Socialism revolutionary ideal terror in Russian literature. Socialist realism (prof

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Socialist realism - Artistic method of literature and art, built on the socialist concept of peace and man. According to the thoughts of this concept, the artist was supposed to serve his works of the construction of a socialist society. Consequently, social realism was supposed to display life in the light of the ideals of socialism. The concept of "realism" is a literary, and the concept of "socialist" is ideological. By themselves, they contradict each other, but in this theory of art they merge. As a result, norms and criteria dictated by the Communist Party, and the artist, be he writer, sculptor or painter, was obliged to create in accordance with them.

The literature of socialist realism was a tool for party ideology. The writer was interpreted as an "engineer of human souls." He had to influence the reader as a propagandist to his talent. He brought up the reader in the spirit of the party and at the same time supported her in the struggle for the victory of communism. The subjective actions and aspirations of the individuals of the heroes of the joints of socialism should be aligned with the objective course of history.

In the center of the work, it was necessary to stand a positive hero:

• He is an ideal communist and an example for a socialist society.
• He is a progressive person who is alien to the doubt of the soul.

Lenin as follows expressed the idea that art should stand on the side of the proletariat: "Art belongs to the people. The deepest sports of art can be found among a wide class of workers ... Art should be based on their feelings, thoughts and requirements and should grow with them. " In addition, he clarified: "The literature should become party ... the proportion of writers of non-partisan. Down with superman writers! The literary case should be part of the generalocoltar case, cogs and wheels of one single great social democratic mechanism, which caused by all the conscious avant-garde of the entire working class. "

The founder of socialism in the literature, Maxim Gorky (1868-1936), wrote about the socialist realism the following: "For our writers, it is vital and creatively to get up to the point of view, from the height of which - and only from its height - all dirty crimes of capitalism are clearly visible, all The meanness of his bloody intentions and see all the greatness of the heroic work of the dictator proletariat. " He also argued: "... The writer must have a good knowledge of the history of the past and the knowledge of social phenomena of modernity, in which he is intended to perform two roles at the same time: the role of midwife and the graveman"

A.M.Gorka believed that the main task of socialist realism is the upbringing of a socialist, revolutionary look at the world corresponding to the sensation of the world.

To follow the method of socialist realism, the composition of poems and novels, the creation of picturesque works, etc. It is necessary to subjugate the goals of exposing the crimes of capitalism and praise socialism to inspire readers and viewers to the revolution, igniting their minds to just anger. The method of socialist realism was formulated by Soviet cultural figures under the leadership of Stalin in 1932. He covered all areas of artistic activities (literature, dramaturgy, cinema, painting, sculpture, music and architecture). The method of socialist realism argued the following principles:

1) describe reality exactly, in accordance with specific historical revolutionary development; 2) coordinate its artistic expression with the themes of ideological reforms and the upbringing of workers in the socialist spirit.

Principles of socialism

1. Nativity. Heroes of works should be leaving the people, and the people are primarily workers and peasants.
2. Party. Show the heroic actions, the construction of a new life, a revolutionary struggle for a bright future.
3. Concreteness. In the image of reality, show the process of historical development, which in turn must correspond to the doctrine of historical materialism (matter is primary, consciousness is secondary).

The Soviet era is customary to call the period of the domestic history of the XX century, covering 1917-1991. At that time, the Soviet artistic culture was developed and survived the peak of its development. An important milestone on the way of becoming the main artistic direction of the art of the Soviet era, which later began to call "socialist realism", was the works that approve the understanding of the story as a tireless class struggle in the name of the ultimate goal - the elimination of private property and the establishment of the power of the people (the story M. Gorky "Mother ", His play" Enemies "). In the development of the art of the 20s, two tendencies are clearly attracted, which can be traced on the example of literature. On the one hand, a number of large writers did not accept the proletarian revolution and emigrated from Russia. On the other hand, some creators poeticized reality, believed in the height of the goals that were set in front of Russia the Communists. Hero of literature 20s. - Bolshevik, which has a superhuman iron will. In this key, the works of V. V. Mayakovsky ("Left Marsh"), A. A. Bloka ("Twelve"), a rather deadly picture was both the visual arts of the 20s. It overlooked several groups. The group "Association of Artists of the Revolution" was the most significant. They portrayed today: the life of the Red Army, the life of workers, the peasantry, revolution and labor figures. " They considered themselves heirs of the Movie. They walked at the factory, plants, in the Red Army barracks, in order to directly observe the lives of their characters, "sketch" her. In another creative community, the Ost (Society of Stankovists) was united by young people who graduated from the first Soviet art university. The motto remains - development in machine painting theme reflecting the signs of the XX century: industrial city, industrial production, sports, etc. Unlike the Masters of Ahra, "the Svetov" saw their aesthetic ideal by no means in the work of their predecessors - "Movement" artists, but in the newest European currents.

Some works of socialism

• Maxim Gorky, Roman "Mother"
• a group of authors, a picture "Speech by V.I. Lenin on the Komsomol Congress"
• Arkady Plastov, Picture "Fascist Fly" (GTG)
• A. Gladkov, Roman "Cement"
• film "Pinwork and Shepherd"
• the film "TRACTORIST"
• Boris Johanson, "Interrogation of Communists" (GTG)
• Sergey Gerasimov, Pattern "Partizan" (GTG)
• Fedor Reshetnikov, Picture "Again Double" (GTG)
• Yuri Nachunnikov, picture "After the fight" (Vasily Terkin)
• Vera Mukhina, Sculpture "Worker and collective farmers" (at VDNH)
• Mikhail Sholokhov, Roman "Quiet Don"
• Alexander Laction, picture "Letter from Front" (GTG)

XX centuries. The method covered all areas of artistic activities (literature, dramaturgy, cinema, painting, sculpture, music and architecture). The following principles were argued in it:

• describe the reality "exactly, in accordance with specific historical revolutionary development."
• coordinate your artistic expression with themes of ideological reforms and the upbringing of workers in the socialist spirit.

The history of the emergence and development

The term "Socialist Realism" was first proposed by the Chairman of the Organizing Committee of the SP of the USSR I. Gronsky in the "Literary Gazette" on May 23, 1932. He arose due to the need to send Rapp and Avangard on the artistic development of Soviet culture. The recognition of the role of classical traditions and an understanding of the new qualities of realism was decisive at the same time. In 1932-1933 Grona and head. The sector of the artistic literature of the Central Committee of the CPSU (b) V. Kirpotin was strongly promoted by this term.

At the 1st All-Union Congress of Soviet Writers in 1934, Maxim Gorky claimed:

"Socialist realism argues being as an act as creativity, the purpose of which is the continuous development of the most valuable individual abilities of a person for his victory over the forces of nature, for the sake of his health and longevity, for the sake of great happiness to live on earth, which he, in accordance with the continuous growth of his needs, wants Processing the whole, as a wonderful dwelling of mankind, combined in one family. "

To assert this method as the main state was required for better control over creative personalities and the best propaganda of their policies. In the previous period, the twentieth years existed Soviet writers who sometimes occupy aggressive positions in relation to many outstanding writers. For example, PAP, the organization of proletarian writers, actively engaged in criticism of the writers of non-propellant. Rappa consisted mainly of novice writers. During the creation of the modern industry (the years of industrialization) of the Soviet power, art was necessary, raising the people on "labor feats". Pretty pedestrian picture was both the visual art of the 1920s. In it, several groupings were separated. The group "Association of Artists of the Revolution" was the most significant. They portrayed today: life of the Red Army, workers, the peasantry, revolution and labor figures. They considered themselves heirs of "Mobile". They walked at the factory, plants, in the Krasnoarmeysian barracks to directly observe the lives of their characters, "sketch" her. It was they who became the main bones of artists of "social identism." It was much harder to less traditional masters, in particular, the members of the Ost (Society of Stankovists), which was united by the youth, who graduated from the first Soviet art university.

Gorky in a solemn atmosphere returned from emigration and led the specially created Union of Writers of the USSR, which includes mostly writers and poets of the Soviet orientation.

Characteristic

Definition from the point of view of official ideology

For the first time, the official definition of socialist realism is given in the Charter of the SP of the USSR, adopted at the first congress of the joint venture:

Socialist realism, being the main method of Soviet artistic literature and literary criticism, requires the artist of the truthful, historically-specific image of reality in its revolutionary development. Moreover, the truthfulness and historical specificity of the artistic image of reality should be combined with the task of ideological alterations and education in the spirit of socialism.

This definition has become the initial item for all further interpretations until the 80s.

« Socialist realism It is deeply the vital, scientific and most advanced artistic method that developed as a result of the success of the socialist construction and education of Soviet people in the spirit of communism. The principles of socialist realism ... were the further development of the Leninsky teaching about the party's party literature. " (Great Soviet Encyclopedia , )

Lenin as follows expressed the idea that art should stand on the side of the proletariat:

"Art belongs to the people. The deepest sports of art can be found among a wide class of workers ... Art should be based on their feelings, thoughts and requirements and should grow with them. "

Principles of socialism

• Idea. Show the peaceful life of the people, search for ways to a new, better life, heroic actions in order to achieve a happy life for all people.

• Concreteness. In the image of reality, show the process of historical development, which in turn must comply with the materialistic understanding of the story (in the process of changing the conditions of their being, people change their consciousness, attitude to the surrounding reality).

As the definition said from the Soviet textbook, the method meant the use of the heritage of world realistic art, but not as a simple imitation of the great samples, but with a creative approach. "The method of socialist realism predetermines a deep connection of works of art with modern reality, the active participation of art in socialist construction. The tasks of the method of socialist realism require from each artist a true understanding of the meaning of events committed in the country, the ability to assess the phenomena of public life in their development, in complex dialectical interaction. "

The method included the unity of realism and Soviet romance, combining heroic and romantic with the "realistic statement of genuine truth of the surrounding reality". It was alleged that thus the humanism of "critical realism" was complemented by "socialist humanism."

The state gave orders, sent to creative business trips, organized exhibitions - thus stimulating the development of the formation of the art.

In literature

The writer, according to the famous expression of Stalin, is the "engineer of human souls". With his talent, he must influence the reader as a propagandist. He brings up the reader in the spirit of the dedication of the party and supports it in the struggle for the victory of communism. Subjective actions and aspirations of individuals were to meet the objective course of history. Lenin wrote: "The literature should become party ... the proportion of writers of non-partisan. Down with superman writers! The literary case should be part of the generalocoltar case, "cogs and wheels" of one single great social democratic mechanism given to the movement of all conscious avant-garde of the entire working class. "

The literary work in the scenario genre should be built "on the idea of \u200b\u200bthe inhumanity of any forms of man exploitation by a person, to expose the crimes of capitalism, igniting the minds of readers and the audience fair anger, inspire them to the revolutionary struggle for socialism."

Maxim Gorky, wrote about the socialist realism the following:

"For our writers, it is vital and creatively to get up to the point of view, from the height of which - and only from its height - all the dirty crimes of capitalism are clearly visible, all the meanness of his bloody intentions and see all the greatness of the heroic work of the dictator proletariat."

He also claimed:

"... the writer must have a good knowledge of the history of the past and the knowledge of social phenomena of modernity, in which he is intended to perform two roles at the same time: the role of midwife and the grave."

Gorky believed that the main task of socialist realism is the upbringing of a socialist, revolutionary look at the world corresponding to the sensation of the world.

Criticism

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The film "Circus" directed by Gregory Aleksandrov ends like this: the demon-root, people in white clothes with shining faces sled under the song "Washing my dear". This frame one after the release of the film, in 1937, will be literally repeated in the monumental panel of Alexander Dei-Neci "Stakhanovtsy" - except instead of a black child who sits on the shoulder of one of the demonstrators, here on the shoulder of the Stanovka will be placed white. And then the same composition will be used in the giant canvas "Noble People of the Soviets Countries", written by the brigade of artists at hand-water Vasily Efanov: This is a collective portrait, where the heroes of labor, polar explorers, pilots, akynes and artists are presented. Such a genre of apotheosis - and he is more than two decades in the Soviet art for more than two decades in the Soviet art, which is practically mono-pole. Social Lesher, or, as his critic Boris Groys called him, Style Stalin.

Frame from the movie Gregory Aleksandrov "Circus". 1936 Mosfilm Studio

Socialist realism has been made by the official term in 1934, in charge of how Gorky used this phrase at the first congress of the Soviet writers (before that there were random uses). Then it fell into the charter of the Writers' Union, but it was explained at all unbelievable and very cracked: about the ideological education of a person in the spirit of socialism, about the image of the action in its revolutionary development. Here is this vector - aspiration in the future, revolutionary development - could be somehow applied to the literature, because literature is temporary art, it has a plot consistency and the evolution of heroes is possible. And how to apply it to the visual art - it is not clear. Nevertheless, the term spreads to the entire spectrum of culture and has become mandatory for everything.

The main customer, the addressee and consumer of the art of social realism was the state. It considered culture as a means of agitation and propaganda. Accordingly, the Canon of Social Realism was charged to Soviet art and the writer to portray exactly what the state wants to see. It is Casamel not only themes, but also forms, image method. Of course, the direct order could not be, the artists worked as if at the call of the heart, but there was some receiving instance over them, and she decided to be, for example, a picture at the exhibition and whether the author of the promotion or completely did not deserve. Such a power vertical in the question of procurement, orders and other ways to encourage creative activities. Critics played the role of this host instance. Moreover, there were no regulatory poets and arms of rules in socialist art, the criticism is well caught and the transliro-tree of the Supreme ideological fluids. By tone, this criticism could be mumble, destroying, repressive. She spoke the court and claimed.

The system of state order was developing in the twenties, and then the main members of the artists were the participants of Ahrra - the Association of Artists of the Revo-Lucrative Russia. The need to perform socialacts was recorded in their de-Claus, and the customers were state bodies: a reviable, the Red Army, and so on. But then this custom art existed in the diverse field, among many completely different initiatives. There were communities of a completely different sense - avant-garde and not quite avant-garde: they all competed for the right to be the main art of modernity. Agrh in this struggle won, because his aesthetics responded to the tastes of power, and massively to taste. Painting, which simply illustrates and logs the plots of reality, is understandable to everyone. And naturally, after the forced dissolution of all artistic groups in 1932, it was this aesthetics that became the basis of socialist realism - mandatory for use.

The hierarchy of pictorial genres is rigidly built in socialism. On her tops - not - the so-called thematic picture. This is a pictorial story with proper accents. The plot is related to modernity - and if not to modernity, then to those situations of the past, which we promise this excellent modernity. As it was said in determining social realism: reality in its revolutionary development.

In such a picture, there is often a conflict of forces - but which of the strength right is demonstrated unequivocally. For example, in the picture of Boris Johanson "On the Old Ural Plant", the figure of the worker is in the light, and the figure of the manufacturer-manufacturer is immersed in the shadow; In addition, the artist awarded him repulsive appearance. In his own picture, "interrogation of the Communists" we Vi-Dim only the head of the White Officer, the leading interrogation, - the heads are fat and folded.

Boris Johanson. On the old Ural factory. 1937 year

Boris Johanson. Interrogation of the Communists. 1933Photo RIA "News",

Thematic paintings with historical and revolutionary content were closed with paintings by battle and actually historical. Historicals were mainly after the war, and they were close to the genre to the already described painting apogeosis - such an opera aesthetics. For example, in the picture of Alec-Sandra Bubnova "Morning on the Kulika Field", where the Russian army is waiting for the start of the battle with Tatar-Mongols. Apotheosis was created on conditionally modern material - these are two "collective farm holidays" of 1937, Sergey Gerasimov and Arkady Plastov: a triumphant abundance in the spirit of the later film "Kuban Cossacks". In general, the art of socialism loves abundance - everything should be a lot, because abundance is joy, fullness and execution of the aspirations.

Alexander Bubnov. Morning on the sticker field. 1943-1947State Tretyakov Gallery

Sergey Gerasimov. Collective farm holiday. 1937 yearPhoto by E. Kogan / Ria "News"; State Tretyakov Gallery

In the socially owned landscapes is also important scale. Very often it is a panora-we are "Russian Razdolia" - as if the image of the country in a particular landscape. The picture of Fyodor Shurpina "Morning of Our Motherland" is a vivid example of such a drink. True, there is a landscape here - only the background for the figure of Stalin, but in other similar panoramas, Stalin seems to be invisibly present. And it is important that the drinking compositions are horizontally oriented - non-rigid vertons, not dynamically active diagonal, and horizontal static. This world is constant, already accomplished.

Fedor Shurpine. Morning our homeland. 1946-1948 State Tretyakov Gallery

On the other hand, hyperbolized industrial landscapes are very popular - construction-giants, for example. Motherland is building a magnitty, DniproNes, plants, factories, power plants, and so on. Gigantism, Pafos quantity is also a very important feature of socialism. It is not formulated directly, but manifests not only at the level of the theme, but also how everything is drawn: the iso-brazovatory tissue is noticeably much and compacted.

By the way, there are very successful former "tambourines", for example, Lentulov in the listing of industrial giants. Painting their painting materiality turned out to be very by the way in a new situation.

And in portraits, this material pressure is very tangible, especially in female. Not only at the level of the pictorial texture, but even in the entourage. Such a tissue is mighty - velvet, plush, fur, and everything is slightly tracked, with an antique tint. Such, for example, at Johanson, a portrait of an actress Zer-Kalova; Ilya Mashkova has such portraits - quite salon.

Boris Johanson. Portrait of a well-deserved artist of the RSFSR Daria Mirror. 1947 year Photo of Abram Stenenberg / RIA "News"; State Tretyakov Gallery

In general, portraits almost in the educational spirit are considered as a way to reclaim outstanding people who have deserved the right to portraying. Sometimes these works are represented directly in the text of the portrait: here Academician Pavlov tensely reflects in his laboratory on the background of biostanities, here the Surgeon Yudin makes the operation, here the sculptor Vera Mukhina sculpts the Borea statuette. All these are portraits created by Mikhail Nesterov. In the 80-90s of the XIX century, he was the creator of his own genre of monastic idylls, then he was silent for a long time, and in the 1930s suddenly turned out to be the main Soviet portrait. And the teacher Pavel Corina, whose portraits of Gorky, actor Leonidov or Marshal Zhukov on the monumental system already received monuments.

Mikhail Nesterov. Portrait of a sculptor faith flying. 1940 yearPhoto by Alexey Bukin / RIA "News"; State Tretyakov Gallery

Mikhail Nesterov. Portrait of Sergey Yudina Surgeon. 1935 yearPhoto of Oleg Ignatovich / RIA "News"; State Tretyakov Gallery

Monumentality extends even to still lifes. And they are called, for example, at the same Mashkov, Epically - "Moskovskaya" or "Soviet Breads" . Former "Bubnovy Vallets" are generally the first in terms of objective bo-gate. For example, in 1941, Peter Konchalovsky writes the picture "Alexey Nikolayevich Tolstoy visiting the artist" - and in front of the writer ham, scuffing red fish, baked bird, cucumbers, tomatoes, lemon, glasses for different drinks ... but the trend towards monumentalization is general . Welcomes everything heavy, solid. Dieneki sports bodies of his characters cargo-sheep, gain weight. Alexander Samokhanov in the series "Metrostro-building" and other masters from the former association"Circle of artists" The Motive "Big Figure" appears - such female deities, personifying earthly power and the power of creation. And the painting itself becomes cargo, thick. But gu-stand - in moderation.

Peter Konchalovsky. Alexey Tolstoy visiting the artist. 1941 year Photo RIA Novosti, State Tretyakov Gallery

Because moderation is also an important style sign. On the one hand, a brush stroke should be noticeable - a sign that the artist worked. If the texture is branded, the author's work is not visible - and it must be visible. And, let's say, at the same deileki, which was previously operated on with solid color planes, now the surface of the picture is made of relief. On the other hand, the extra maestry is also not encouraged - it is immodestly, it is a protrusion. The word "protrusion" sounds very concerned in the 1930s, when it is a campaign of combating formalism - both in painting, and in the children's book, and in music, and in general everywhere. It is like the fight against the wrong influences, but in fact it is a struggle in general with any manner, with any receptions. After all, the reception is questioned by the sincerity of the artist, and sincerity is an absolute merger with the subject of the image. Sincerity does not imply any mediation, and the reception, influence is mediation and there.

Nevertheless, various methods exist for different tasks. For example, for Li-Ric Plots, some painless, "rainy" impres-zionism is quite suitable. He manifested itself not only in the genres of Yuri Pimenova - in his picture "New Moscow", where the girl goes in the open car in the center of the capital, pre-appealed by new construction sites, or in the late "new quarters" - a series about the construction of dilapidated neighborhoods. But, let's say, in a huge sex, non-Alexander Gerasimov "Joseph Stalin and Clement Voroshilov in the Kremlin" (the people's name - "Two leaders after the rain"). The atmosphere of rain indicates human warmth, openness to each other. Of course, such an impres-Zionist language can not be in the image of parades and celebrations - everything is still extremely strictly, academic.

Yuri Pimenov. New Moscow. 1937 yearPhoto A. Syakov / RIA "News"; State Tretyakov Gallery

Alexander Gerasimov. Joseph Stalin and Clement Voroshilov in the Kremlin. 1938Photo by Viktor Breasthane / Photoxronics TASS; State Tretyakov Gallery

It has already been said that socialist realism has a futuristic vector - aspiration into the future, to the outcome of revolutionary development. And since the victory of socialism is inevitable, the signs of the accomplusing bucket are present in the present. It turns out that the socialism is collapsed in socialism. This is the future, and this, for which there will be no next future. The story reached his highest peak and stopped. Danekovskaya Stakhanovtsy in white clothes are no longer people - they are inevitable. And they look even on us, and somewhere in eternity - which is already here, already with us.

Somewhere in about 1936-1938, this gets its final look. Here, the highest point of socialism - and the mandatory hero becomes becoming. His appearance on the paintings of Efanov, or Svaraga, or anyone looks a miracle - and this biblical motive of a wonderful phenomenon, traditionally connected, naturally, with completely different heroes. But the memory of the genre works so. At this point, social identity really becomes a big style, the style of totalitarian utopia is only this utopia that has come true. And since this utopia is saved, then the style is frozen - monumental academicism.

And every other art, which was based on another understanding of the Plat-Stream Values, turns out to be an art forgotten, "ramp", invisible. Of course, artists had some sinus, in which it was possible to exist, where cultural skills were preserved and reproduced. For example, in 1935, at the Academy of Architecture, a monumental painting workshop is based, which artists of the old language - Vla-Dimir Favorsky, Lion Bruni, Konstantin Istomin, Sergey Romanovich, Niko-Lai Chernyshev. But all such oases exist shortly.

There is a paradox here. Totalitarian art in their verbal declarations is drawn precisely to the person - the words "man", "humanity" are present in all the manifesis of socialism of this pore. But in fact, social identity in part continues to continue this Messianian pathos of the avant-garde with his mythhustrach-district, with his apology of the result, with the desire to remake the whole world - and among such a pathos there is no place for a separate person. And the "quiet" painters who do not write declarations, but in reality, just stand on the protection of individual, small, human, - they are doomed to universe. And it is in this "rack" the art of humanity and continues to live.

Late socialism of the 1950s will try to assign it. Stalin - cementing style figures - is no longer alive; His former subordinates are in confusion - in a word, the epoch ended. And in the 1950s-60s, social identity wants to be social immunity with a human face. There were some foresight and a little earlier - for example, the paintings of Arkady Plastov on rustic topics, and especially his picture "Fascist flew" about meaninglessly killed Mal-Chikha-shepherd.

Arkady layers. The fascist flew. 1942 year Photo RIA Novosti, State Tretyakov Gallery

But the most indicative - these are the pictures of Fedor Reshetnikov "arrived on Kani-kula", where the young Suvorovets at the New Year tree gives the honor of his grandfather, and "again two" - about the negligent schoolboy (by the way, on the wall of the room in the picture "Again Two" hanging the reproduction of the paintings "Arrived on vacation" - very touching item). It is still social identity, it is a clear and detailed race - but the state of state, which was the basis of all the stories earlier, is reincarnated to the thought of family, and intonation changes. Socialism becomes more chamber, now he is about the life of ordinary people. This also includes the late genres of Pimenova, and the art of Alex-Dram Lactionov also includes. His most famous picture "Letter from the front", which was divided into a variety of postcards, is one of the main Soviet paintings. Here and aspiration, and didacticity, and sentimentality is such a social and leafy style.

Socialist realism: the personality is socially active and included in the creation of the history by violent means.

The philosophical foundation of socialist realism was Marxism, approving: 1) the proletariat - a grade class, historically designed to make a revolution and a violent way, through the dictatorship of the proletariat, to transform society from unfair to just; 2) At the head of the proletariat, there is a new type party, consisting of professionals designed after the revolution to lead the construction of a new classless society, in which people are deprived of private property (as it turned out, thereby people fall into absolute dependence on the state, and the state itself becomes de facto The property of partburocracy, heading it).

These socially utopian (and, as historically revealed, inevitably leading to totalitarianism), philosophical and political postulates found their continuation in Marxist aesthetics directly underlying socialist realism. The main ideas of Marxism in aesthetics are as follows.

• 1. Art, possessing some relative independence from the economy, due to economies and artistic and mental traditions.
• 2. Art can affect the masses and mobilize them.
• 3. Party leadership art guides it to the right direction.
• 4. Art should be imbued with historical optimism and serve the company's movement to communism. It must approve the system established by the revolution. However, at the level of the manager and even the chairman of the collective farm critic is admissible; In exceptional circumstances 1941--1942. From the personal permission of Stalin in the play A. Kornechuk "Front" was allowed to criticism even the front commander. 5. Marxist Gnosetology, head of the corner, has become the basis of the interpretation of the artistic nature of art. 6. The Leninsky principle of party parties continued the ideas of Marx and Engels about the classiness and tendency of art and the artist's creative consciousness itself introduced the idea of \u200b\u200bserving the party.

On this philosophical and aesthetic basis, the socialist realism arose - the art that served the needs of the totalitarian society in the formation of a "new person" argued by the needs of the Totalitarian Society. According to official aesthetics, this art reflected the interests of the proletariat, and later - the entire socialist society. Socialist realism is an artistic direction that approves the artistic concept: the personality is socially active and included in the creation of the history of violent means.

Western theorists and critics give their definitions of socialist realism. According to English Critica J. A. Guddon, "Socialist Realism - Art Credo, developed in Russia for the introduction of the Marxist doctrine and extended in other Communist countries. This art approves the goals of the socialist society and considers the artist as a servant of the state or, in accordance with the Stalinist definition, as an "engineer of human souls". Guddon noted that the Socialist Realism missed the freedom of creativity, against which Pasternak and Solzhenitsyn rebuilding, and "the Western press used to the propaganda purposes."

Critics Karl Benson and Arthur Gatz write: "Socialist realism is traditional for the XIX century. The method of prosaic narration and dramaturgy associated with themes that favorably treating a socialist idea. In the Soviet Union, especially in the Stalin Epoch, as well as in other Communist countries, was artificially imposing the artists with literary establishment. "

Inside the engaged, official art, as a heresy, developed by the authorities by the authorities, a semicultural, neutral political attitude, but deeply humanistic (B. Okudzhava, V. Vysotsky, A. Galich) and the front-line (A. Voznesensky) art. The last states in the epigram:

Poet of Poets

Creates all-time intrigues.

He is with the permission of the authorities

The authorities show the fig.

socialist realism Totalitarian proletariat Marxist

During the periods of mitigation of the totalitarian regime (for example, in the "thaw"), works, uncompromising truthful ("One day of Ivan Denisovich" Solzhenitsyn, broke out on the print pages. However, in more stringent times, there was a "black stroke" near the front art: the poets used Ezopov tongue, went into children's literature, in the artistic translation. Canceled Artists (Underground) formed groups, associations (for example, "Smoky", Lianozovo School of Painting and Poetry), created informal exhibitions (for example, "bulldozer" in Izmailovo) - all this helped it easier to endure the social boycott of publishing houses, exhibitions, bureaucratic instances and "police plots of culture."

The theory of socialist realism was filled with dogma and vulgar sociological provisions and in this form was used as a means of bureaucratic pressure on art. This manifested itself in authoritarianism and subjectivism of judgment and estimates, in interference in creative activity, violation of creative freedom, strict command ways of managing art. Such a leadership cost a multinational Soviet culture, affected the spiritual and moral state of society, on the human and creative fate of many artists.

Many artists, including the largest, in the years of Stalinism became victims of arbitrariness: E. Charents, T. Tabidze, B. Pilnyak, I. Babel, M. Koltsov, O. Mandelstam, P. Markish, V. Meyerhold, S. Mikhoels . They were pushed from the artistic process and the years were silent or worked in a quarter of the forces, without having the opportunity to show the results of their creativity, Y. Olesha, M. Bulgakov, A. Platonov, V. Grossman, B. Pasternak. R. Falk, A. Tairov, A. Koonen.

The incompetence of leadership art affected the high premiums for the conjunctural and weak works, which, despite the propaganda hype around them, not only did not enter the Golden Foundation of Artistic Culture, but also quickly forgot (S. Babaevsky, M. Bubennov, A. Surov, A. Sofronov).

Incompetence and authoritarianity, rudeness were not only personal properties of the character of party leaders, but (absolute power decomposes the leaders absolutely!) Became the style of the party leadership of the artistic culture. The principle of party management itself is a false and anti-cultural idea.

Postprokery criticism saw a number of important features of socialist realism. "Sociality. He is not so odious at all, it is enough for him. If you look at it without social pain and through the cinema prism, it turns out that the famous American film of the thirties "worked by the wind" is equivalent to the Soviet film of the same years "Circus". And if you get back to the literature, then the novels of Feichthanger for their aesthetics are not at all polarna Epopea A. Tolstoy "Peter the first" is not for nothing in vain Stalin loved so much. Sociality is all the same "big style", but only in Soviet. " (Yarkvich. 1999) social realism is not only an artistic direction (sustainable concept of peace and personality) and the type of "big style", but also the method.

The method of socialist realism as a method of figurative, the method of creating a politically trendy work, performing a certain social order, was used far beyond the limits of the area of \u200b\u200bdomination of the communist ideology, was applied to the purposes of alien conceptual orientation of socialist realism as an artistic direction. So, in 1972, in the Metropolitan-Opera, I saw a musical performance that struck me with my tendentiousness. A young student arrived at Vacation in Puerto Rico, where he met a beautiful girl. They are fun dancing and singing on the carnival. Then they decide to get married and fulfill their desire, in connection with which the dances become particularly temperamental. It is upset by young only that he is just a student, and she is poor landscape. However, this does not prevent them from singing and dance. In the midst of the wedding fun from New York, a blessing and a bill of dollars for newlyweds come from the student's parents. Here the fun becomes irreparable, all the dancing are pyramidally - at the bottom of the Puertorician people, above the distant relatives of the bride, even above its parents, and on the very top of the American student-groom and poor Puertorician bride-landscape. Above they are a striped US flag, which burns a lot of stars. All sing, and the bride and the bride kiss and at the time of connecting their mouths on the American flag there is a new star, which means the emergence of a new American state - Puery Rico is part of the United States. Among the vuth pies of Soviet drama is difficult to find a work, in their vulgarity and rectilinear political tendency, reaching the level of this American performance. What is non-socialism method?

According to proclaimed theoretical postulates, socialist realism implies the inclusion in the figurative thinking of romantics - a figurative form of historical anticipation, dreams based on real trends in the development of reality and overtaking the natural course of events.

Socialist realism approves the need for historicism in art: Historically, a specific artistic reality must acquire "three-dimensional" in it (the writer seeks to capture, saying the words of Gorky, "Three Reality" - the past, present and future). Here in the socialist realism invade

sailing of the utopian ideology of communism, firmly knowledgeable way to the "bright future of mankind." However, for poetry in this aspiration in the coming (even if it is utopian), there was a lot of attractive, and the poet Leonid Martynov wrote:

Do not read

Himself standing

Only here, in essentially,

Present,

And imagine yourself going

Along the border of the past with the coming

Introduces the forthcoming reality of the 20s and Mayakovsky in the play "Klop" and "Banya". This image of the future appears in Mayakovsky's dramperature and in the form of a phosphorical woman, and in the form of a time car that is belonging to distant and beautiful people, decent communism, and sparkling bureaucrats and other "unworthy communism". I note that many "unworthy" society will "spit" in the GULAG throughout its history, and there will be some twenty-five years after writing by Mayakovsky these plays and the concept of "unworthy communism" will be distributed ("philosopher" D. Chesnokov, with Stalin's approval) for entire peoples (already evicted from historical stay or subject to expulsion). This is how artistic ideas are turned around even the really "best and talented poet of the Soviet era" (I. Stalin), which created artistic works, which brightly embodied on stage and V. Meyerhold, and V. Plek. However, nothing surprising: Support for utopian ideas, including the principle of historical improvement of the world by violence, could not fail to turn into some "swelling" by the Gulag "next tasks".

Patriotic art in the twentieth century. A number of stages passed, one of which enriched world culture to masterpieces, while others had a decisive (not always beneficial) impact on the artistic process in Eastern Europe and Asia (China, Vietnam, DPRK).

The first stage (1900--1917) is the silver age. Symbolism, acmeism, futurism are born and developed. In the novel "Mother" of Gorky, the principles of socialist realism are formed. Socialist realism arose at the beginning of the twentieth century. in Russia. His attorney became Maxim Gorky, the artistic beginnings of which continued and developed Soviet art.

The second stage (1917--1932) is characterized by aesthetic polyphony and pluralism of artistic directions.

Soviet government introduces cruel censorship, Trotsky believes that it is directed against the "capital of capital with prejudice". Gorky is trying to confront this violence over the culture, for which Trotsky has little to call him a "fast-minded psaller." Trotsky laid the Soviet tradition of assessing artistic phenomena not with aesthetic, but from a purely political point of view. It gives political, and not aesthetic characteristics of art phenomena: "Cadet", "joined", "Travel". In this regard, Stalin will become a genuine Trotskyist and social utilitarianism, political pragmatics will become dominant principles in the approach to art.

During these years, the formation of socialist realism and the opening of the active personality involved in the creation of history through violence, along the utopian model of the classics of Marxism. In art, there was a problem of a new artistic concept of personality and peace.

Around this concept in the 20s there was an acute controversy. As the highest advantages of a person, the art of socialist realism comes socially important and significant qualities - heroism, dedication, self-sacrifice ("Death of the Commissioner" Petrova-Vodkina), self-dedication ("Heart to give away to the gap" - Mayakovsky).

The inclusion of a person in the life of society becomes an important task of art and this is a valuable feature of socialist realism. However, their own interests of individuals are not taken into account. Art argues that the personal happiness of a person is in the dedication and service of the "happy future of mankind", and the source of historical optimism and the fullness of the personality of the personality is social sense - in the admission of her to create a new "fair society" by this pathos, the novels "Iron flow" of Serafimovich , Chapaev Furmanov, the poem "Good" Mayakovsky. In the films of Sergey Eisenstein "Stacket", "Potemkin's armadiole" "The fate of the person moves to the background of the mass of the mass. The plot becomes the fact that in humanistic art, concerned about the fate of the individual, was only a secondary element, a "social background", "social scenery", "mass scene", "epic retreat."

However, some artists moved away from the dogma of socialist realism. So, S. Eisenstein still did not completely eliminate the individual hero, did not bring him a victim of history. The strongest compassion causes a mother in the episode on the Odessa staircase ("Potemkin's armadapole"). At the same time, the director remains in line with socialist realism and does not closame the sympathy of the viewer on the personal fate of the character, and focuses on the audience on the experience of the drama of the story itself and approves the historical necessity and the validity of the revolutionary speech of the Black Sea sailors.

The invariant of the artistic concept of socialist realism at the first stage of its development: a person in the "iron flow" of the history of the "drops is poured with the masses". In other words, the meaning of the life of the personality is seen in selflessness (the heroic ability of a person is approved to engage in the creation of a new reality even at the cost of direct everyday interests, and at the time of the price and life itself), in attachment to the creation of history ("and there is no other concerns!"). Pragmatic-political tasks are set above the moral postulates and humanistic orientations. So, E. Bagritsky calls:

And if the era orders: kill! - Kill.

And if the era orders: Litts! - Large.

At this stage, other artistic directions are developing next to socialist realism, approving their invariants of the artistic concept of peace and personality (constructivism - I. Selburg, K. Zelinsky, I. Erenburg; neoromantism - A. Green; Akmeism - N. Gumilev , A. Akhmatova, IMAZHINISM - S. Yesenin, Mariengoof, symbolism - A. Block; Literary schools and associations develop - Lef, Satostovtsy, "Pass", PAPP).

The very concept of "socialist realism", expressed the artistic and conceptual qualities of the new art, arose in the course of turbulent discussions and theoretical searches. These searches were a team of collective, in which many cultural figures at the end of the 20s - early 30s took part, in different ways determined the new method of literature: "Proletarian realism" (F. Gladkov, Y. Lebedinsky), "Tendency Realism "(V. Mayakovsky)," Monumental Realism "(A. Tolstoy)," Realism with socialist content "(V. Stavsky). In the 1930s, cultural figures are increasingly converging on the definition of the creative method of Soviet art as a method of socialist realism. "Literary Gazeta" May 29, 1932 in the advanced article "For work!" I wrote: "The masses require sincerity artists, revolutionary socialist realism in the image of the proletarian revolution." Head of the Ukrainian Writing Organization I. Kulik (Kharkov, 1932) said: "... conditionally the method for which we could navigate with you should be called" revolutionary socialist realism. " At the meeting of writers on the apartment at the Gorky October 25, 1932. Socialist realism was named in the artistic method of literature during the discussion. Later, collective efforts to develop the concept of the artistic method of Soviet literature were "forgotten" and everything was attributed to Stalin.

Third stage (1932--1956). In the first half of the 30s, the Union of Writers, socialist realism was defined as an artistic method requiring the writer of the truthful and historically specific image of reality in its revolutionary development; The task of upbringing workers in the spirit of communism was emphasized. In this definition, nothing specifically aesthetic, nothing believing actually to art. The definition focused on political engagement and was equally successfully applied to the history of both science, and to journalism, and to propaganda and agitation. At the same time, this definition of socialist realism was difficult to apply to such types of art as architecture, applied and decorative art, music, to such genres as a landscape, still life. Outside the specified understanding of the artistic method, essentially, Lyrics and Satyr were. It was expelled from our culture or questioned major artistic values.

In the first half of the 30s. Aesthetic pluralism is administratively supplied, the idea of \u200b\u200ban active person is deepened, but this person does not always have an orientation of genuinely humanistic values. Higher life values \u200b\u200bare the leader, a party and her goals.

In 1941, war invades the life of the Soviet people. Literature and art are included in the spiritual provision of combating fascist invaders and victories. During this period, the art of socialist realism, where it does not flow into the primitiveness of the agitation, most fully corresponds to the vital interests of the people.

In 1946, when our country lived the joy of victory and pain of huge losses, a decree was taken by the Central Committee of the CPSU (b) "On the magazines" Star "and" Leningrad ". With an explanation of the ruling at the meeting of the party asset and writers, Leningrad was A. Zhdanov.

Creativity and Personality M. Zoshchenko were characterized by Zhdanov in such "literary-critical" expressions: "The tradesman and vulgar", the "non-counseling writer", "Paktochny and Indebidity", "turns inside out his duties and low dubber", "Unprincipled and happy-free literary bully".

About A. Akhmatova said that the range of her poetry was "limited to misery", her work "can not be tolerant on the pages of our magazines", that, "besides harm", the works of this not that "nuns", not the "harlot" Nothing can give our youth.

Zhdanov has an extreme literary-critical vocabulary - the only argument and tool "Analysis". The rude tone of literary teachings, elaboration, persecution, prohibitions, soldier intervention in the work of artists was justified by the dictatorship of historical circumstances, extremely experienced situations, constant exacerbation of class struggle.

Socialist realism is bureaucratically used as a separator separating "permitted" ("ok") art from "unauthorized" ("Sun"). Because of this, the diversity of domestic art was rejected, in the periphery of artistic life, or even abhorring neoromanthism (tale A. Green "Scarlet Sails", painting A. Rylov "in the blue space"), Noviodalistic, events, humanistic art ( M. Bulgakov "White Guard", B. Pasternak "Dr. Zhivago", A. Platonov "Kotlovan", sculpture S. Konenkova, P. Korina painting), Realism of memory (Painting R. Falk and Graphics V. Favorsky), State poetry The Spirit of Personality (M. Tsvetaeva, O. Mandelshtam, A. Akhmatova, later I. Brodsky). The story put everything in its place and today it can be seen that it is these, those who are rejected by the official culture of the work and constitute the essence of the artistic process of the Epoch and are its main artistic achievements and aesthetic values.

The artistic method as historically determined type of figurative thinking is determined by three factors: 1) reality, 2) the worldview of artists, 3) artistic and thought material from which they proceed. The figurative thinking of artists of socialist realism was based on the vital basis accelerated in its development of the reality of the XX century, on the ideological basis of the principles of historicism and a dialectical understanding of being, based on the realistic traditions of Russian and world art. Therefore, with all its tendentiousness, socialist realism, in accordance with the realistic tradition, aims to create a surround, aesthetically multicolored character. Such, for example, the character of Grigory Melekhov in the novel "Quiet Don" M. Sholokhov.

The fourth stage (1956--1984) is the art of socialist realism, claiming the historically active personality, began to think about her self-valued meaning. If the artists did not directly hurt the power of the party or the principles of socialist realism, the bureaucracy suffered them if they served - awarded. "And if not - so there is no": B. Pasternak's injury, "bulldoz" acceleration of the exhibition in Izmailov, the study of artists "at the highest level" (Khrushchev) in Manege, arrest I. Brodsky, expulsion A. Solzhenitsyn ... - "Stages of the big way" party leadership art.

During this period, the authorized definition of socialist realism has completely lost credibility. Pre-ordered phenomena began to increase. All this affected the artistic process: he lost the landmarks, "vibration" appeared in it, on the one hand, the proportion of artistic works and literary-critical articles of the anti -umanist and nationalist orientation, on the other hand, there were works of apocryphic-dissident and uniform democratic content. .

Instead of the lost definition, it is possible to give the following, reflecting the features of the new stage of literary development: Socialist realism - method (method, tool) of constructing a fiction reality and the corresponding artistic direction that choose the social and aesthetic experience of the twentieth century, carrying the artistic concept: the world is not perfect, "We must first remake the world, you can challenge"; Personality should be socially active in a violent change in the world.

In this person, self-consciousness is awakened - the feeling of their self-profit and protest against violence (P. Niline "cruelty").

Despite the continued bureaucratic intervention in the artistic process, despite the continuing support on the idea of \u200b\u200bviolent transformation of the world, the life impulses of reality, the powerful artistic traditions of the past contributed to the emergence of a number of valuable works (the story of Sholokhov "The Fate of Man", films M. Romma "Ordinary Fascism" and " Nine days of one year, "M. Kalatozova" Fly cranes ", Chukhraya" Forty-first "and" Ballad about a soldier ", S. Smirnova" Belorussky Station "). I note that especially many bright and remaining in the history of works were devoted to the Patriotic War against the Nazis, which is also explained by the real heroic of the era, and the high civilian patriotic pathos that engulfed the whole society during this period, and the fact that the main conceptual installation of socialism (creation of history By violence) in the war years coincided with a vector of historical development, and with popular consciousness, and in this case did not contradict the principles of humanism.

Starting from the 60s. The art of socialist realism approves the relationship of a person with a broad tradition of the national being of the people (works by V. Shukshina and Ch. Aitmatov). In the first decades of its development, Soviet art (Sun. Ivanov and A. Fadeev in the images of Far Eastern Partizan, D. Furmanov in the image of Chapaeva, M. Sholokhov in the image of Davydov) captures images of people escaping from the traditions and life of the old world. It would seem that there was a decisive and irrevocable breakdown of invisible threads that bind the personality with the past. However, art 1964--1984. Already paying increasing attention to how the features are associated with centuries-old psychological, cultural, ethnographic, household, ethical traditions, because it turned out that a person, in a revolutionary rush, broken with the national tradition, is deprived of the soil for socially appropriate, humane life (h . Aitmatov "White Steamer"). Without communication with the national culture, the personality turns out to be empty and destructively cruel.

A. Platonov put forward the "advanced" time of the art formula: "Without me, the people are not complete." This is a wonderful formula - one of the highest achievements of socialist realism at its new stage (despite the fact that this provision was put forward and artistically proven by the outcast of socialism - Platonov, it could only grow in places fertile, in some places, and in general contradictory soil of this artistic direction). The same thought about the merger of a person's life with the life of the people sounds in the artistic formula of Mayakovsky: the man "the drop is poured with the masses." However, the new historical period is felt in focusing by Platonic self-concrete identity value.

The history of socialist realism instructively demonstrated that in art it is important not adapter, and the artistic truth, as if bitter and "uncomfortable" it was. The party leadership, who served him criticism and some postulates of socialist realism demanded from the works of "Artistic Pravda", which coincided with a momentum conjuncture that corresponded to the tasks set by the party. Otherwise, the work could prohibit and throw away from the artistic process, and the author was subjected to persecution or even urastricism.

History shows that "prohibitors" remained after her board, and the prohibited work was returned to it (for example, A. Twardovsky's poems "on the right of memory", "Terkin on that light").

Pushkin said: "Grand Mlat, fraction of glass, aged Bulat". In our country, the terrible totalitarian force "crushed" the intelligentsia, turning some in the basemen, others in the drunks, third in conformists. However, in some, the deep artistic consciousness, combined with tremendous life experiences. This part of the intelligentsian (F. Iskander, V. Grossman, Yu. Dombrovsky, A. Solzhenitsyn) created deep and uncompromising works in the most difficult circumstances.

Even more resolutely, claiming the historically active person, the art of socialist realism first begins to realize the mutuality of the process: not only a person for history, but also a story for the person. Through the crackling slogans of the service "Happy future" begins to break through the idea of \u200b\u200bhuman intrinsicness.

The art of socialist realism in the spirit of late classicism continues to approve the priority of the "common", state-owned "private", personal. Continues to be preached by the inclusion of the individual in the historical creativity of the masses. At the same time, in the novels V. Bykov, Ch. Aitmatova, in the films T. Abladay, E. Klimov, performances A. Vasilyeva, O. Efremova, Tovstonogova not only sounds familiar to socialist realism the topic of personality responsibility to society, but also There is a topic that prepares the idea of \u200b\u200b"restructuring", the topic of the responsibility of society for the fate and happiness of man.

Thus, socialist realism comes to self-denial. In it (and not only outside it, in laid and underground art), the idea begins to sound: a person is not fuel for history, which gives energy for abstract progress. The future is constructed by people for people. A person must give himself to people, selfish closure deprives life of meaning, turns it into absurdity (nomination and approval of this idea - the merit of the art of socialist realism). If the spiritual growth of a person is outside the society is fraught with degradation of the personality, then the development of society outside and besides a person, contrary to his interests, and for the person, and for society. These ideas after 1984 will become a spiritual foundation of restructuring and publicity, and after 1991 - democratization of society. However, the hopes for restructuring and democratization came true not completely. The relatively soft, stable and socially concerned regime of a Brezhnevsky type (totalitarianism with an almost human face) was replaced by corrupt unstable terry democracy (oligarchy with an almost criminal person), an involuntary section and a transmission of public property, and not the fate of the people and the state.

Just as the era of the revival of the slogan of freedom "Do what you want!" He led to the crisis of the Renaissance (for not everyone wanted to do good) and artistic ideas that prepared a restructuring (everything for a person) turned out to be crisis and restructuring, and all society, because bureaucrats and democrats found people only themselves and some of themselves like; By party, national and other group grounds, people were divided into "ours" and "not ours."

The fifth period (the mid-80s - 90s) is the end of socialist realism (he did not survive socialism and Soviet power) and the beginning of the pluralistic development of domestic art: new trends have developed in realism (V. Makanin), social art appeared (Melamim, Komar), Conceptualism (D. Privi) and other postmodern directions in the literature and in painting.

Today, democratically and humanistically oriented art acquires two opponents, pushing and destroying the highest humanistic values \u200b\u200bof humanity. The first opponent of new art and new forms of life is social indifference, the egocentricism of the person, celebrating the historical liberation from the state control and has developed all the obligations to society; The korestolubia of neophytes of a "market economy". The other opponent is the Levatsko-Lumpen extremism of disadvantaged self-dedicated, corrupt and stupid democracy, forcing people to look around for the communist values \u200b\u200bof the past with their herld collectivism destroying the personality.

The development of society, its improvement should go through a person, in the name of personality, and self-concrete personality, opening social and personal egoism, should be involved in the life of society and develop in harmony with it. This is a reliable landmark for art. Without approval of the need for social progress, literature is degenerate, but it is important that progress is not contrary to and not at the expense of a person, but in the name of him. A happy society is the society in which the story moves through the person's bed. Unfortunately, this truth turned out to be unknown or uninteresting or the communist builders of a distant "bright future" or shock therapists and other builders of the market and democracy. It is not very close to this truth and Western defenders of the rights of the individual who have fallen bombs to Yugoslavia. For them, these rights are a tool to combat opponents and rivals, and not a real action program.

The democratization of our society and the disappearance of the party guardianship contributed to the fact that works were published, the authors of which seek to artistically comprehend the history of our society in all its dramatism and tragedy (especially significantly in this regard, the work of Alexander Solzhenitsyn "Gulag Archipelag").

The idea of \u200b\u200baesthetics of social realism about the active impact of literature on reality turned out to be correct, but heavily exaggerated, in any case, artistic ideas do not become "material force." Igor Yarkvich in the article published on the Internet "Literature, aesthetics, freedom and other interesting things" writes: "Long until 1985, in all the liberal-oriented parties sounded like a motto:" If you publish the Bible and Solzhenitsyn tomorrow, then we will not be afraid of the day in another country . The domination over the world through literature - this idea warmed the heart not only the secretaries of the joint venture. "

It is thanks to the new atmosphere after 1985, Boris Pilnyak, "Dr. Zhivago" Boris Pasternak, "Kotlovan" Andrei Platonova, "Life and Fate" of Vasily Grossman and other works, which remained outside the circle of reading Soviet man. New films "My friend Ivan Lapshin" appeared, "Plumbum, or a dangerous game", "is it easy to be young", "taxi-blues", "Do not send us a mantle." Films of the last one and a half decades of the twentieth century. The pains speak about the tragedies of the past ("repentance"), express concern for the fate of the younger generation ("courier", "Luna Park"), tell about the hope for the future. Some of these works will remain in the history of artistic culture, and they all pave ways to new art and a new understanding of the fate of the human and the world.

Perestroika created a special cultural situation in Russia.

Culture dialogic. Changes to the reader and its life experience lead to a change in literature, and not only born, but also existing. Its content is changing. "Fresh and current arts" reader reads literary texts and finds in them previously unknown meaning and value. This law of aesthetics is particularly clearly manifested in turning era, when the life experience of people changes dramatically.

The turning time of the restructuring has affected not only on social status and the ranking of literary works, but also in the state of the literary process.

What is this condition? All the main directions and the flow of domestic literature have undergone a crisis, because the ideals offered by them, positive programs, options, the world concepts of the world were untenable. (The latter does not exclude the artistic importance of individual works created by most often the price of the writer's waste from the concept of direction. An example of this is the relationship of V. Astafieva with a rustic prose.)

Literature of a bright present and the future (socialist realism in its "pure form") in the past two decades left culture. The crisis of the very idea of \u200b\u200bbuilding communism deprived this direction of the ideological foundation and goals. One "Archipelago Gulag" is enough for all works, showing life in pink light, discovered their faith.

The newest modification of socialist realism, the product of his crisis was the National Bolshevik course of literature. In state-patriotic form, this direction is represented by the work of Prokhanov, famous for the export of violence in the form of invasion of Soviet troops to Afghanistan. The nationalist form of this area can be found in works published by the magazines "Young Guard" and "Our Contemporary". The collapse of this area is clearly visible on the historic background of the flame, twice (in 1934 and 1945) of the burning Reichstag. And no matter how much this direction has developed, historically it is already refuted and alien to world culture.

I have already noted above that during the construction of a "new person" weakened, and sometimes lost relations with the deep layers of national culture. It turned into many disasters for the peoples over which this experiment was held. And trouble from trouble was the willingness of a new person to interethnic conflicts (Sumgait, Karabakh, Osh, Fergana, South Ossetia, Georgia, Abkhazia, Transnistria) and civil wars (Georgia, Tajikistan, Chechnya). Anti-Semitism was supplemented by the rejection of "persons of Caucasian nationality." The rights of Polish intellectual Mihnik: the highest and last stage of socialism - nationalism. Another sad confirmation and a non-center divorce in Yugoslavsky and peaceful - in Czechoslovaki or Belovezhsky.

The crisis of socialist realism gave rise to a literary course of socialist liberalism in the 70s. The idea of \u200b\u200bsocialism with a human face was the support of this flow. The artist produced a hairdresser: from the face of socialism, the Stalin's mustache was fragmented and the Leninist beard was stuck. According to this scheme, M. Shatrov's plays were created. This course of artistic means was forced to solve political problems when other funds were closed. Writers made makeup on the face of barracks of socialism. The tents gave a liberal in the time the interpretation of our history, the interpretation capable and satisfying, and enlighten the highest superiors. Many spectators were admired by the fact that the hint of Trotsky was given, and it was already perceived as the discovery, or the hint it was said that Stalin was not quite good. This was perceived with the delight of our half-admonished intelligentsia.

In the key of socialist liberalism and socialism with a human face, the plays of V. Rosova were written. His young hero crashes furniture in the house of the former Chekist, removed from the wall by the father's Budennovskaya checker, which was once chosen by the White Guard Conter. Today, such temporarily progressive works from the semi-trial and moderately attractive turned into false. Short was the century of their triumph.

Another course of Russian literature - lumpen-intellectual literature. Lumpen-Intelligent - a training that knows something that has no philosophical view of a world who does not feel personal responsibility and accustomed to thinking "freely" within the framework of cautious Front. The lipen-writer owns the borrowed created by the masters of the past, the artistic form, which gives his work some attractiveness. However, to apply this form to the real problems of being is not given: His consciousness is empty, he does not know what to tell people. The exquisite form of lumine-intellectuals is used to transmit highly artistic thoughts about anything. Often it happens to modern poets that own poetic techniques, but devoid of understanding modernity. Lumen-writer puts forward as a literary hero his own alter ego, a man of empty, wicked, small Skodnik, capable of "grab, which lies badly," but not able to love, not able to give a woman happiness, nor become happy. Such, for example, the prose M. Roshchina. Lumpen-intellectual can not be a hero, nor the Creator of High Literature.

One of the decay products of the socialist realism was the non-critical naturalism of the Kaltedin and other exposurers of the "lead abominations" of our army, cemetery and urban life. It is long-matter type of pomoalovsky, only with less culture and smaller literary abilities.

Another manifestation of the crisis of socialist realism was the "camp" course of literature. Unfortunately, many

the references of the "camp" literature were at the level of the above-mentioning and deprived of philosophical and artistic greatness. However, since the speech in these works was about the unfamiliar to the wide reader of life, its "exotic" details caused great interest and works that have passed these details, turned out to be socially significant, and sometimes artistically valuable.

The literature of Gulag contributed a huge tragic life experience of camp life to the people's consciousness. This literature will remain in the history of culture, especially in such higher manifestations as the works of Solzhenitsyn and Shalamov.

Neoamigrant literature (V. Winovich, S. Dovlatov, V. Aksenov, Y. Aleshkovsky, N. Korzhavin), who lives in Russia, made a lot for the artistic understanding of our being. "Face to face person cannot see" and on an emigrant distance writers really manage to see a lot of important in particularly bright light. In addition, neo-Emgrant's literature has its own powerful Russian emigrant tradition, which includes Bunin, Kubrin, Nabokov, Zaitsev, Gazdanov. Today, all emigrant literature has become part of our Russian literary process, part of our spiritual life.

At the same time, there were bad trends in the Neoamigrant wing of the Russian literature: 1) the division of Russian writers on the ground: left (\u003d decent and talented) - did not leave (\u003d dishonest and meditarian); 2) There was a fashion: upheld in the cozy and full of distant, give categorical advice and evaluations of events, from which the emigrant life - to be almost does not depend, but which threaten the lifetime of citizens in Russia. In such "outsiders' councils" (especially when they are categorical and in the underwater flow contain the intention: you do not understand the simplest things in Russia there) there is something immodest and even immoral.

All good in the Russian literature was born as something critical, opposing the existing order of things. This is normal. Only in the totalitarian society and the birth of cultural values \u200b\u200bis possible. However, the simple negation, the simple criticism of the existing does not give out to the highest literary achievements. Higher values \u200b\u200bappear together with the philosophical vision of the world and intelligible ideals. If Leo Tolstoy simply talked about the abuse of life - he would be Gleb Ospensky. But this is not a global level. Tolstoy developed the artistic concept of non-resistance of evil violence, internal self-improvement of the person; He argued that you can only destroy violence, you can build with love, and it should be transformed first of all yourself.

This concept of Tolstoy predicted the twentieth century., And, if he had listened to her, she would prevent the distress of this century. Today she helps them understand and overcome. The concepts of such a scale covering our era and leaving for the future, we lack. And when it appears, we will have new literature. She is on the way, and the guarantee of this is the traditions of Russian literature and the tragic life experience of our intelligentsia, found in camps, in queues, at work and in the kitchen.

The vertices of Russian and world literature "War and Peace", "Crime and Punishment", "Master and Margarita" behind us and ahead. The fact that we had Ilf and Petrov, Platonov, Bulgakov, Tsvetaeva, Akhmatova, gives confidence in the great future of our literature. A unique tragic life experience, which in the sufferings found our intelligentsia, and the great traditions of our artistic culture may not lead to a creative act of creating a new artistic world, to the creation of true masterpieces. No matter how much the historical process goes and whatever the kickbacks happen, a country having a huge potential will historically come out of the crisis. Artistic and philosophical achievements await us in the near future. They will come before economic and political achievements.

"Socialist realism" is the term of the communist theory of literature and art, depending on purely political attitudes, with 1934 mandatory for Soviet literature, literary criticism and literary studies, as well as for all artistic life. The first of this term used in 20.5.1932 I. Grona, Chairman of the Organizing Committee Union of Writers of the USSR (The corresponding party decree of 23.4.1932, "Literary Gazeta", 1932, 23.5.). In 1932/33, the Grona and Head of Fiction Sector of the Central Committee of the CPSU (b) V. Kirpotin was strongly promoted by this term. He got the inverse force and was distributed to the former works of Soviet writers recognized by party criticism: they all became examples of socialist realism, starting with the novel of Gorky "Mother".

Boris Gasparov. Socialist realism as a moral problem

The definition of socialist realism given in the first charter of the Union of Writers of the USSR, with all its ambiguity remained the initial point for later interpretations. Socialist realism was defined as the main method of Soviet fiction and literary criticism, "which requires the artist of the truthful, historically-specific image of reality in its revolutionary development. Moreover, the truthfulness and historical specificity of the artistic image of reality should be combined with the task of ideological alterations and education in the spirit of socialism. " The corresponding section of the Charter of 1972 reads: "The socialist realism based on the principles of party and nationality, a truthful, historically concrete image of reality in its revolutionary development is a tried creative method of Soviet literature. Socialist realism provided the Soviet literature outstanding achievements; Having an inexhaustible wealth of art and styles, it opens up all the possibilities for manifestation of individual characteristics of talent and innovation in any genres of literary creativity. "

Thus, the basis of socialist realism lies an idea of \u200b\u200bliterature as an instrument of ideological impact KPSS, limiting it to the tasks of political propaganda. Literature should help the party in the struggle for the victory of communism, on the wording attributed to Stalin, writers from 1934 to 1953 were considered "engineers of human souls."

The principle of party parties demanded a refusal to the empirically observed truth of life and the replacement of its "party truth". The writer, critic or literary critic was not to write something that he himself found out and understood, but the party was announced "typical."

The requirement of "historically concrete image of reality in revolutionary development" meant the adaptation of all the phenomena of the past, present and future to the teaching historical materialism In his last, at that time a party edition. For example, Fadeev I had to rewrite the novel "Young Guard", who received the Stalin Prize, since the rear date, on the basis of educational and propaganda considerations, the party wished that with greater clarity appeared allegedly a guiding role in the partisan movement.

The image of modernity "in its revolutionary development" implied the refusal to describe an imperfect reality for the expected ideal society (proletarian paradise). One of the leading theorists of the socialist realism of Timofeev wrote in 1952: "The future is disclosed as tomorrow, who has already born in today's day and illuminating it with his light." Of these, alien implementations, the prerequisites arose an idea of \u200b\u200bthe "positive hero", which was to serve as a model as a builder of a new life, an advanced person who was not subject to any doubts, and it was expected that this ideal character of the Communist Communist will become the main character of the works of socialist realism. In accordance with this, socialist realism demanded that the work of art is always built on the principles of "optimism", which should reflect the communist faith in progress, as well as preventing the feeling of depression and misfortune. Description of lesions in the Second World War and in general, human suffering contradicted the principles of socialist realism or, at least, should have been transferred to the depiction of victories and positive parties. In the sense of the internal contradictionability of the term, the name of the play of the Vishnevsky "optimistic tragedy" is indicative. Another commonly used in connection with social realism The term is "revolutionary romance" - helped to cherish care from reality.

In the mid-1930s, "Natopolis" joined the requirements of socialist realism. Returning to the tendencies that exit among the part of the Russian intelligentsia of the second half of the 19th century, it was understood as the understanding of the literature for the simple people and the use of folk speech revolutions and proverbs. Among other things, the principle of nation served the suppression of new forms of experimental art. Although the socialist realism, in theory, did not know the national borders and, in accordance with the Messianic faith in the conquest of the communism of the whole world, after World War II, it was exposed to the countries of the Soviet sphere of influence, nevertheless, it was also patriotism to its principles, that is, limited in Main USSR as a place of action and underlining the superiority of the entire Soviet. When the concept of socialist realism was applied to Western or Developing Writers, there was a positive assessment of their communist, prosecutor orientation.

In essence, the concept of socialist realism refers to the content side of the verbal work of art, and not to his form, and this led to the fact that the formal tasks of art were among Soviet writers, critics and literary critics in deep disregard. Since 1934, the principles of socialist realism with varying degrees of perseverance were interpreted and needed to fulfill. Evasion from following them could entail deprivation of the right to be called the "Soviet writer", an exception to the joint venture, even imprisonment and death, if the image of reality was out of "its revolutionary development", that is, if critical in relation to the existing procedures was recognized as hostile and appreciative Damage to the Soviet system. Criticism of existing orders, especially in the forms of irony and satire, alien to socialist realism.

After the death of Stalin, many performed with an indirect, but sharp criticism of socialist realism, entangled on him the blame for the decline of Soviet literature. Appears in the years khrushchev thaw Requirements of sincerity, vital conflicts, images of doubting and suffering from people, works, the union of which would not be obviously known, put forward from the well-known writers and critics and testified that the socialist realism is alien to reality. The more fully these requirements were carried out in some works of the period thawed, the more energetically the conservatives were attacked, and an objective description of the negative phenomena of Soviet reality was the main reason.

Parallels to socialist realism are not in realism of the 19th century, but rather, in the classicism of 18 V. The blurry of the concept contributed to the occurrence from time to the time of pseudodiscusses and the unbarrous growth of literature on socialist realism. For example, in the early 1970s, the question turned out, in which relationships are such varieties of socialist realism, as "socialist art" and "Democratic art". But these "discussions" could not eclipse the fact that the socialist realism was the phenomenon of an ideological order, obeying politics, and that he was not supported in the main basis of the discussion, as well as the leading role of the Communist Party in the USSR and the countries of "People's Democracy".