, better, as a person, if he wants to create freely and inspired, he inherited from L.A. Solerzhitsky.

The determining professional impact on Vakhtangov provided, of course, Konstantin Sergeevich Stanislavsky. The work of the Vakhtangov's life was the teaching of the system and the formation of a number of young talented teams on its creative basis. He perceived the system as the truth as faith, which is designed to serve. Having absorbed from Stanislav's foundation of his system, inner acting equipment, Nemirovich-Danchenko, Nemirovich-Danchenko learned to feel the sharpness of the characteristics, the clarity and completion of the aggravated Misaneszen, he studied the free approach to dramatic material, realized that in the formulation of each play, it was necessary to look for such approaches that most The essence of this work (and not asked by any common theatrical theories from the outside).

The main law and MHT and the Wakhtangov Theater invariably was the law of internal justification, the creation of organic life on stage, awakening in the actors of the living truth of human feeling.

In the first period of its work in MHT, Wakhtangov acted as an actor and teacher. On the MHT stage, he played, mainly episodic roles - a guitarist in the "live corpse", a beggar in "Tsar Fyodor John", officer in the "grief from the mind", gourmet in the "Stavrogin", court in "Gamlet", sugar in " Blue bird. More significant stage images were created by him in the first studio - Teklton in the "Corporation on the furnace", Fraser in the "Flood", Dentier in the "death of hope". Critics unanimously noted the utmost savings, modest expressiveness and laconism of these acting works, in which the actor was looking for funds for theatrical expressiveness, tried to create not a household character, but some generalized theatrical type.

At the same time, Vakhtangov tried himself in director. His first director's work in the first studio of the MHT was the "holiday of the world" Hauptman (premiere on November 15, 1913).

On March 26, 1914, another director's premiere of Vakhtangov - "Manor Panins" B. Zaitseva took place in a student drama studio (future mansurovskaya).

Both performances were made during the maximum hobby of the vahantang so-called truth life on the stage. The acuteness of psychological naturalism in these performances was brought to the limit. In the record books that the director led at that time, there are many reasoning about the tasks of the final exile from the theater - theater, from the play of the actor, about the oblivion of the scenic makeup and the costume. Fearing common craft stamps, Vakhtangov almost completely denied any external skill and believed that external techniques (called "adaptations") should arise from the actor by themselves, as a result of the correctness of his inner life on the stage, from the very truth of his feelings.

Being a zealous student of Stanislavsky, Vakhtangov urged to seek the highest naturalness and naturalness of the senses of actors during the scenic presentation. However, putting the most consistent performance of "spiritual naturalism", in which the principle of "peeping into the closer" was brought to a logical end, the vakhtangah soon became more and more likely to talk about the need to search for new theater forms, that the household theater should die that the play is only The preposition for the presentation, which is necessary once and for all to be removed from the viewer the opportunity to spy, end the gap between the internal and foreign technique of the actor, to detect "new forms of expression of the truth of life in the truth of the theater."

Such views of Vakhtangov, gradually tested by him in a variety of theatrical practice, several contradicted the convictions and aspirations of his great teachers. However, his criticism of the MHT did not mean a complete abandon from the creative foundations of the art theater. Wahtangov, did not change the circle of vital material used by Stanislavsky. The position has changed, attitude to this material. Uvhtangov, as in Stanislavsky, there was no "anything flimsy, nothing that would not have been justified, which could not be explained," said Michael Chekhov's highly appared both directorists.

The household truth of the Vakhtangov took on the level of the mystery, believing that the so-called life truth on the scene should be supplied to theatrically, with the maximum degree of impact. It is impossible until the actor will not understand the nature of theatricality, will not master its external equipment, rhythm, plastic.

Wahtangov began his own path to theatricality, going from fashion for theatricality, not from the influences of Meyerhold, Tairov or Commissioner, but from his own understanding of the entity of the truth of the theater. His way to genuine theatricalness of Vakhtangov led through the stylization of "Eric XIV" to the limit of the game forms of Turandot. This process of development of aesthetics Vakhtangov Famous Teatranmad Pavel Markov metkaly called the "pointing of admission" process.

Already the second stage of Vakhtangov in the first Studio of the MHT "Flood" (the premiere of December 14, 1915) was significantly different from the "World Holiday". No hysterical, no extremely naked feelings. As noted the criticism: "New in the" Flood "what the speaker feels theatricality all the time."

The third performance of Vakhtangov in the studio - Rosmersholm, Ibsen (premiere on April 26, 1918), was also noted by the features of the compromise between the true life and the conditional truth of the theater. His goal of the director in this formulation was not the former expulsion from the actor theater, but, on the contrary, declared the search for the extreme self-expression of the actor's personality on the scene. The director did not strive to life illusion, but tried to convey on the stage the course of the thoughts of the characters of Ibsen, to embody "clean" thought on stage. In Rosmertsholm, for the first time with the help of symbolic media, the gap between the actor and the character played by them, typical of Vakhtangov's creativity, was clearly designated. The director no longer demanded from the actor of the ability to become a "member of the Scholz family" (as in the "celebration of the world"). The actor was enough to believe, to be seduced by the thought of visiting in the existence of his hero, to understand the logical of the steps described by the author. And remain at the same time.

Starting with "Erica XIV" A. Strindberg (premiere on January 29, 1921), the director's manner of Vakhtangov became more and more defined, his inclination towards the "pointing of admission", to the compound of an intact-deep psychologist with puppet expressiveness, grotesque with lyrics. The construction of Vakhtangov was increasingly based on the conflict, on opposing two heterogeneous principles, two worlds - the world of good and the world evil. In "Eric Xiy", all the previous hobbies of Vakhtangov's truth feelings were connected with a new search for generalizing theatricality, able to scenitically express with the maximum full of the "art of experience". First of all, it was the principle of the stage conflict, to the scene of two reality, two "truth": the truth of the household, vital - and the truth is generalized, abstract, symbolic. The actor on stage began not only to "worry", but also act theatrically, conditionally. In the "Eric XIV" changed significantly, in comparison with the "holiday of the world", the relationship between actor and the way they played. External detail, makeup element, gait (dragging the steps of Queen-Burman) sometimes determined the entity (grain) role. For the first time, Vakhtangov appeared in such a certainty the principle of statuarity, the fixedness of the characters. Wachtangov introduced the concept of points, so important for the emerging system of "fantastic realism".

The principle of conflict, the opposition of two heterogeneous worlds, the two "truth" was then used by the Vakhtangov and in the productions of the "Miracle of St. Anthony" (second edition) and "Weddings" (second edition) in the third Studio.

Calculation, possession of himself, the strictest and most demanding stage signed self-control - these are the new qualities that Vakhtangov offered the actors to educate in themselves, working on the second edition of the "Miracle of St. Anthony". The principle of theatrical sculpture at the same time did not interfere with the actor's stay organic. According to the student Vakhtangov A.I. Remizova, the fact that the actors unexpectedly "frozen" in the "miracle of St. Anthony" were felt as true. This was true, but the truth for this performance.

The search for an external, almost grotesque characterity was continued in the second edition of the performance of the third Studio "Wedding" (September 1921), which was one evening with the "Miracle of St. Anthony". Vakhtangov came here not from the abstract search for beautiful theatricality, but from his understanding Chekhov. Chekhov in stories: funny, funny, and then suddenly sad. This kind of tragic biscuit was close to Vakhtangov. In the wedding, all the characters were like dangling dolls, puppets.

All these productions have planned ways to create a special, theater truth of the theater, a new type of relationship between the actor and the manner created is determined.