Soviet art during the Great Patriotic War. Art during the Great Patriotic War

Since the beginning of the Great Patriotic War, artists are taking an active part in the fight against the enemy. Some of them went to fight at the front, others - in partisan detachments and the people's militia. Between battles, they managed to publish newspapers, posters, cartoons. In the rear, the artists were propagandists, they organized exhibitions, they turned art into a weapon against the enemy - no less dangerous than the real one. During the war, many exhibitions were organized, among them two all-Union ("The Great Patriotic War" and "Heroic Front and Rear") and 12 republican. In Leningrad, squeezed into a ring of siege, the artists published the magazine of lithographic prints "Battle Pencil" and, together with all Leningraders, showed the whole world unparalleled courage and fortitude.

As in the years of the revolution, the poster occupied the first place in the graphics of the war years. Moreover, two stages in its development can be clearly traced. In the first two years of the war, the poster had a dramatic, even tragic sound. Already on June 22, the Kukryniksy poster appeared "We will mercilessly crush and destroy the enemy!" He unleashed popular hatred on the invading enemy, demanded retribution, called for the defense of the Motherland. The main idea was to repulse the enemy, and it was expressed in a harsh, laconic pictorial language, regardless of creative individuals. Domestic traditions were widely used. So, "Motherland is calling!" I. Toidze (1941), with an allegorical female figure against the background of bayonets, holding the text of the military oath, and in composition and color (red, black, white) echoes Moorov's "Have you signed up as a volunteer?" The poster of V.G. Koretsky "Warrior of the Red Army, save!" (1942), which also used the traditions of the revolutionary years - photomontage, as A. Rodchenko did. Not only was there not a single soldier, but, it seems, not a single person at all, who would not have been pierced by the tragic power of this image of a woman who in horror hugged a child to her, at whom a bayonet with a swastika was directed. The poster became, as it were, an oath of every fighter. Often, artists resorted to the images of our heroic ancestors (Kukryniksy "We fight great, we stab desperately, Suvorov's grandchildren, Chapaev's children", 1941). "Free", "Revenge!" - they call out images of children and old people from the poster sheets.

At the second stage, after a turning point in the course of the war, both the mood and the image of the poster change. B.C. Ivanov depicts a soldier against the background of a crossing of the Dnieper, drinking water from a helmet: “We drink the water of our native Dnieper. Let's drink from the Prut, Neman and Bug! " (1943). Optimism and folk humor permeate L. Golovanov's poster "Let's get to Berlin!" (1944), whose character is close to Vasily Terkin.

From the first days of the war, following the example of "Windows of ROSTA", "Windows TASS" began to appear. Crafted by hand — stenciled onto paper — in vibrant, bold colors, they instantly responded to all major military and political events. Among the masters of the older generation, M. Cheremnykh, B. Efimov, Kukryniksy, who also worked a lot in magazine and newspaper caricatures, collaborated in "Windows TASS". The whole world was bypassed by their famous caricature "I lost the ring ... (and there are 22 divisions in the ring)" - to defeat the Germans at Stalingrad (1943). The political administration of the Western Front published a special magazine Front-line Humor. Its artistic director until 1942 was N. Radlov, and from 1942 until the end of the war - V. Goryaev. V. Lebedev made drawings for poems by S. Ya. Marshak.

Like the Leningrad "Battle Pencil", Georgian artists began to publish a series of small propaganda sheets entitled "Bayonet and Pen", in which the literary text played an important role. Among the artists L.D. Gudiashvili, among the poets - Tabidze. Similar propaganda leaflets were executed by Ukrainian artists and thrown into the occupied territory. Georgian and Ukrainian propaganda graphics have mainly a heroic and dramatic flavor, Azerbaijani artists worked in a satirical manner according to the tradition that had developed before the war.

During the war years, significant works of easel graphics appeared, and the variety of impressions gave rise to a variety of forms. These are quick documentary-accurate sketches of the front, different in technique, style and artistic level. These are portrait drawings of soldiers, partisans, sailors, nurses, commanders - the richest chronicle of the war, later partially translated into engraving (lithographs by Vereisky, engravings by S. Kobuladze, watercolors by A. Fonvizin, drawings by M. Saryan, etc.). These are landscapes of war, among which a special place is occupied by images of besieged Leningrad (gouaches by Y. Nikolaev and M. Platunov, watercolors and pastels by E. Belukha and S. Boim, etc.). Finally, there are whole series of graphic sheets on one topic. This is how D. Shmarinov's graphic series "Let's not forget, we will not forgive!" (charcoal, black watercolor, 1942), which arose from sketches that he made in the newly liberated cities and villages, but was finally completed after the war: conflagrations, ashes, crying over the bodies of the murdered mother and widow - all fused into a tragic artistic image.

Agitation poster. Red army warrior save

The series of L.V. Soifertis "Sevastopol" (1941-1942), "Crimea" (1942-1943), "Caucasus" (1943-1944). Soifertis depicts not the tragic sides of the war, but only everyday life, the everyday life of the war, which he, the Black Sea sailor, was well aware of. Painted in black watercolors, Soyfertis's graceful drawings are full of humor and keen observation. Made truthfully, but in a different vein than Shmarinov's, they glorify the heroism of the Soviet people. Sheet "Once upon a time!" (1941), for example, depicts a sailor leaning on a billboard, for whom two boys cleverly clean their boots in a short respite between battles.

"Leningrad in the days of the blockade and liberation" - this is the name of a series of more than three dozen autolithographs by A.F. Pakhomov (1908-1973), which he began in 1941 and completed after the war. Pakhomov himself survived the blockade, and his pages are full of tragic feelings, but also admiration for the courage and will of his compatriots. The whole world went around his sheet "On the Neva for water", depicting wrapped girls with huge eyes, extracting water from the Neva with their last efforts.

The historical theme occupies a special place in the military graphics. It reveals our past, the life of our ancestors (engravings by V. Favorsky, A. Goncharov, I. Bilibin). Architectural landscapes of the past are also presented.

The painting of the war years also had its stages. At the beginning of the war, it was basically a fixation of what he saw, not pretending to generalization, almost a hasty "pictorial sketch". Artists wrote on the basis of living impressions, and there was no shortage of them. What was conceived did not always work out, the paintings lacked depth in the disclosure of the topic, the power of generalization. But there has always been great sincerity, passion, admiration for people who steadfastly withstand inhuman tests, the directness and honesty of artistic vision, the desire to be extremely conscientious and accurate.

Agtplakat. Let's get to Berlin

The speed of a sharp-sighted sketch, etude did not exclude the seriousness and depth of thought. Sketches of artists who found themselves in besieged Leningrad - V. Pakulin, N. Rutkovsky, V. Raevskaya, N. Timkov and others - are invaluable pictorial documents to this day (Y. Nikolaev "For Bread", 1943; V. Pakulin "Embankment of the Neva. Winter", 1942). During the Great Patriotic War, many young artists came forward, they themselves were participants in the battles near Moscow, the great battle for Stalingrad, they crossed the Vistula and Elba and took Berlin by storm.

Of course, first of all, the portrait is developing, because the artists were shocked by the courage, moral height and nobility of the spirit of our people. At first, these were extremely modest portraits, only capturing the features of a man of the wartime - Belarusian partisans F. Modorov and soldiers of the Red Army V. Yakovlev, portraits of those who fought for victory over fascism in the rear, a whole series of self-portraits. Ordinary people, forced to take up arms, showed the best human qualities in this struggle, artists sought to capture. Later, ceremonial, solemn, sometimes even pathetic images appeared, such as, for example, the portrait of Marshal G.K. Zhukov by P. Korin (1945).

P. Konchalovsky worked a lot in this genre during the war years. He creates optimistic, life-loving characters in his usual decorative, color-rich manner. But in the Self-portrait of 1943, although it is executed in accordance with the techniques familiar to the artist, I would like to note the special insight of the look on the face full of heavy meditation, as if responding to the most difficult time that the country is going through. A remarkably subtle in mood portrait of the famous art critic N.N. Punina writes to V.M. Oreshnikov (1944).

The portraits of the intelligentsia painted by M. Saryan during the war years (academician I.A.Orbeli, 1943; composer A.I. Khachaturian, 1944; poet and translator M. Lozinsky, 1944; writer M. Shaginyan, 1944, and etc.).

During the war years, Saryan was also engaged in landscape and still life. It should be noted one special still life, which he called "Armenian soldiers, participants in the Patriotic War" (1945), depicting the fruits and flowers of Armenia: as a gift and gratitude to the belligerents and conquerors, and as a memory of those who died far from their homeland, and as a hope for a future peaceful life ...

In 1941-1945. both the everyday life and the landscape genre are developing, but they are always connected in one way or another with the war. An outstanding place in the formation of both of them during the war years belongs to A. Plastov. Both genres are, as it were, united in his painting The Fascist Flew by (1942): young birches, gray sky, distant fields familiar to each of us. Against the background of this peaceful autumn landscape, the atrocity of a fascist pilot who killed a shepherd boy and the cows he grazed seems even more monstrous. They say that the audience froze in front of this picture when it was exhibited at the exhibition "The Great Patriotic War" in 1942. Plastov's brushes also belong to very bright, heartfelt landscapes of our homeland. In the last year of the war, A. Plastov painted a beautiful painting "The Harvest" (1945, Tretyakov Gallery): a serious and tired old man and children dine at the compressed sheaves — those who stayed in the rear and who fed the soldiers. Plastov's painting is juicy, his style of painting is wide, generous, the landscape does not have that mournful, nagging note that sounds in the previous picture.

During the war years, the oldest masters (V. Baksheev, V. Byalynitsky-Birulya, N. Krymov, A. Kuprin, I. Grabar, P. Petrovichev, etc.) and younger ones, like G. Nyssa, work in the landscape genre. who created several expressive, very expressive canvases. Among them is “To protect Moscow. Leningradskoe highway "(1942). Exhibitions of landscape painters during the war years speak about their understanding of the landscape in a new image, belonging to the harsh wartime. So, these years have preserved almost documentary landscapes, which eventually became a historical genre, such as "Parade on Red Square on November 7, 1941" by K.F. Yuona (1942), which captured that memorable day for all Soviet people, when the soldiers went into battle straight from the snow-covered area - and almost all of them died.

Laconicism, simplicity of pictorial means, but also annoying straightforwardness distinguish the plot paintings of 1941-1942. Characteristic in this respect is the painting by Sergei Gerasimov "Mother of the Partisan" (1943), which was highly appreciated by contemporaries rather due to the relevance of the topic than for its artistic merit. Gerasimov develops a "conflict line" after Ioganson, but does it even more illustratively.

The female figure is read as a light spot on a dark background, while the figure of the fascist interrogating her appears as a dark spot on a light one, and this should, according to the author, sound symbolic: a woman, as it were, grown into her native land, but also like a monument towering over the smoke of a conflagration, embodies the power of people's pain, suffering and invincibility. This is expressed quite clearly, succinctly, but also illustratively "literary". The figure of the tortured son seems completely redundant. And so the thought is clear and perfectly understandable.

The painting by A.A. Deineki "Defense of Sevastopol" (1942), created in the days when there was "battle ... holy and right, mortal battle not for the sake of glory, for the sake of life on earth." The theme itself is the reason for the huge emotional impact of the picture. Although the viewer knows that Sevastopol was abandoned by our troops, these sailors fighting to the death are perceived as victors. As a result, they became them. Deineka conveys the terrible tension of the battle not with illusory details, the realities of the situation, but with certain, purely pictorial techniques, hyperbolization. Cutting off a row of bayonets with the edge of the picture, the artist creates the impression of an avalanche of enemy troops, although he depicts only a small group of fascists rushing to the shore, the movements of the figures are deliberately swift, the angles are sharp. The fierce battle between the “saint and the rightist” is conveyed primarily by color. The sailors' blouses are dazzlingly white, their figures are readable against a dark background, the figures of the Germans are dark against a light background. It is fairly noted that the faces of the sailors are open to the viewer, we see their expressions, such as the face of a sailor in the foreground, preparing to throw a bunch of grenades at the enemy. His figure is a symbol of a fierce battle. We do not see the faces of the enemies. With one coloristic technique, the picture does not have that straightforwardness that is in "Mother of the Partisan".

Not only the color, but also the composition is built on contrast. In the background, a mortally wounded sailor is contrasted with the figure of a killed German. The third plan is a bayonet battle, where the fighters met in the last deadly battle. Deinek's heroic content reveals through the main, ignoring the secondary details. The poster-literary, but also intensely expressive artistic language creates the image of a fierce battle.

Deinecke also played a major role in establishing a new, military landscape, marked by a keen sense of the times ("Outskirts of Moscow. November 1941"). The named landscape, depicting deserted Moscow streets, barred with gaps and steel "hedgehogs", conveys the unforgettable atmosphere of those terrible days when the enemy was rushing to Moscow and was at its doorstep.

It is significant that the spirit of war, permeated with one thought - about war - is sometimes conveyed by artists in the character of a simple genre painting. So, B. Nemensky depicted a woman sitting over sleeping soldiers, and called his work "Mother" (1945): she may also be a mother guarding the sleep of her own sons-soldiers, but this is also a generalized image of all the mothers of those soldiers who are fighting with the enemy.

Nemensky was one of the first to decisively abandon pathetic glorification in those difficult years for art. Through the ordinary, and not the exclusive, he portrays the daily feat of the people in this most bloody of all wars on earth. In fact, the programmatic work expresses the innovative role of the artist.

In the last years of the war, one of their best paintings was created by the Kukryniksy, referring to the image of antiquity - Sophia of Novgorodskaya as a symbol of the invincibility of the Russian land ("Flight of the Nazis from Novgorod", 1944-1946). Against the background of the majestic facade of the cathedral, wounded by shells, the scurrying arsonists seem to be pathetic, and the pile of twisted fragments of the monument "Millennium of Russia" cries out for revenge. The artistic flaws of this picture are redeemed by its sincerity and genuine drama.

In historical painting, images of the heroes of the glorious past of our Motherland appear, inspiring Soviet soldiers to fight the enemy, recalling the inevitability of death, the inglorious end of the conquerors. Thus, the central part of P. Korin's triptych is occupied by the tall figure of Alexander Nevsky, in armor, with a sword in hand against the background of Volkhov, St. Sophia Cathedral and a banner depicting the Savior Not Made by Hands (1942–1943, TG). Later, the artist will say: "I painted it in the harsh years of the war, wrote the unconquered proud spirit of our people, which" at the hour of judgment of its existence "rose to its full gigantic growth." The main thing for Korin is not the archaeological reliability of historical details, but the disclosure of the hero's spiritual essence, his dedication, which knows no barriers to victory. The right and left parts of the triptych - "Northern Ballad" and "Ancient Skaz" - are pictures about a courageous and mentally stable Russian man. But they are clearly weaker than the central part, it is rightly noted that the well-known "encryption" of the plot also harms them. The pictorial and plastic solution is typical for Korin: the forms are extremely generalized, the plastic of the figure is rigid, the contour is graphic, the color is built on local, contrasting combinations.

The oldest artist E.E. Lancer. N. Ulyanov paints a picture about the war of 1812 ("Loriston at the headquarters of Kutuzov", 1945). But in the historical genre of the war years, especially towards the end of the war, as well as in others, changes are outlined: the paintings become more complex, tend to multi-figured, so to speak, "developed drama." It is worth comparing in this sense the aforementioned laconic, majestic composition "Alexander Nevsky" with the canvas of A.P. Bubnov (1908-1964) "Morning on the Kulikovo field" (1943-1947) or with M. Avilov's painting "The Duel of Peresvet with Chelubey" (1943) to understand that “nationality” in a historical canvas is achieved not by the number of persons depicted.

Monumental painting, of course, had few opportunities during the war years. But even at this time of the most difficult tests, the art of "eternal materials", frescoes and mosaics, continued to exist and develop. It is significant that in besieged Leningrad, in the mosaic workshop of the Academy of Arts, mosaics for the subway are being assembled from Deineka's cardboard.

Despite the more difficult working conditions of the sculptor in comparison with the painter and graphic artist (special devices are needed for work, more expensive materials, etc.), Soviet sculptors from the first days of the war actively worked, participated in traveling exhibitions in 1941, and in exhibitions "The Great Patriotic War" (1942), "Heroic Front and Rear" (1944), etc.

In the sculpture of the war years, even more clearly than in painting, we will feel the priority of the portrait genre. Sculptors strive, first of all, to capture the image of a war hero, to make him true, devoid of external effect. The face of the pilot, Colonel I.L. Khizhnyak, who saved a train of ammunition under heavy fire, or the scarred face of Colonel B.A. Yusupov, who withstood a duel with enemy tanks, in the busts of V. Mukhina (both in plaster cast, 1942). “Our Patriotic War,” wrote V.I. Mukhina, gave birth to so many new heroes, gave an example of such a vivid and extraordinary heroism that the creation of a heroic portrait cannot but captivate the artist. Russian heroes of our ancient epic are resurrected in Soviet man and epic images live with him and among us ... "

The composition of her portraits is simple and clear, as well as clear plastic modeling. The main thing in the face is accentuated by the rich black and white play. So, the shadows thicken in the lower part of Khizhnyak's face, on the cheeks, on the cheekbones, increasing the concentration, severity and integrity of the image. There are no unnecessary details, even the image of the military order is placed on a stand. A more dramatic characterization is given in the portrait of N.N. Burdenko (gypsum, 1943), it is built on the contrast of inner emotionality and the iron will that restrains it. These portraits by Mukhina happily stand out for their simplicity and sincerity against the background of future false-heroic pompous decisions characteristic of so many masters, especially of the post-war period. But Mukhina herself has such works in the same wartime, in which she seemingly seeks to generalize her observations, to create a certain collective image of many patriots who fought the Nazis, but at the same time falls into a sugary idealization, as, for example, in Partizanka "(Gypsum, 1942), this" image of anger and intransigence to the enemy "," Russian Nika ", as she was nevertheless called in those years.

An important role was played by Mukhina's experiments with various modern materials, which she combines in one work, using their various textures and, most importantly, different colors (portrait of H. Jackson, aluminum, colored copper, etc., 1945). The artist, as it were, rediscovered the possibilities of using color in sculpture, although they have been known to mankind since ancient times. Mukhina's experiments in glass and her use of glass in sculpture are also important.

During the war years S. Lebedeva, who created no less significant images, worked in a different key, in different methods, with a completely different approach to the model. Her analytical mindset, thoughtfulness allow her to convey the tension of the model's inner life, high intelligence, shades of state of mind, as in the bust of A.T. Tvardovsky, a war correspondent in those years (gypsum, 1943). With a slight tilt of the head, opposed in movement to a turn of the shoulders, the sculptor skillfully, but not straightforwardly, accentuates the strength of his character, which allowed him to defend the position of a poet and a citizen until the end of his days.

In the sculpture of the so-called small forms, figurines, which developed mainly after the war, Lebedeva leaves unforgettably sharp, poetic images ("Sitting Tatlin", plaster cast, 1943-1944).

Sculptors of all republics and national schools work on the images of warriors (A. Sarkisyan in Armenia, Y. Nikoladze, N. Kandelaki in Georgia, etc.). Among these works, the image of N.F. Gastello of the Belarusian sculptor A. Bembel (bronze, 1943): a half-figure triangle with a hand thrown up on a support block - in this composition the artist captured the tragic and majestic moment of throwing a burning car onto an enemy train. The oldest sculptor V. Lishev, a student of Matveyev V. Isaev, works in besieged Leningrad.

Over time, as in painting, in a sculptural portrait the ideal, the sublimely heroic, often frankly idealized, prevails over the individual concrete. In this vein, makes portraits of the heroes of the Soviet Union N.V. Tomsky, an even more spectacularly romantic beginning is emphasized in the portraits of E.V. Vuchetich, it is enough to compare the portraits of General of the Army I.D. Chernyakhovsky both masters.

During the war, it was not possible to erect monuments. But it was during the days of the war that many sculptors had new ideas and projects. So, Mukhina is working on the monument to P.I. Tchaikovsky (staged near the Moscow Conservatory already in 1954, architect A. Zavarzin). Back in 1943, a monument to Major General M.G. Efremov, who died here in the first year of the war. The composition of the monument consists of five figures: in the center is General Efremov, who continues to fight mortally wounded when he and the surviving soldiers were surrounded by enemies from all sides. In this image, the sculptor did not avoid elements of narrative and illustrativeness, but truthfulness, sincerity, even passion in conveying the atmosphere of the last battle, in which people show so much courage, determine the artistic meaning of this monument.

After the war (1945-1949) Vuchetich executed the famous 13-meter bronze figure of a soldier with a child in one hand and with a lowered sword in the other for the grandiose memorial to the "Soviet Soldier-Liberator" in Treptower Park in Berlin (architect Ya.B. Belopolsky, etc.). The spatial architectural and sculptural composition in the park layout includes two alleys and a parterre with burials, ending with a mound with a mausoleum. At the beginning of the alleys leading to the mound, there is a figure of the Motherland made of gray granite on a pedestal made of polished red granite. Banners with bronze figures of kneeling warriors on the propylaea are made of the same material. The mausoleum is crowned with the figure of a warrior with a child in his arms - the central figure of the memorial. The appearance of such a monument immediately after the war was logical: it reflected the role of our state in the victory over fascism.

In 1941-1945, during the years of the great battle against fascism, the artists created many works in which they both expressed the entire tragedy of the war and glorified the feat of the victorious people.

“Soviet art during the Great Patriotic War "

Introduction…………………………………………………………………………………….3

Main part I:

Theater ……………………………………………………………………………………… 5

Painting ………………………………………………………………………………… .6

Sculpture …………………………………………………………………………… ... 8

Architecture ……………………………………………………………………………… .9

Music …………………………………………………………………………………… ..9

Cinema ……………………………………………………………………………………… .11

Literature ……………………………………………………………………………… ..15

Part II:

Conclusion ……………………………………………………………………………… .17

Appendix ……………………………………………………………………………… 18

References ……………………………………………………………………………… ..19

Introduction

No army in the world

was not as powerful as ours

art, our literature ...

V. I. Chuikov

(Marshal of the Soviet Union)

For most Soviet people, the war began unexpectedly. The political leadership was also in shock for several days. The war had to be fought after massive repressions in the army.

The Germans captured a huge territory, which included the Baltic states, Ukraine, Belarus, and the western part of Russia. The enemy reached the Volga and stood under the walls of Moscow.

Thanks to the incredible efforts of soldiers and commanders, home front workers, who managed to establish the production of weapons in the required quantities, the Soviet Union managed to turn the tragic course of events in the winter of 1942-1943, in 1944 liberate the territory of the USSR, European countries and on May 8, 1945 finish the most destructive war in Berlin.

It is clear that the victory was won not only by military skill and military equipment, but also by the high morale of our soldiers. Soviet multinational art and the friendship of the peoples of the Soviet Union played an important role in preserving and maintaining this spirit.

When choosing a topic, I was guided by the relevance of historical research. Time is unable to erase from the memory of people the greatness and significance of Soviet art during the Great Patriotic War. The memory of the past is an unquenchable fire. These are not just properties of human consciousness, they are a link between the past and the future. Until now, on Victory Day, war songs are sounded, monuments to war heroes have been erected, which are sacred and indestructible.

The purpose of my research is to prove that during the Great Patriotic War, art played a huge role.

The importance and significance of the presented materials increases due to the fact that today it is important not only to remember the Great Victory and to know about those famous writers, artists, musicians, whose works raised the spirit of the Soviet army.

Soviet art "from the first days of the bitter year" was not only a witness - a chronicler, but also an active participant in the Great Patriotic War. It played an important role in mobilizing the spiritual forces of people to repel the enemy.

Everywhere, at the front, in the rear, painters created an artistic chronicle of the Great Patriotic War, wrote in hot pursuit of battles. Sketches, sketches, graphic sheets made on the battlefields were often embodied in monumental battle canvases.

The war had a great impact on the spiritual climate of Soviet society. A generation of people, hardened by war, who did not know the fear of mass repressions in the 1930s, was formed. The transferred hardships of war gave rise to hopes that after the victory, life would be much better. People have an increased sense of their own dignity, the desire to independently comprehend what they have experienced. Taking part in the liberation of European countries from fascism, the Soviet people saw abroad as it was in reality, and not in the image of mass propaganda. The contrast between the devastated fatherland and the defeated countries, relatively well-fed and prosperous, made the soldiers think about many things.

“ Everything for the front, everything for victory " - it was a universal slogan.

Theatre

In the hard days of the war, meetings with actors and art became a holiday for fighters, helped them live, fight, and believe in victory. Hero of the Soviet Union, Colonel-General of Aviation M. M. Gromov recalled that "the actors at the front were welcome always and everywhere ... they appeared at field airfields ... the glade suddenly became an auditorium, and anti-aircraft guns and camouflaged aircraft were a kind of decoration." (1.) At the beginning of the war, the front-line theaters that arose in the front-line zone, in the nature of their activity, were close to the front-line brigades known since the civil war. They performed with a repertoire of small forms - with various concert and variety programs. But gradually, as the organizational strengthening, the work of front-line theaters was enriched and deepened, their repertoire expanded. It consisted of Soviet military-historical and heroic-patriotic plays, works of classical Russian and foreign drama. Successfully staged (or montages based on plays): “A soldier was walking from the front” by V. P. Kataev, “A guy from our city” by K. Simonov, “Chapaev” after D. Furmanov, “Twenty years later” by M. A. Svetlov , “A Man with a Gun”, “Kremlin Chimes” by N. Pogodin, plays by K. Goldoni, A. Ostrovsky and others. 700 special one-act plays were written for front-line theaters. During the war years, the number of front-line theaters increased, in 1944 there were 25 front-line theaters in the active army. During the 4 war years, the front-line theater brigades spent 1 mil. 350 thousand performances. Such teams included leading Moscow actors. For example, A. K. Tarasova read Anna Karenina's monologue to the front, V. A. Ershov read Satin's monologue from Gorky's play “At the Bottom”. The artistic directors of the programs and concerts for the front were outstanding masters of the Soviet theater: A.D. Diky, Yu.A. Zavadsky, S.M. Mikhoels, and others. , KM Simonova, excerpts from the performances “Pets of Glory” by A. N. Gladkov, “Russian People” by K. Simonov, “Front” by Korneichuk - in a word, everything that could only raise the mood of the fighters, help them survive and win. The joker and the merry fellow, the daredevil and the sage - Vasily Terkin enjoyed particular popularity among the fighters. Terkin - who is he? Let's say frankly: "He's just a guy by himself. He's an ordinary ... From the first days of a bitter homeland, In the difficult hour of the native land, not jokingly, Vasily Terkin, you and I became friends" (2 ). 1942 for a better and more systematic service of the front, 5 front-line theaters of the All-Union Theater Society were created. The largest theaters in the country: the theater. Evgenia Vakhtangova, Maly Theater, Leningrad Academic Drama Theater named after Pushkin - organized their own front-line troupes. For 40 months of work, the Front Branch of the Vakhtangov Theater has played 1,650 performances and concerts. He was recognized as the best, and after the war, all participants in this theater were awarded orders and medals.

The soloists of the Bolshoi Theater of the USSR created 7 front-line brigades and held 1,140 concerts for the soldiers of the Red Army. From the very first months of the war, artists from the theater of the Kiev Special Military District and the theater of the Western Front (formerly the Smolensk Drama Theater) performed at the front. The Moscow Maly Theater gave a performance every Monday, the collection of which went to the front fund. With this money, a squadron of combat aircraft was built.

On the Leningrad front, the remarkable Soviet actor N.K. Cherkasov organized a theater of the people's militia. The first concerts were held at the military Ropsha airfields. The spectators sat in overalls right on the ground and changed incessantly: some flew away, others returned. And the concert was repeated three times in a row from beginning to end.

The theater of the Red Banner Baltic Fleet worked on ships and in the naval units of the Leningrad Front. In Leningrad itself, during the siege, performances of the theater of musical comedy were staged. It was not easy to get there: tickets were changed for rations, for bread, for cards. In the cold siege winter, actors took the stage in an unheated theater building, but they sang and danced with the same skill as in peacetime.

In the heroic life of besieged Leningrad, the theater turned out to be just as necessary as the Kirov plant. “When an accident occurred in Leningrad, and there was no light in the city for about a month, the theater could not work, and the factories worked with smokehouses - the first to be given electricity later was the Kirov plant and the theater of musical comedy,” said N. V. Peltser.

In Moscow, even in the most difficult days, the branch of the Bolshoi Theater continued to work, the Musical Theater. Stanislavsky and Nemirovich-Danchenko, Regional Theater for Young Spectators.

Many large theater troupes from Moscow and Leningrad, as well as from the capitals of the Union republics, which fell under the occupation, were evacuated into the interior of the country. The Moscow Art Theater was evacuated first to Saratov, then to Sverdlovsk, Maly - to Chelyabinsk, the Leningrad Academic Drama Theater. Pushkin - to Novosibirsk, Theater. Vakhtangov - to Omsk, Theater. Mossovet - in Alma-Ata, Bolshoi Drama Theater named after Gorky - to Kirov.

These theaters immediately staged modern plays "War" by V.P. Stavsky, "Trial" by K. A. Fedin, "Invasion" by L. M. Leonov, "Front" by A. E. Korneichuk, "Russian People" by K. M. Simonova. Moreover, these plays were shown in national theaters: Ukrainian ones. I. Franko and them. T. G. Shevchenko, Belarusian Theater. Y. Kupala, Armenian Theater named after G. Sundukyan, the Bashkir Drama Theaters - this was the manifestation of the international essence of Soviet patriotism. On the basis of national material, plays and performances dedicated to military events were created: “Guard of Honor” by A. Auezov in Kazakhstan, “Mother” by Uigunav in Uzbekistan, “Deer Gorge” by S. D. Kldiashvili in Georgia, etc.

In the fall of 1942, many Moscow theaters returned to the capital, and Leningrad theaters began to return after breaking the blockade in the spring of 1943. The multinational Soviet theater withstood the harsh ordeals of the war years with honor and proved in practice its ability to serve its people.

Painting

During the war years there was a rapid revival of a sharp political poster, political cartoons (TASS Windows, Battle Pencil posters, etc.).

NS lakat I. M. Toidze "Motherland Calls!" not separable from the military image of the country.
Women walked with shovels on their shoulders,
Digging trenches near the city of Moscow.
The country looked at me from a poster
Gray-haired with bare head.

Using the expressive techniques of propaganda posters of the Civil War times, combining them with the creative experience of pre-war art, the artist created a capacious image of a woman-mother-motherland, powerfully addressing all citizens of the fatherland.

On the second day, simultaneously with the song “Sacred War”, a poster of the Kukryniksy appeared “We will mercilessly crush and destroy the enemy!”. M. V. Kupriyanov, P. N. Krylov, N. A. Sokolov depicted a duel between a Red Army soldier and the leader of the fascist Reich who had thrown off the guise of peacefulness, filled the poster with the intensity of unyielding will and confidence in the coming war. These were print posters. But there were also hand-drawn posters.

Artists V. S. Ivanov, A. A. Kokorekin, L. F. Golovanov, V. N. Deni, N. N. Zhukov and others revived the fighting tradition of the "ROSTA Windows" in the first days of the war. V. A. Serov, V. I. Kudrov, N. A. Tyrsa, G. S. and O. G. Vereyskiy, G. N. Petrov, I. S. Astapov and other Leningrad artists fought with the satire weapon of the "Battle pencil ”.

Over 1,500 hand-made posters were created during the war years by P.P.Sokolov-Skalya, M.M. Cheremnykh, N.E. in many large cities of the RSFSR and national republics ("Windows of UZTAG", "Windows of KIRTAG" and others. "Windows of TASS" were distributed abroad (USA, Sweden, India, etc.). The content of "Windows of TASS" was varied: calls for vigilance, to strengthen the unity of the front and rear, satirical pamphlets on the enemy, etc.

In addition to the topical poster, battle and genre painting prevailed during the war. In the first days of the war, the image of an enemy invasion was created in his works by the painter A. A. Plastov: “The Germans are coming. Sunflowers ”(1941),“ The Fascist flew by ”(1942). The compositions of these paintings are built on the “explosive” contrast of the image of a beautiful, peaceful land and the atrocities of the fascist aggressors.

WITH
Letting go for many years, the Belarusian artist M. A. Savitsky, who himself experienced the horrors of the Nazi concentration camps, depicted the invasion of the enemy in the painting "Field" (1973). He filled the picture with a fantastically ominous vision of a burning and crumbling world, whose courageous defenders, dying in abundant golden bread, do not retreat a single step before the onslaught of inhuman, black power.

NS
artists faithfully portrayed the front-line and labor everyday life of wartime, in the rear of the horrors of the fascist occupation. T. G. Gaponenko “After the expulsion of the fascist invaders” (1943-1946, fellow villagers mourn the bodies of their hanged relatives), S. V. Gerasimov “Mother of the Partisan” (1943, 1949-1950), BM Nemensky “Mother” (1945 ), K. F. Yuon “Parade on Red Square on November 7, 1941 (1949), Ya. D. Romas“ Winter volleys of the Baltic ”(1942), A. A. Deineka“ Defense of Sevastopol ”(1942; compressed space the picture is filled with a physically tangible confrontation of irreconcilable forces).

The image of the great past is glorified in the painting by the Kukryniksy "The Flight of the Fascists from Novgorod" (1944-1946), where the retreating barbarians set fire to the Novgorod Detinets, and the figures of the "Millennium of Russia" monument, sawn by the invaders, are scattered in the snow. In the formidable majestic beauty of the monumental temple of St. Sophia, it seems that the idea of ​​inevitable historical retribution to the invaders is embodied. Many artists themselves were on the front lines of the battles, in the occupation.

Portrait painters were in a hurry to capture portraits of folk heroes. The documentary stern "Portrait of the Hero of the Soviet Union, Major General IV Panfilov" (1942), the legendary commander of the 316th rifle division defending Moscow. With the mood was written “Portrait of the Hero of the Soviet Union, pilot A. B. Yumashev” (1941) P. P. Konchalovsky. Accurate "Portrait of the partisan Vlasov" (1942) V. A. Serov. Without excessive pathos, "Portrait of twice Hero of the Soviet Union S. A. Kovpak" (1945) by the artist A. A. Shovkunenko was written. Pavel Korin created remarkable portraits. He turned to the glorious past of the Motherland and wrote the triptych "Alexander Nevsky" (1942-1943). In 1945 he made a ceremonial portrait of Marshal G.K. Zhukov.

During the war, a lot of pencil drawings, portraits for newspapers and magazines were made. Some sketches later became paintings, such as, for example, a wonderful genre painting inspired by Tvardovsky's poem “Vasily Terkin” “Rest after the Battle” by Yu. M. Neprintsev.

Graphic works are interesting, truthful and emotional. A series of portraits of the creative intelligentsia of besieged Leningrad was created by the graphic artist G. S. Vereisky. His portraits are notable for the complexity and capacity of psychological characteristics (“Portrait of Academician Orbeli,” 1942, director of the State Hermitage, a world-renowned orientalist, remained in the surrounded city and continued to work). D. A. Shmarin's documentary series "We will not forget, we will not forgive!" (1942). AF Pakhomov in the graphic series "Leningraders in the days of war and the siege" (1942-1944) recreates shots of the life of besieged Leningrad ("For water on the Neva", "To the hospital", "In the focus of defeat", "Fireworks in honor of the removal blockade ”- inhuman tests are over).

The artists portrayed the Victory Day in different ways. National rejoicing at P. A. Krivonogov - "Victory" (1945-1947), a joyful family meeting after a long parting at V. N. Kostetsky - "Return" (1945-1947), the agony of the fascist lair at the Kukryniksy - "End. The last days of Hitler's headquarters in the underground of the Reich Chancellery ”(1947-1948).

Sculpture

The sculptors glorified the unparalleled heroism of our soldiers. The sculptor A. O. Bembel created the image of the Soviet pilot Nikolai Gastello (1943), who, on the 5th day of the war, made the first “fire ram”. The composition of the portrait is likened to the tongue of a rising flame.

The sculptors V. I. Mukhina, M. G. Manizer, V. V. Lishev, S. M. Orlov, S. D. Lebedeva, E. F. Belashova, Z. I. Azgur, N. V. Tomsky, V. B. Pinchuk, Z. M. Vilensky, L. E. Kerbel, E. V. Vuchetich and others. Sarra Dmitrievna Lebedeva (1862-1967) continued to create excellent psychological portraits (“Portrait of A. T. Tvardovsky ”, 1943).

EF Belashova created a courageous and lyrical image of “Unconquered” (1943). VI Mukhina made a generalizing portrait of "Partisans" (1943), stern and unbending. The portraits created by Mukhina in 1942 of Colonel B. A. Yusupov and I. L. Khizhnyak are distinguished by their classical severity.

In 1942, M. G. Manizer created a sculptural portrait of Zoya Kosmodemyanskaya, a girl who became a symbol of heroism and devotion to the Motherland. The years of war became the time of the highest patriotic upsurge in Soviet art.

After the end of the Great Patriotic War, this topic did not leave the visual arts. Painters, sculptors, architects in paints, stone, concrete, metal perpetuated the memory of historical battles and events of the war, of the feat of the Soviet people, of its individual heroes.

Moreover, this topic was addressed by artists who were not in the war (EE Moiseenko "Victory", 1970-1972, etc.). The further the events went, the less ostentatious pathos was in the works, the more personal understanding of the experience of the war.

Architecture

During the war years, construction was carried out related to the needs of wartime - defensive and industrial, as well as in a small volume in districts remote from the front - housing.

Since 1944, as the territories occupied by the enemy were liberated, the destroyed settlements and industrial enterprises were being restored.

The main task of the architecture and construction of wartime was the relocation of enterprises inland, the construction of new and reconstruction of existing factories in the Urals, Siberia and Central Asia; 3500 industrial enterprises were built during the war years. Simultaneously with the factories, factory settlements arose, which then were built up mainly with low-rise barrack-type houses. The war has brought great destruction. Towns and villages lay in ruins. In 1943, a Committee for Architecture was created to coordinate the restoration of human settlements. Many cities suffered during the war so much that they were rebuilt. Among them is the hero city of Volgograd. A complete redevelopment was carried out in it, the landscaping was improved (architects - authors of the general plan: K. Alabyan, V. Simbirtsev, N. Polyakov, A. Pozharsky, E. Levitan, etc.). Minsk was practically rebuilt.

M language

"Holy war"

Music and musical life was subject to wartime. In the first days of the war, a song was written - the musical emblem of the Great Patriotic War "Holy war" , music to the poems of V. I. Lebedev-Kumach was written by the composer A. V. Aleksandrov. This song began its journey on one of the June days of 1945 on the square of the Belorussky railway station in Moscow, when echelons with soldiers were preparing to be sent to the front. It was performed by the Red Banner Ensemble of the Red Army under the direction of A. Alexandrov, the author of the song.

NS Katyusha gained almost legendary popularity. Written in peacetime, it was sung everywhere during the war years, a variety of poems were selected to its melody. After the war, Katyusha became a kind of password of friendship. She was known in many countries and sang in different languages. When its author, the composer Blanter, arrived in Italy, local newspapers wrote that Signor “Katyusha” had arrived in the country.

The war entered not only the song, but also the symphony. In besieged Leningrad, when Shostakovich was on duty in a group of air defense vigilantes defending the building of the conservatory, the 7th symphony appeared, called "Leningradskaya". This work is about the war, about the staunchness and unparalleled courage of Soviet people, about their indestructible faith in victory. In the first part, Shostakovich gave a merciless portrait of fascism: the dull mechanical theme of the march became a symbol of its inhumanity.

In 1943 Shostakovich wrote the Eighth Symphony. It conveys the tragedy of the war with its sufferings and millions of victims, faith in the victory of the Soviet people. “A symphony of the greatness of the human spirit and about the native land” - this is how S. Prokofiev described the content of his 5th symphony. His 6th symphony carries a reflection of the war.

Many musicians fought with the enemy in the ranks of the Soviet Army. Those who remained in the rear gave their talent and their art to the front. 474 thousand concerts were given by pop artists and musicians at the forefront of the army. KI Shulzhenko sang over 500 times in front of the soldiers of the Leningrad Front in the first year of the war. Arias from operas, songs, works of chamber and symphonic music sounded under enemy bullets.

More than 60 front-line pop brigades operated at the front. Variety artists gave concerts on all fronts of the Patriotic War - on land and water, it happened, and under water, for example, in the cockpit of a submarine, and in the air, during flights on board military transport aircraft. More than 600 pop artists have been awarded orders and medals.

Music inspired not only fighters and home front workers. When many theaters and performing groups of Moscow and Leningrad and cities temporarily occupied by the enemy were evacuated into the interior of the country, radio became the center of musical life in them. On the radio, the whole country listened to the voices of A. V. Nezhdanova, N. A. Obukhova, S. Ya. Lemeshev, the pianists Gilels, S. T. Richter, the violinist Oistrakh and many other famous and beloved artists. In besieged Leningrad, the orchestra of the Radio Committee wetted only in the most difficult winter for cities, 1941-1942.

During the war, new collectives arose - the State Choir of Russian Song under the direction of A.V. Sveshnikov, the Voronezh Russian Folk Choir under the direction of K.I. ...

Intensive scientific and critical journalistic activities continued. Newspapers were published, which published articles on music, collections "Soviet Music". The outstanding Soviet musicologist B.V. Asafiev wrote his works in Leningrad.

The Soviet people fought not only for their freedom, but also for the salvation of world culture. The interest in Soviet art was unusually great in the world. The performance of Shostakovich's "Leningrad Symphony" was marked by a true triumph in the West. On June 22, 1942, the premiere took place in London; on August 19, it was conducted in New York by A. Toscanini. “The country, whose artists in these harsh days are able to create works of such immortal beauty and lofty spirit, is invincible,” one of the American critics expressed his impressions of the symphony.

Cinema

Newsreel came to the fore as the most efficient type of cinema. Wide spread of documentary filming, operational release on the screen to foreign magazines and thematic short and full-length films - documentary films allowed the chronicle as a form of information and journalism to take a place next to our newspaper periodicals.

Many special films, created by masters of popular science cinematography, introduced the participants in the war to the various equipment with which their country was armed to fight against the fascist invaders, a number of films talked about the tactics of modern combat; a significant number of instructional pictures helped the population of areas exposed to enemy air attacks to organize local air defense.

Fiction cinematography has become a different, but still powerful means of ideological education of the masses than before the war. In an effort to immediately reflect the events of the Second World War, the masters of artistic cinematography turned to a short propaganda short story. This choice was predetermined mainly by two circumstances. The first was that the events of the beginning of the war did not provide the artists with sufficient material for a generalized display of military operations. And in the short story one could tell about the heroes, tell so that their exploits would inspire thousands and tens of thousands of soldiers, officers, partisans, and home front workers for new heroic deeds. The heroic and satirical novella in cinematography was supposed to take and really did take the same place as the frontline essay took in the literature.

Feature Films Themes:
1) Patriotism.
2) Heroism.
3) Hatred of fascism.
4) Courage of women and children.
5) Guerrilla warfare.

Genres became more diverse by the end of the war: propaganda short story, comedy, historical tragedy, historical-revolutionary and historical films, works of classical literature were filmed.

During the Great Patriotic War, a complete restructuring of film production took place. Soviet cinema during the Second World War came to the fore the following task: the mobilization of the spiritual forces of the Russian people. Cinematography during these years became the best means of political agitation.

The film itself has also changed. The mobility and timeliness of artistic response to events has become particularly important. Therefore, the following genres were widespread: documentary-publicistic films, short stories, war dramas.

The first seven issues of "Fighting Film Collections", consisting of short films, were released at "Mosfilm" and "Lenfilm". But in the fall of 1941, in blockaded Leningrad, and even in Moscow, which was bombed from the air and lacked electricity, it became impractical and impossible to continue filming feature films. And the government decided to evacuate the Feature Films Studio to the deep rear.

The process of evacuation and organization of production in a new location could not but affect the production of films. However, in the most difficult conditions of a tense military economy, the Moscow and Leningrad film workers were able to quickly master the base in Alma-Ata and start production and creative activities.

During the war, more than 400 issues of Soyuzkinozhurnal, 65 issues of the News of the Day newsreel, 24 front-line film issues, about a hundred documentaries were released, the plots of which were the main milestones in the struggle of the Red Army against the invaders, the largest battles and heroic everyday life of workers in the home front. Theatrical art workers did not remain aloof from the events. New performances created by them in creative collaboration with playwrights ("On the Eve" by A. Afinogenov, "Russian People" by K. Simonov, "Invasion" by L. Leonov and others) showed the heroism of the Soviet people in the war, their steadfastness and patriotism. During the war years, a huge number of theatrical and artistic performances of concert brigades and individual performers took place at the front and in the rear. A large place in the theater of this time was occupied by the theme of creative work, revealed in the plays of N. Pogodin, A. Afinogenov, V. Kataev and other authors. In "Poem about an Ax" by N. Pogodin, staged in 1931 at the Theater of Revolution (now the Theater named after Vladimir Mayakovsky) by A. D. Popov, the images of steelmaker Stepan and his faithful assistant Anka were created by Dmitry Nikolaevich Orlov (1892 - 1955) and Maria Ivanovna Babanova (b.1900). The spirit of noble concern for the fate of the work entrusted to him illuminated the image of the head of the construction of a large plant, "the commander of the five-year plan" Guy in the play "My friend". Guy performed by Mikhail Fedorovich Astangov (1900 - 1965) is a real leader of a new type. In performances on a modern theme with success

artists of the older generation also performed. In 1931, Nikolai Vasilyevich Petrov (1890 - 1964) staged A. Afinogenov's play "Fear" at the Leningrad Academic Drama Theater. The actor of the finest psychological technique, Illarion Nikolayevich Pevtsov (1879 - 1934) showed a turning point in the consciousness of a prominent scientist, Professor Borodin, who came to the understanding that science is now becoming a field of intense ideological and political struggle. The role of the old Bolshevik Klara, entering into a heated argument with Borodin at a scientific debate, was splendidly played by Ekaterina Pavlovna Korchagina-Aleksandrovskaya (1874 - 1951).

The Soviet theater not only introduced new themes and images to the stage, but also filled old forms with new content, in particular, it rethought the traditional genre forms of drama. In 1933 A. Ya. Tairov staged The Optimistic Tragedy of Vs. Vishnevsky at the Moscow Chamber Theater. Revealing his staging concept, Tairov emphasized that "... it was in the collision of two principles - the tragic and the optimistic - that we saw the synthesis that was supposed to lead us on a new road, to a new understanding of the tragic" (3). This new understanding of the tragic was manifested in the image of the Woman-Commissioner, created by Alisa Georgievna Koonen (1889 - 1974).

The role of Alexei in this performance was played by Mikhail Ivanovich Zharov (b. 1900). In the 1930s, the dramaturgy of the founder of the literature of socialist realism, M. Gorky, appeared on the stage of theaters. Among the performances of Gorky's plays - "Egor Bulychev and others" at the Theater named after Yev. Vakhtangov (1932, directed by B. Ye. Zakhava) and Enemies at the Moscow Art Theater (1935, directed by V. I. Nemirovich-Danchenko. With the dramaturgy of M. Gorky, socialist realism entered the Soviet stage with a firm gait in the 1930s. life, the stage truth demanded it, and henceforth socialist realism became the fundamental creative method of the Soviet theater.

N The irreconcilable clash of two worlds - bourgeois exploiters and workers - with amazing life truth and genuine drama was shown in the play "Enemies" on the stage of the Moscow Art Theater. The world of the first was represented by the inhuman, cruel prosecutor Nikolai Skrobotov (N.P. Khmelev), a noble couple of landowners-factory owners Bardins. V.I.Kachalov, who played the role of Zakhar Bardin, and Olga Leonardovna Knypper-Chekhova (1868 - 1959), in the role of Bardin's wife, exposed the hypocritical meanness of bourgeois liberalism with hidden satirism. Mikhail Mikhailovich Tarkhanov (1877 - 1948) portrayed General Pechenegov as a dull soldier. They were opposed by the professional revolutionary Bolshevik Sintsov (played by M.P.Bolduman) and the old worker Lyovshin, shown in all the spiritual breadth of his nature by Alexei Nikolaevich Gribov (b. 1902). In the 30s, the socially in-depth disclosure of the classics continued. A remarkable achievement was the new production at the Maly Theater of Griboyedov's comedy "Woe from Wit" in 1938, staged by P. M. Sadovsky and I. Ya. Sudakov. A superbly well-coordinated ensemble of the greatest masters of the Maly Theater recreated the social atmosphere of the time on the eve of the Decembrist uprising. Chatsky performed by Mikhail Ivanovich Tsarev (b. 1903) is a young man who is both passionately loving and sharply, irreconcilably rejecting the lies and hypocrisy of the Famusian world. This world was personified in the images of Famusov (P.M.Sadovsky and M.M.Klimov), despotically imperious Khlestova (V.O. Massalitinova), Princess Tugoukhovskaya (E.D. Turchaninova), Countess Khryumina (V.N. ), Zagoretsky, satirically ruthlessly depicted by I.V. Ilyinsky, and in other characters.

B. V. Shchukin in the role of V. I. Lenin. The play "Man with a gun" N. Pogodin. Theater named after Eug. Vakhtangov. Moscow. 1937.

Interesting was the experience of the stage embodiment of the works of L.N. Tolstoy, undertaken by Vl. I. Nemirovich-Danchenko in staging of the novels "Resurrection" and "Anna Karenina" in 1930 and 1937. at the Moscow Art Theater. Rejecting the philosophy of "non-resistance to evil", the theater showed in "Resurrection" the great strength of Tolstoy the realist. V. I. Kachalov, in a peculiar role "From the Author", gave a modern assessment of the events taking place on the stage. In Anna Karenina, the drama of Anna's fate, heartfully conveyed by Alla Konstantinovna Tarasova (1898 - 1973), was the result of the collision of her lively, quivering feeling with the cold, inhuman morality of the brilliant imperial Petersburg (4 ).

Soviet theaters also turned to foreign classical drama in the 1930s. Among the best performances is Shakespeare's Othello (Maly Theater, 1935). The leading role was played by an outstanding representative of the romantic tradition of the Russian stage - Alexander Alekseevich Ostuzhev (1874 - 1953). The humanistic content of the works of the great English playwright was deeply revealed in the play "Romeo and Juliet" at the Theater of the Revolution (directed by A. D. Popov). A brilliant duet in the play "Much Ado About Nothing" at the Theater named after Evg. Vakhtangov was composed of Benedict - Ruben Nikolaevich Simonov (1899 - 1968) and Beatrice - Cecilia Lvovna Mansurova (1897 - 1976).

Stanislavsky staged Moliere's Tartuffe in a new way, showing living people with their feelings and passions, rather than conventional masks. This performance was completed in 1939, after the death of Stanislavsky, by his student, performer of the title role Mikhail Nikolaevich Kedrov (1894 - 1972). The role of Orgon, "possessed by Tartuffe", was played by Vasily Osipovich Toporkov (1889 - 1970).

The successes in the development of the Soviet theater, which approved the method of socialist realism in its artistic practice, made it possible to solve the most serious task - to recreate the image of V. I. Lenin on the stage (see the article "Films about Lenin").

This task was most convincingly solved in the performances of the plays "The Man with a Gun" by N. Pogodin at the Theater named after Ev. Vakhtangov and "Pravda" A. Korneichuk at the Theater of the Revolution. These performances were shown for the 20th anniversary of the October Revolution. They were staged by R.N.Simonov and N.V. Petrov, and the image of V.I. BV Shchukin embodied the image of the leader more fully, conveying Lenin's soulfulness, the scale of Lenin's brilliant thought and simplicity in dealing with people. Lenin's connection with the people, with the masses, the ability to listen to their voice and lead them along were consistently revealed by Shchukin in each scene, and especially impressively in the scene of Vladimir Ilyich's meeting with the soldier Shadrin (his role was played by I. M. Tolchanov).

The performances dedicated to V.I.Lenin demonstrated with special force and persuasiveness the fruitfulness of the fundamental principles of socialist realism. It was in the victory of this creative method that the regularity of the development of Soviet theatrical art, aimed at the communist education of the broadest masses of the people, at the formation of the high moral, humanistic ideals of Soviet youth, lay.

The heroic orientation of the Soviet theater manifested itself with renewed vigor during the years of the Great Patriotic War. Three plays became defining in the theater's repertoire during this harsh time. These are "Front" by A. Korneichuk, "Russian People" by K. Simonov and "Invasion" by L. Leonov.

And after the great victory came, live performances about the exploits of Soviet people in the Great Patriotic War were staged on theater stages with great success. One of the best is "Young Guard" (based on the novel of the same name by A. Fadeev), staged by NP Okhlopkov in 1947 on the stage of the theater, now named after Vl. Mayakovsky, Developing the military-patriotic theme, theaters turned to the work of modern writers. By | the works of V. Bykov "The Last Chance" (Belarusian Theater named after Y. Kupala), B. Vasiliev "The Dawns Here Are Quiet ..." (Moscow Theater of Drama and Comedy on Taganka) are staged performances that give the viewer reflections on social and moral problems modernity. The theme of involvement in the heroic past determines the civil pathos of modern performances on a military theme. These are the plays "They Were Actors" by V. Orlov and G. Natanson (Crimean State Russian Drama Theater named after M. Gorky), "Echo of the Bryansk Forest" by S. Sharov (Bryansk Drama Theater), "The Ninth Wave" by A. Sofronov about the battles on Malaya Zemlya (Uzbek Drama Theater named after Khamza), etc.

Literature

Never communication of writers with the people

was not as cramped as during the war.

A. Prokofiev

Russian literature of the Second World War period became the literature of one theme - the theme of war, the theme of the Motherland. The writers felt like trench poets (A. Surkov), and all literature as a whole, as A. Tolstov aptly put it, was the voice of the heroic soul of the people.

In the first days of the war, the newspaper Pravda published poems by A. Surkov “The Song of the Bold”, and then - “The Holy War” by V. Lebedev-Kumach; Publicistic poems and articles, essays and stories of various Soviet writers were published daily. In those days, "the artist's word was in service with the army and the people," wrote A. Sholokhov (5 ).

The front needed "spiritual ammunition", people needed to be inspired, to strengthen their faith in victory. Here propaganda and journalistic skills came in handy, which helped writers to respond quickly to a rapidly changing environment. Many Soviet writers went to the front as war correspondents for central newspapers, radio, Sovinformburo (K. Simonov, A. Tvardovsky, B. Gorbatov, B. Polevoy, V. Grossman, M. Sholokhov, A. Surkov, S. Mikhalkov, A. Gaidar, N. Tikhonov, Vs. Vishnevsky), many as soldiers (P. Tychina, P. Antokolsky, M. Rylsky and many others). One third of the Writers' Union of the USSR in the first days of the war joined the army as volunteers. Many young poets died in the war, among them Nikolai Mayorov, Georgy Suvorov, Nikolai Ovsyannikov, Pavel Kogan, Boris Kostrov and many others.

Poems by N.N. Aseev, M.V. Isakovsky, O. F. Bergolts, A. A. Surkov, publicistic articles by A. N. Tolstoy, A. A. Fadeev, M. A. Sholokhov and others.

From June 27 in Moscow, and then in other cities, "Windows TASS" - propaganda and political posters were hung out so that the population knew the situation at the front and in the rear of the country. Poets A. A. Aduev, D. Bedny, S. I. Kirsanov, A. A. Zharov and others took an active part in their creation. accompanied by the following verses by D. Bedny:

Goebbels wants to hide the alarm:
He blames the Russians,
What are they leading, by God,
Not by the rules of the war!
What to say to the Soviet soldiers?
“We beat the bastards, we do not hide,
Not according to German rules,
And according to your own rules!
Here is the signature to S. Marshak's poster:
- My general, through the glass of binoculars
Look: is the front far away?
- He is so close, alas,
That I am already without a head! ..

Such works as “Science of Hatred” by M. Sholokhov, “The People are Immortal” by V. Grossman, “Front” by A. Korneichuk, “Vasily Terkin” by A. T. Tvardovsky appeared in newspapers. Publicistic stories sometimes turned into whole cycles: “The Stories of Ivan Sudarev” by A. N. Tolstoy and others. In the wartime literature, the words “Russia”, “Russian” began their second life, this spoke of the growth of self-awareness (“We are Russians” Vs. Vishnevsky, “Glory to Russia” by L. Leonov, “Russia” by A. Prokofiev, “Russian people” by K. Simonov, etc.).

Writers devoted major works to the problems of the maturing of a soldier in battle (A. A. Bek. The story "Volokolamsk Highway", 1943-1944). The novels of M. Sholokhov "They Fought for the Motherland" and A. Fadeev "Young Guard" were dedicated to the exploits of the Soviet people on the fronts of the war and behind enemy lines. During the war, the works of the writers of the Union republics were widely known: Aibek's Sacred Blood, S. Zoryan's The Tsar fell, and others.

The epic poem was also developed. During the war, the poem "Kirov is with us" by N. S. Tikhonov, "Zoya" by M. I. Aliger, "Leningrad Poem" by O. F. Bergolts, "Pulkovo Meridian" by V. Inber and others appeared.

During the war years, the patriotic lines of Pushkin, Lermontov, Yesenin, Blok, Rustaveli, Shevchenko sounded loudly. The protracted “dispute among the classics” was over. The classics were in battle. During the war years, the demand for historical literature increased sharply. Major novels appeared: “Bagration” by S. N. Gorbatov, “Port-Arthur” by A. N. Stepanov, “Emelyan Pugachev” by V. Ya. Shishkov and others

Conclusion

Soviet art during the Great Patriotic War passed the cruel test of the war years with flying colors. It continued the best traditions. This was expressed, firstly, in the fact that the connection with the life of the people during the war years turned out to be extremely close and strong. All art and literature as a whole strove for a deep understanding of the working people, for the creation of national characters, for the breadth of depicting reality. The successes of Soviet art and literature, secondly, were due to their high ideology, purposefulness. The breadth of historical thinking, understanding of the world-historical role of the Soviet people is also an integral feature of that period in Soviet art and literature. The humanism inherent in our people manifested itself during the Great Patriotic War in the paintings of artists, and in the texts of our writers, and in the works of great sculptors with special force.

The great civil experience of all art and literature during the Great Patriotic War had a noticeable impact on all subsequent cultural development. This was expressed not only in the fact that art workers constantly turned and refer to the theme of the Great Patriotic War, revealing more and more new aspects of it, calling out of oblivion the names of unknown heroes, illuminating many heroic events that have survived in the people's memory, but also more broadly. But the most important thing is the consolidated attention of art to folk life, an understanding of its historical significance, a keen interest in the life of an individual, its spiritual world, and finally, the ability and ability to correlate specific events and experiences with the wider world of human life.

During the Great Patriotic War, the struggle for freedom and independence
Homeland became the main content of the life of the Soviet people. This fight
demanded from them the utmost exertion of spiritual and physical strength. AND
it was the mobilization of the spiritual forces of the Soviet people during the Great
World War II the main task of our literature and our art,
which have become a powerful means of patriotic agitation.

Application

History of Soviet art. - M., 1957.S. 56.

General History of Art. In 6 volumes - M., 1966.T. 6.S. 103.

History of the Great Patriotic War of the Soviet Union. 1941-1945. T. 1.M., Military Publishing, 1960.S. 45.

History of the Great Patriotic War of the Soviet Union. 1941-1945. T. 1.M., Voenizdat, 1960.C 50 ..

Zhuravleva A. A., Writers - prose writers during the Great Patriotic War (Heroic pathos of the prose of the war years). - M., 1978.S. 31.

I. M. Toidze poster

"Motherland is calling!"

A. A. Deineka "Defense of Sevastopol", 1942

Bibliography

Abramov A., Lyrics and epos of the Great Patriotic War. - M., 1972.

Buznik V.V., Bushmin A.S. et al., Russian Soviet Literature: a textbook for grade 11 - M .: Education, 1989.

General history of architecture. In 12 volumes - M., 1975.Vol. 12.

General History of Art. In 6 volumes - M., 1966.Vol. 6.

Zhuravleva A. A., Writers - prose writers during the Great Patriotic War (Heroic pathos of the prose of the war years). - M., 1978

Zimenko V. Soviet historical painting. - M., 1970

History of the Great Patriotic War of the Soviet Union. 1941-1945. T. 1.M., Military Publishing, 1960

History of Soviet art. - M., 1957.

Lebedev P. Russian Soviet painting. - M., 1963

Soviet fine arts. Painting, sculpture. - M., 1962

Chereiskaya M. Soviet historical painting. - M., 1969.

Targets and goals:

• Educational: Based on subjective experience, to give a holistic view of the art of the period of the Great Patriotic War. To get acquainted, together with students, with the culture of our homeland during the Second World War.
• Educational: Arouse in students a sense of pride for their homeland, for their people, who defended the world from fascism, a sense of gratitude and eternal gratitude to those who did not return from the battlefields, who at the cost of their lives won peace and freedom for future generations.
• Developing: Allows you to form the following skills: conduct a dialogue, express your own opinion about what you see.

During the classes

Organizing time.

Objective: To get acquainted with the art forms of the Second World War and express your personal attitude caused by the works of art. There are blank sheets of paper in front of you, on which during the lesson you will have to independently express your feelings, thoughts and attitudes to what you saw and heard in the lesson. We will call them creative sheets.

On May 9, the whole country will celebrate the 65th anniversary of the victory in the Great Patriotic War, which we got at a high price.

A bit of history: In the early morning of June 22, 1941, Nazi Germany treacherously attacked the Soviet Union. Mortal danger looms over our homeland. At the call of the party, the entire people rose to fight the enemy. "Everything for the front, everything for victory" - these words became the motto of the life and work of the Soviet people. It was precisely the mobilization of the spiritual forces of the Soviet people in those years that became the main task of our art.

Let's remember in which art forms the military theme can be reflected. (sheets on magnets with the words "literature", "music", theater, "cinema", "painting") Today we will focus on these types of art.

The literature of that time could not stay away from this event.

So on the first day of the war, at a rally of Soviet writers, the following words sounded: "Every Soviet writer is ready to do everything, his strength, all his experience and talent, all his blood, if necessary, to devote to the cause of the holy people's war against the enemies of our Motherland." These words were justified. From the very beginning of the war, writers felt "mobilized and called upon." About two thousand writers went to the front, more than four hundred of them did not return. The writers lived one life with the fighting people: they froze in the trenches, went on the attack, performed feats and ... wrote.

Let's remember the lessons of literature. Which of the poets of the Second World War can you name? And who remembers the famous poem by K. Simonov "Wait for me"? What feelings does this poem express?

The poems were published by the central and front-line press, broadcast on the radio. Many poems were copied into front-line notebooks, learned by heart. The poems have given rise to numerous poetic responses.

Love for the fatherland and hatred for the enemy is that inexhaustible and only source from which our lyrics drew their inspiration during the Second World War. The most famous poets of that time were: Nikolai Tikhonov, Alexei Surkov, Olga Berggolts, Konstantin Simonov.

Let's imagine the situation, we got a letter with damaged text, and this was not uncommon in the war. I suggest that you recover the text using the words placed on the slide. You can apply your creativity.

Poem by Evgeny Vinokurov "Muscovites"

In the fields beyond the Vistula sleepy
Lie in the ground damp
Earring with Malaya Bronnaya
And Vitka and Makhova.

And somewhere in a crowded world
Which year in a row
Alone in an empty apartment
Their mothers don't sleep.

Inflamed lamp light
Burning over Moscow
In the window on Malaya Bronnaya,
In the window on Makhovaya.

During the Great Patriotic War, prose developed. It is represented by journalistic and essay genres, war stories and heroic stories. Publicistic genres are very diverse: articles, essays, feuilletons, letters, leaflets.

Articles were written by: Leonov, Alexey Tolstoy, Mikhail Sholokhov, Vsevolod Vishnevsky, Nikolai Tikhonov. With their articles, they brought up high civic feelings, taught them to be implacable about fascism. Hundreds of articles cited irrefutable facts about the atrocities of the invaders. In their articles, they told the harsh truth about the war, supported the bright dream of victory among the people, called for perseverance, courage and perseverance.

Let's imagine ourselves for a while as chroniclers of the times of the war. Fighting is going on around, and you literally have 2 minutes to express your feelings and thoughts on creative sheets. Watch the video and imagine that you are in this particular place at this time.

Conclusions (teacher together with students): The journalism of war has not lost its importance to this day - it still helps to fight the ideology of fascism and occupies a special place in the life of every person.

Next genre: painting.

Soviet artists also felt mobilized and called upon by their art to serve the people, so from the first days of the war they were together with the defenders of the Motherland.

One of the most popular during the war years was V. Koretsky's poster "Red Army Warrior, THANK YOU!" In the center of the poster is a young woman hugging a child to her chest, protecting him from a bloody Nazi bayonet. There is no fear on her face: it expresses anger and contempt for the enemy - feelings that possessed all people both at the front and in the rear. In the text of the poster, the word "THANKS!" Is highlighted in large letters. Which contributes to the enhancement of its emotional sound.

Poster artists promptly responded to the events of the first days of the war.

One of the most famous posters of the war years appeared a week after it.

How many of you can name this poster? Irakli Toidze - Motherland is calling. It was published in millions of copies in all languages ​​of the peoples of the USSR. The artist talentedly presented a generalized image of the Motherland full of romance. The impact of this poster lies in the expression on the agitated face of a simple Russian woman, in her inviting gesture. These were the posters: “Forward for our victory” by S. Bondar, “Our cause is just. The enemy will be defeated! " R. Gershanik, "The Fascists Will Not Pass!" D. Shmarinova, "Forward Budenovites!" A. Polyansky, "We will crush the enemy with a steel avalanche" by V. Odintsov, "Ruby the GADOV!" M. Avilova, "Let's show the despicable fascist murderers how a Soviet sailor can fight!" A. Kokorekina. The posters were supposed to emphasize the idea of ​​the nation-wide character of resistance to the enemy.

Wartime posters are not only original works of art, but also truly historical documents.

For a while, imagine yourself as artists of the Second World War. Try to create your own propaganda poster or leaflet that can reflect hatred of fascism, the courage of the Soviet people. You are given 5 minutes for this task. You have sheets, pencils and felt-tip pens on your tables. You work in groups. After completing the creative assignment, you should explain what you wanted to convey with your poster.

Despite the difficult conditions of the war, exhibition activities continued to develop actively at this time. During the war years, many exhibitions were held at which artists presented their paintings, sketches, drawings. Let's take a look at them.

The harsh city landscape of A. Deineka “The outskirts of Moscow. November 1941 ", in which the atmosphere of the front-line city, prepared for defense and mortal combat, is surprisingly accurately conveyed. Deineka's canvas "Defense of Sevastopol" (1942): in a plot episode of one city, the scale of the battles and the spirit of the Soviet people manifested in the fight against the Nazis are conveyed.

"Mother of the Partisan" (1943) Gerasimova S. Can be attributed to the best works of Soviet painting. The artist, with pathetic means, showed in him the greatness and spiritual beauty of a Russian woman-mother, who expressed her superiority over a fascist officer with all her being, who was trying to snatch recognition from her and revealing her powerlessness and frenzied anger in front of a simple peasant woman who personified the entire Soviet people.

The harsh coloring and the whole compositional structure of the picture wonderfully express the heroism of the Soviet people.

Who are the guerrillas? What role did they play in the Second World War?

Conclusion: Many years have passed since then, a new generation of artists has grown up, in whose work the military theme has found its worthy reflection, but the works of art made during the war years not only did not lose their value, but acquired even greater historical value as monuments to heroism and the courage of a great people.

Let's go back to the creative sheets. Reflect the feelings caused by painting during the Second World War.

Next genre: cinematography.

Cinematography gained great popularity during the war years. Already in the first days of the war, more than 100 film crews went to the front, they filmed thousands of meters of film, captured the most important battles with the enemy.

Soviet newsreels, working in very difficult conditions, sharing with soldiers, officers and partisans all the hardships of military life, day after day, step by step, recorded the combat path of the Soviet Army to Berlin. From the first days of the war, more than one hundred and fifty cameramen took part in front-line filming of newsreels.

Newsreel came to the fore as the most efficient type of cinema. Especially popular with viewers, both at the front and at the rear, were "Combat Film Collections", composed of short feature films.

The most numerous of them are films that capture the main events of the war of the Soviet Army against the German fascist invaders. What decisive battles of the Second World War from the history course can you name?

These are such films as "The defeat of the German troops near Moscow" (1942), "Stalingrad" (1943), "Battle of Oryol" (1943), "The battle for our Soviet Ukraine" (1943), "Berlin" (1945) and " The Defeat of Japan "(1945).

What role did the Battle of Stalingrad play?

(approximate answer) The battle was one of the most important events of the Second World War and, along with the Battle of the Kursk Bulge, was a turning point in the course of hostilities, after which German troops lost strategic initiative. The battle included an attempt by the Wehrmacht to seize the left bank of the Volga in the area of ​​Stalingrad (present-day Volgograd) and the city itself, a confrontation in the city, and a counteroffensive by the Red Army (Operation Uranus), as a result of which the 6th Army of the Wehrmacht and other forces of Germany's allies inside and around the city were surrounded and partly destroyed, partly captured. According to rough estimates, the total losses of both sides in this battle exceed two million people.

What do you think, what feelings did watching films about the war evoke in people of the Second World War?

(approximate answer)

• Patriotism.
• Heroism
• Hatred of fascism
• The courage of women and children
• Guerrilla warfare.

Many films were made in the post-war period. And you probably watched many of them. I suggest looking at some wartime footage to determine its title. Back to the creative sheets, express your attitude to wartime films.

Next genre: theater of the Second World War

Artists of drama, musical theaters, stage, also contributed to the common cause of fighting the enemy.

From the first days of the war, the departure of art brigades directly to the front, to factory workshops, to agricultural workers became widespread. In Moscow alone, 700 such brigades were created, in Leningrad - 500. During the war, about 4,000 artistic brigades visited the front, employing 42,000 creative workers. Risking their lives, these people proved with their performances that the beauty of art is alive, that it is impossible to kill it.

Next genre: WWII music

Despite the severity of the war years, the Soviet state shows great concern for the preservation and growth of vocal cadres. The evacuated theaters continue to operate, the conservatories continue to raise young singers. A significant milestone in the development of the system of musical education in these years was the opening in 1944 of the State Music and Pedagogical Institute named after V.I. Gnesins, a special university, which has the main goal of training qualified musical and pedagogical personnel for our country.

The musicians, together with the warring people, forged victory and continued to write songs. Evgeny Vinokurov in 1945

I did not write these songs right away.
I'm with them in the autumnal permafrost,
With unstarting, I climbed on my bellies
Through the black floors on the belly.
My feet suggested these topics,
Tired of hiking from the roads.
Mined with heavy sweat strings
I like myself. do not coast from death

Their simple rhythm was sung to me by a blizzard,
I will blow the fire, and at midnight that
I warmed songs near my heart, under my greatcoat,
One great faith in warmth.
They were in business and between business
Always with me, like my blood, like flesh.
I invented these songs with my whole body,
Deciding to overcome all adversity

A good song has always been the fighter's loyal assistant. With the song, he rested in the short hours of calm, recalled relatives and friends.

In one of the songs popular during the war, there were the following words: Who said that one should leave the Songs in the war? After the battle, the heart asks for Music doubly!

Given this circumstance, it was decided to resume the production of gramophone records, interrupted by the war, at the Aprelevsky plant. Beginning in October 1942, from under the press of the enterprise, gramophone records went to the front along with ammunition, cannons and tanks. They carried the song that the fighter needed so much.

Each war song has its own unique story

"Holy War" (Music by Alexander Alexandrov, lyrics by V. Lebedev-Kumach)

The story of the creation of one of the most famous songs of the Great Patriotic War is interesting. On June 24, 1941, the newspapers Izvestia and Krasnaya Zvezda published a poem by V. I. Lebedev-Kumach, which began with the words: "Get up, a huge country, get up to mortal combat ..."

These verses demanded persistent work from the poet. The drafts stored in the archive indicate that Lebedev-Kumach more than once rewrote and refined individual lines and stanzas, sometimes replacing entire quatrains.

The poem was read in the newspaper by the head of the Red Banner Song and Dance Ensemble of the Red Army A.V. Aleksandrov. It made such a strong impression on him that he immediately sat down at the piano. The next day, having come to the rehearsal, the composer announced:

- We will learn a new song - "Sacred War".

He wrote the words and notes of the song on a slate with chalk - there was no time to type! - and the singers and musicians copied them into their notebooks. Another day - for a rehearsal with an orchestra, and in the evening - the premiere at the Belorussky railway station, a junction point, from where in those days combat echelons were sent to the front.

Three groups immediately went to the front, and the fourth, led by A.V. Aleksandrov, remained temporarily in Moscow to serve military units, hospitals, radio performances and learn new songs. The view of the station was unusual: all the premises were filled to capacity by the military, as they say, there is nowhere for an apple to fall. All new, not yet fitted uniforms. Many have already received rifles, machine guns, sapper blades, gas masks, in a word, everything that a front-line soldier is entitled to.

In the waiting room, a platform was made of freshly rounded boards - a kind of stage for performances. The artists of the ensemble climbed this dais, and they involuntarily had a doubt: is it possible to perform in such an environment? In the hall - noise, harsh commands, radio sounds. The words of the presenter, who announces that the song "Sacred War" will now be performed for the first time, are drowned in the general hum. But now the hand of Alexander Vasilyevich Alexandrov rises, and the hall gradually dies down ...

The excitement was in vain. From the very first bars, the song captured the fighters. And when the second verse sounded, absolute silence fell in the hall. Everyone stood up as if they were singing a hymn. Tears are visible on stern faces, and this excitement is transmitted to the performers. They all have tears in their eyes too ... The song died down, but the soldiers demanded a repetition. Over and over again - five times in a row! - sang the ensemble "Sacred War".

Thus began the path of the song, a glorious and long path. From that day on, the "Sacred War" was adopted by our army, by all the people, and became the musical emblem of the Great Patriotic War. It was sung everywhere - at the forefront, in partisan detachments, in the rear, where weapons for victory were forged. Every morning after the battle of the Kremlin chimes, it sounded on the radio.

Creative assignments were prepared by a group of students in your class. I ask you to go to the board with your messages one by one.

(during the messages of the students, the corresponding music is played)

"In the dugout" (music by K. Listov, lyrics by Alexei Surkov)

“These were sixteen“ home ”lines from a letter to my wife Sofya Antonovna," recalled Aleksey Aleksandrovich Surkov, "I wrote it at the end of November, or rather, on the 27th, after a difficult battle near Istra."

So they would have remained in the poet's home archive if the composer Konstantin Listov had not come to the editorial office of the front-line newspaper Krasnoarmeiskaya Pravda, who desperately needed “something to write a song for”. “Something” was not found. And then, luckily, I remembered the poems I had written home, found them in my notebook and, having copied them cleanly, gave them to Listov, being sure that ... the song would not come out of this absolutely lyrical poem ...

But a week later the composer again appeared in our editorial office and sang his song “In the dugout” with a guitar. It seemed to everyone that the song "came out". After the poems and melodic lines were published in Komsomolskaya Pravda, the song was picked up and sung everywhere.

And now, four and a half decades later, this song continues to excite the hearts of people, remains an ageless hymn of love and loyalty to the soldier's duty.

"In the front-line forest" (lyrics by Mikhail Isakovsky, music by M. Blanter)

“The poems were written in Kama,” recalled the birth of this song, Mikhail Isakovsky, “when the second year of the war was going on. While working, I imagined a Russian forest, slightly colored in the fall, a silence unusual for soldiers who have just left the battle, a silence that even an accordion cannot break. He sent poems to an old composer, Matvey Blanter (with him they created "Katyusha"). A few months later I heard it on the radio.

"Katyusha" (lyrics by M. Isakovsky, music by M. Blanter)

She gained particular popularity during the days of the Great Patriotic War. The song has become not only an event in musical life, but also a kind of social phenomenon. Millions of people perceived the heroine of the song as a real girl who loves the fighter and is waiting for an answer. They wrote letters to her. Moreover, there were many plot sequels of the song. In the Literary Museum in Moscow, I wrote down some of them: "We all love darling Katyusha, we love to listen to her sing, shakes her soul out of the enemy, and gives her friends courage."

The fighters, imitating "Katyusha", sang in their own way, albeit not quite perfect, but coming from the bottom of their hearts, and they dedicated them in her image to their beloved girl, their dream and hope. The unknown soldier asked Katyusha, as if she was next to him: "If a stray bullet suddenly overtakes on the far side, do not be sad then, my dear, tell the whole truth about me."

The story told by the veterans: “Once in the evening, during the quiet hours, our soldiers heard from a German trench located nearby, a Katyusha. How can these vile fascists play our "Katyusha" ?!

In general, the matter ended with the fact that a group of Red Army men, quite unexpectedly, rushed into the attack on the German trench. A short, lightning-fast fight ensued. As a result, the Germans did not even have time to come to their senses! - "Katyusha" (plate), together with a gramophone, was delivered to their own people. "

"The Severely Bryansk Forest rustled" (music by S. Kats, lyrics by Anatoly Sofronov)

In the fall of 1942, a somewhat unusual radiogram came to the headquarters of the Bryansk Front: “We have weapons, in which case we can take them from the enemy, but you won’t take a song like a trophy. Send us a song. " This was written by the partisans of the Bryansk forests. The political administration of the front turned to the poet Anatoly Sofronov and the composer Sigismund Katz with a request to fulfill the partisan order.

For A. Sofronov and S. Kats, this was not the first joint creative work. Since then, they have written many songs - heroic and comic, marching and lyrical, marching and chastushche. But I didn't have to write a partisan song. What should it be?

The song was written relatively quickly. It turned out to be truly stern, wide, majestic, close in spirit to the character of the people's avengers. It was performed in an undertone in the forest, in a dugout, by the fire. It remains only to check how the song will sound in the choir.

"Blue handkerchief" (music by E. Petersbursky, lyrics by Y. Galitsky)

It seemed that amid the roar of battles, unprecedented in the history of war, only battle songs and marches could sound. However, as the poet A. Surkov noted, “from the very first days of the war it became audible that next to the forged lines“ There is a people's war, a holy war ”, quiet lyrical words of the generally not very strong song“ Blue kerchief ”glow in the soldier's heart ...

"Accidental Waltz" (music by M. Fradkin, lyrics by E. Dolmatovsky)

On February 2, 1943, the Stalingrad operation ended victoriously: the elimination of the encircled enemy grouping was completed. An unusual silence set in in Stalingrad ... - And a few days later, recalls the poet Yevgeny Dolmatovsky, composer Mark Fradkin and I were already on our way to a new front - the future Kursk Bulge. The train went slowly, stopped often, and we began to compose a song.

And here Fradkin remembered a story told by a familiar military pilot. ... Once this pilot had to visit a small village in the front line on a summer evening. We stopped to rest. Suddenly the officer heard the sounds of music - local youth were dancing to an old, broken gramophone. He came closer and saw a girl standing alone to the side. The lieutenant invited her to a waltz. We talked, but then we had to say goodbye - the driver signaled, it's time to go. Much time has passed since then, the young officer cannot forget this girl. Maybe write a song about it?

During the war years, remarkable works of chamber, opera and symphonic music were created. During the Second World War, Shostakovich's Seventh Symphony was published. In the summer of 1941, Shostakovich wrote on the score: "I dedicate the 7th Symphony to our struggle against fascism, our coming victory over the enemy, to my hometown - Leningrad." During the Leningrad blockade, Dmitry Shostakovich, along with other Leningraders, was on duty on the roofs of houses where incendiary bombs fell, dying of hunger, and at the same time, with extraordinary enthusiasm, he was composing his famous symphony.

On August 9, 1942, according to the plans of the fascist command, Leningrad was supposed to fall, on this day a parade of German troops was scheduled in the city. But on that day, in the Great Hall of the Leningrad Conservatory, on the wall of which there was an inscription: "Citizens! Caution! With artillery pieces this side is dangerous!" - in the city where people died every day from hunger and bombing - with all the chandeliers lit, which symbolized contempt for the enemy, the premiere of the Seventh "Leningrad" symphony by Dmitry Shostakovich took place. And the hall was overcrowded. This concert was organized and conducted by Karl Eliasberg. And he performed a symphony of the Leningrad Radio Committee's Bolshoi Symphony Orchestra.

When the composer is sideways
Made my way to the foot of the piano
In the orchestra, bow by bow
Woke up, lit up, shone,
As if from the darkness of the nights
Gusts of a blizzard came to us,
And at once for all violinists
Sheets flew from the stands.
And this stormy haze
Whistling gloomily in the trenches
I was no one before him
It is painted like a score.
A thunderstorm exploded over the world.
Never before in concert
The hall did not feel so close
The presence of life and death.
Like a house, from floors to rafters
Engulfed in flames at once
The orchestra, frantic, screamed
One musical phrase.
Flame breathed into her face,
Stifled her cannonade,
She broke through the ring
Siege nights of Leningrad.
Buzzed in the deep blue
I was on the road all day
And at night it ended in Moscow
Air raid siren.

Then the whole world was shocked by the resilience and courage of the Leningrad blockade. The performance of the symphony was broadcast by radio and city loudspeakers. And the Hitlerite troops also listened to this work. And, according to the confession of some German soldiers, that day they realized that they would lose the war.

Let's go back to your creative sheets. I invite you to read your feelings, thoughts and attitudes now. What role do you think art played during the Second World War?

Conclusion: Today we have only touched upon the culture created by our people during the Second World War. In difficult times, our people could always rally. With our culture and art, we proved to the enemy that barbarism is inherent in them, and our country has remained a country of free and talented artists, poets and musicians who have not submitted to anyone.

1. Drawings, M .: art. - 1961.
2. A Brief History of Soviet Cinema. Moscow: Art. - 1969.
3. Groshev A. Dolinsky I. Innovation of Soviet cinema. M .: Education. - 1986.
4. Yurenev R.N. Innovation of the Soviet cinema art. M .: Education. - 1986
5. Baskakov V, E. Film - the movement of the era. - M .: Art, 1989
6. Bondarchuk S. F. Desire for a miracle - M .: Young Guard. - 1984
7. Kashimalov A.I. The right to search. - M .: Young Guard. 1984
8. Kapralov G.A.Talent, conscience and passion: nine strokes to the portrait of M. Ulyanov. - M., 1988
9. www.victori.mail.ru

Used film fragments:

1. The fate of a man is directed by Sergei Fedorovich Bondarchuk.
2. Film The Cranes Are Flying - directed by Mikhail Kalatozov.
3. And the dawns here are quiet - directed by Stanislav Iosifovich Rostotsky.
4. At an unnamed height - director: Vyacheslav Nikiforov

On the eve of Victory Day.

In the photo on the right L. Utesov 1942

One cannot but touch upon the time of the Great Patriotic War. During these years, art did not stop developing. The profession of the artist has acquired a new social significance and has found application in the line of fire.
In the most difficult conditions, often in the immediate vicinity of the enemy, art workers gave hundreds of thousands of concerts, walking along with the soldiers along the difficult roads of war. Almost 4,000 concert brigades, including about 45 thousand singers, dancers, musicians, went to the fronts of the Patriotic War. “It's hard to believe, but on April 15-16, 1942, an amateur art show was held in the army, 320 numbers were shown at his final concert,” one can read in the newspaper “Soviet Culture”, published in the post-war period.
Amateur and professional groups of song and dance, ballet and theater dancers, musicians, composers, students of art educational institutions - all of them served three areas: service and combat function, social and ceremonial function, cultural and educational activities, which developed directly in military ensembles, orchestras and choirs throughout their development. Some concert brigades performed in front of the soldiers in cities and saw off with music and songs the marching companies going to the front, others constantly gave concerts at the fronts themselves, in hospitals, and others participated in military ceremonies, social and political events, parades and burials of fallen soldiers.
During the Great Patriotic War, many different cultural trends that existed in the Soviet country "intertwined" with each other. This is due to the fact that many prominent composers, famous artists, choreographers, musicians during the war years tied their fate and creativity with the army and navy. A striking example that characterizes this period is the 1942 film by M. Slutsky "Concert to the Front".


Composers: V. Muradeli - led during the war the song and dance ensemble of the Navy; N. Budashkin - headed the song and dance ensemble of the Red Banner Baltic Fleet. During the war years, AV Aleksandrov continued his active creative activity, who was the author of two most important and most widespread works of the service-combat repertoire of the war period: "The Anthem of the Soviet Union" and "The Holy War"; as well as S. Chernetsky, who wrote over 50 marches during the four years of the war. Among the participants in the front-line concert brigades, one can single out such soloists of the Bolshoi Theater as M. Mikhailova, I. Kozlovsky, S. Lemeshev, many soloists of the Kirov Leningrad Opera and Ballet Theater. Among the performers of Russian, lyric pop songs and romances - L. Ruslanova, K. Shulzhenko, G. Vinogradov. Among the choreographers who staged in amateur and professional military ensembles, the most famous are: R.V. Zakharov, who introduced into his productions a combination of choreographic fragments with non-danceable, stage-directed scenes, and P.P. Virsky, who created a generalizing image of the army-liberator, multinational in composition ... Particularly interesting is the work and activities of pop-jazz orchestras (popular at the time as performers of waltz, tango and foxtrot): Y.B. Skomorovsky (in 1941-45 he directed the jazz orchestra as part of the Central Ensemble of the Navy), V. F. Coralli, N. G. Minha (who headed the Baltic Fleet Theater during the war), A. N. Tsfasman (who headed the jazz orchestra of the All-Union Radio Committee).
Famous pop singers performed to the music of military ensembles. Jazz bands began to accompany dancers from military organizations. Ballet dancers, dancing in front of ordinary people and warriors, filled their choreography with a heroic and patriotic orientation. Variety dancers, working together with artists of military ensembles, introduced into their choreography various forms of dance expression through virtuoso movements, acrobatic support, complex techniques that had developed on the Soviet stage before the war.
The repertoire and expressive means of dances, in connection with these phenomena, in amateur and professional military ensembles have significantly expanded and enriched. In the song and musical repertoire of military ensembles, along with marches, folklore and classical music, romances, Soviet tango (which combined the culture of romances and march music), foxtrot began to be performed, close, inextricable ties appeared between the genres of symphonic, opera, chamber and brass music. The dance repertoire began to be built not only on the basis of folk dance, but also on a combination of elements of classical and different genres of pop dance, which is clearly seen in the appearance of many numbers and dance suites on a military theme in military ensembles and in amateur groups after the war.
The Great Patriotic War laid the basic "foundation" for the work of military song and dance ensembles.

"The room is overcrowded." Performance by the branch of the State Academic Theater of Theater "Guilty Without Guilt"

August 13, 1941 Concert of the front-line brigade artists in the army. Photo by V. Malyshev

1942 year. Front-line acting brigade of the F. G. Volkov Theater

The ensemble of the border troops of the Leningra district in 1942, which served the military units of the active army. Head teacher of the Conservatory A.V. Mikhailov

Theater artists. Eug. Vakhtangov at the front-line soldiers


Aerostat on Sverdlov Square in Moscow

Front brigade performance

GF Fesechko Acting Director of the Conservatory (1943-1944) at the place where a shell burst in the building of the Conservatory on 25 September 1943. Foyer of the Great Hall

Classes in besieged Leningrad

Kazan artists front near Moscow

Kantele.

Composer M. Blanter, poet M. Svetlov, composer T. Khrennikov, editor of the corpus newspaper M. Kozlovsky.

Small theater

Disguise of the State Academic Bolshoi Theater

Makhmud Esambaev (sitting on the left) front brigade

Writer K.M.Simonov, artist V.V. Serova and artist A.S. Vishnevitskaya

A festive pop concert of the Mosconcert front brigade. 1943 year

The play "Honeymoon trip" for the lying wounded of the front-line branch of the theater. E. Vakhtangova

Vakhtangov theater at the frontline soldiers

Three tanks, built at the expense of the collective of the Sverdlovsk State Theater of Musical Comedy

At the Brandenburg Gate. The poet Dolmatovsky E is performing

Front brigade of the Leningrad Conservatory. Bryansk front. 1942 year.

Front end brigade in Sevastopol. In the center - V. Kozin

Kukryniksy artists at the front

Circus at the front.

K.I. Shulzhenko

Yakhontov V.N. speaks to the Red Navy crew aboard the destroyer.

V. V. Zenkovich Bouquet in a green mug. 1943

In the harsh war years, it was important not only to supply the front with weapons and food, but also to maintain a high morale in the troops. Psychological and ideological support is a powerful weapon of victory, and art played a significant role in this. At that time, every direction was important: painting, cinema, literature, music - all this contributed to overcoming the power of the invaders.

Front-line creativity

Artists, actors and musicians went to the front, enlisted in the militia and partisan detachments, gave their lives on the battlefields, but did not forget about their work. It was at this time that the patriotic theme was more important than ever:

• During the war years, cinematography gained immense popularity. Soviet chroniclers worked literally under bullets, filming unique footage, which later became witnesses of world history. Combat film collections were assembled from short films, which were shown both during the war years and later.
• It is difficult to overestimate the importance of music in wartime. The Red Banner Red Army Song and Dance Ensemble gave concerts at the front, in 1941 at the Belorussky railway station the song "Sacred War" sounded for the first time. The song "Katyusha" by Mikhail Isakovsky quickly became known throughout the country. Many fighters wrote letters to her heroine, and many poetic folk versions appeared. Other song masterpieces of that time, such as "Blue Scarf", "Accidental Waltz" and many others, are still familiar to every Russian. The strongest musical work of the war years was Shostakovich's Seventh Symphony, completed in besieged Leningrad.
• It should be noted the merits of musical and drama theaters. Over the years of the war, more than 4,000 artistic brigades performed at the front, bringing joy, smiles and hope to a quick victory to the soldiers.

Art in evacuation

In the evacuation, far from the front line, the efforts of the people of art were aimed at helping the soldiers. At this time, a poster acquired special significance in painting. It was poster painting that lifted the spirit, helped to courageously meet the enemy and called for overcoming difficulties. The poster "The Motherland Calls", known to everyone, belongs to Irakli Toidze. He also became the author of a number of masterpieces of poster painting.

Literature was inextricably linked with the front. Many writers and poets took part in the battles, but those who were in the evacuation gave all the power of their pen to the struggle for victory. The poems were broadcast on the radio and published in collections. Simonov's poem "Wait for me" became an expression of the feelings and thoughts of many fighters who dreamed of returning home.

The art of war represents a special layer in Russian culture, because at that time all the creative energy of people was subordinated to common goals - to help the front, raise the morale of Soviet soldiers and protect their native country from invaders.