The genre variety of Creativity Petrushevskaya. Lyudmila Petrushevskaya Petrushevsk Writer
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Laureate of Prizes of magazines:
"New World" (1995)
"October" (1993, 1996, 2000)
"Banner" (1996)
"Star" (1999)
Lyudmila Petrushevskaya was born on May 26, 1938 in the city of Moscow. The girl rose in the family of students of the Institute of Philosophy, Literature, Stories. The granddaughter of the linguist, Professor-oriental Nikolai Yakovlev. Mom, Valentina Nikolaevna Yakovlev, subsequently worked as an editor. Father, Stephen Antonovich practically did not remember.
After school, which the girl graduated from a silver medal, Lyudmila entered the faculty of journalism Moscow State University named after Lomonosov.
After receiving a diploma Petrushevskaya worked as a correspondent of the "recent news" of the All-Union Radio in Moscow. Then he got into a magazine with the records "Circle", after which he moved to television to the review department. In the future, Ludmila Stefanovna fell into the Department of Perspective Planning, the only futuristic institution in the USSR, where it was necessary to predict Soviet television from 1972 to a two-year-old year. Having worked for one year the woman quit and since that time did not work anywhere else.
Writing Petrushev began early. He published notes in the Moscow Komsomolets newspapers, Moscow Pravda, the Journal of Crocodile, the newspaper "Week". The first published works were the stories of the "History of Clarissa" and "Nazistor", which appeared in the journal "Aurora" and caused sharp criticism in the "literary newspaper". In 1974, the story "Networks and traps" is printed there, then "through the fields".
The play "Lessons of Music" was put by Roman Viktyuk in 1979 at the Moscow State University Student Theater. However, after six performances, she was banned, then the theater went to the Palace of Culture "Moskvorechye", and "lessons" again banned in the spring of 1980. The play was printed in 1983 in the brochure "To help artistic amateurvia."
Lyudmila Stefanovna is a generally accepted literary classic, the author of many prosaic works, plays and books for children among which and the famous "linguistic fairy tales" "Ruskiy, written in a non-existent language. Petrushevskaya stories and plays are translated into many languages \u200b\u200bof the world, its dramaturgical works are put in Russia and abroad. Enters the Bavarian Academy of Arts
In 1996, her first collection of works was published in the AST publisher. It also writes scenarios for animated films "Lyamzi-Tyri-Bondi, an evil wizard", "all incomprehensible", "Stolen Sun", "Tale of fairy tales", "The cat who knew how to sing", "Hare Tail", "Some of you Tears "," Peter Piglets "and the first part of the film" Shinel "in collaboration with Yuri Norstein.
Not limited to literature plays in his own theater, draws cartoons, makes cardboard dolls and reads rap. The participant of the "Snob" project, a silent discussion, informational and public space for people living in different countries, since December 2008.
Total printed more than ten children's books Petrushevskaya. The performances are put by: "He is in Argentina" in the MHT named after Chekhov, the play "Love", "Chinzano" and the "birthday of Smirnova" in Moscow and in different cities of Russia, are trained in graphics in the State Museum of Fine Arts named after Pushkin, in the Literary Museum, In the Museum of Akhmatova in St. Petersburg, in the private galleries of Moscow and Yekaterinburg.
Lyudmila Petrushevskaya stands up with concert programs called "Kabarea Lyudmila Petrushevskaya" in Moscow, in Russia, abroad: in London, Paris, New York, Budapest, in Pool, Rio de Janeiro, where the hives of the twentieth century are performed in his translation , as well as the songs of its own essay.
Petrushevskaya also created a "studio of manual labor", in which he independently draws cartoons with a mouse. Movies "Conversations K.Ivanov" together with Anastasia Golovann, Pensne, "Horror", "Ulysses: driving-arrived", "where you" and "Muuma".
In parallel, Lyudmila Stefanovna founded a small theater "Cabaret of the same author", where he performs with his orchestra the best songs of the twentieth century in their own translations: "Lily Marlene", "fallen leaves", "Chattanuga".
In 2008, the North Palmyir Foundation together with the International Association "Live Classic" organized the International Petrushevsky Festival, dedicated to the 70th anniversary of his birth and the 20th anniversary of the release of the first book by Lyudmila Petrushevskaya.
In his free time, Lyudmila Stefanovna is interested in reading the books of the Philosopher Merab Mamardashvili and the writer Marseille Pruh.
In November 2015, Petrushevskaya became Guest III of the Far Eastern Theater Forum. On the stage of the Czech Center, the play of the "Smirnova Birthday" on her plays was delivered. Directly took part in the children's concert "Pereznok Peter invites". Under the accompaniment of the group "Jazz Time" performed children's songs and read fairy tales.
In Moscow on February 4, 2019, the final debates and awarding the winners of the literary premium "Nose" took place for the tenth time. "The prize of the critical community" won Lyudmila Petrushevskaya for the work "We were stolen. The history of crimes. "
Awards and Prize Lyudmila Petrushevsk
Winner of the Pushkin Award Foundation Heated Fund (1991)
Laureate of Prizes of magazines:
"New World" (1995)
"October" (1993, 1996, 2000)
"Banner" (1996)
"Star" (1999)
Laureate Prize "Triumph" (2002)
Winner of the State Prize of Russia (2002)
Bunin Prize Laureate (2008)
Literary Prize named after N.V. Gogol in the nomination "Shinel" for the best prosaic work: "Little girl from the Metropol", (2008)
Lyudmila Petrushevskaya received the World Fantasy Prize - World Fantasy Award (WFA) - for the best collection of stories, published in 2009. The collection of Petrushevskaya "lived - there was a woman who wanted to kill a neighbor's child: terrible stories" (There Once Lived A Woman Who Tried to Kill Her Neighbor's Baby) divided the award with the book of favorites Novel American writer Gina Wulf).
In the literary club "Green Lamp"
The meeting took place:
"The genius of artistry"
Lyudmila Petrushevskaya
Leading:
Natalia Dmitrievna Bogatyreva,
Candidate of Philological Sciences, Associate Professor VatGGU
Petrushevskaya Lyudmila Stefanovna -writer, playwright, writer and musician. Born on May 26, 1938 in Moscow in the family of students of IFLI (Institute of Philosophy, Literature, Stories). The granddaughter of the linguist, Professor-oriental N. F. Yakovlev. Mom worked as editor, father - doctor of philosophy.
He experienced a heavy military semi-wild childhood, lived in relatives, as well as in an orphanage under Ufa. After the war, returned to Moscow, graduated from the Faculty of Journalism of Moscow State University. He worked as a correspondent in Moscow newspapers, editor in various publishers, on television.
Early began to write poems, writing scenarios for student evenings, seriously without thinking about writing activities. The first published work was the story "through the fields", which appeared in 1972 in the journal Aurora. After that, Petrushevskaya prose was not printed over a decade.
The play "Lessons of Music" was put by Roman Viktyuk in 1979 at the Studio Theater DC Moskvorechye and almost immediately prohibited (printed only in 1983).
The first collection of stories came out in 1987. Lyudmila Petrushevskaya is the author of many prosaic works and plays, books for children. She is also written scenarios for animated films "Lyamzi-Tyri-Bondi, an evil wizard" (1976), "all incomprehensible" (1976), "Stolen Sun" (1978), "fairy tale" (1979, joints with Y. Nororstein ), "The cat who knew how to sing" (1988) and others.
Petrushevskaya stories and plays are translated into many languages \u200b\u200bof the world, its dramaturgical works are put in Russia and abroad.
Laureate of the international award "Alexandr Puschkin" (1991, Hamburg), the State Prize of the Russian Federation in the field of literature and art (2002), the triumph award (2002), the Theater Prize named after Stanislavsky, World Fantasy Award for the Collection of Story The horror stories "lived - there was a woman who tried to kill the child of her neighbor" and others.
Academician of the Bavarian Academy of Arts.
In 1991, from February to August was under investigation on the fact of insulting President M. S. Gorbachev. The reason was the letter to Lithuania after entering the Vilnius Soviet tanks, reprinted in the local newspaper North Bee. The case was closed due to the resignation of the president.
In recent years, there are concert programs called "Cabaret Lyudmila Petrushevskaya", in which the popular songs of the twentieth century are performed, as well as songs of their own essay.
Dmitry Bykov about Lyudmila Petrushevskaya:
(Before the beginning of the evening, Songs are played performed by Lyudmila Petrushevskaya)
Galina Konstantinovna Makarova,head of the club "Green Lamp": Good evening! We have already met Lyudmila Stefanovna Petrushevskaya, listened to her songs, and now we light our green lamp. (Applause)
Galina Makarova
At the beginning I want to congratulate everyone on the New Year, we decided to settle here in the literary living room in the new year, and I think we will like it here. It is comfortable enough. I wish you in the new year a lot of good books, good films, new impressions and meetings in our club and in our library. On April 2, we will celebrate the 40-club "Green Lamp" club, and I think you want to congratulate the club, want to write some of your impressions, memories, club reviews: what is the club in your life. We will be happy and, perhaps, place your publications in the collection dedicated to the 40th anniversary of the Green Lamp, in the VKontakte group - on the "Literary Club" Green Lamp "page. And in the subscription department, all this will also be available. Therefore, write, we are happy to use all this.
And we still have it: Today, a birthday is celebrating one of our club members. This is the faithful friend and club, and our library, a person who is passionate about to all that is happening in the library, in life, in art, in the cinema, in the literature. Every day it happens in the library, she visits all the events that pass in the library. This ... Guess who? This is Emilia Anatolyevna Hongakina . (Applause)
Galina Makarova and Emilia Honyakina
Emilia Anatolyevna, thank you very much for your interest, for your love for everything, we are very grateful to you and glad you always see here. From the club "Green Lamp" we give you a new book about the Herzen library, and from the film club, which you too visit for a very long time, from the time of the "Stalker", this very good movie. (Applause).
A more couple of ads: "Disguised literature: Riddles of the literary hoax" is the topic of the next classes of the "Green Lamp" club. For information, see the library website, VKontakte, books, as always, on the subscription, and we are waiting for you on February 5th. Books are already selected, choose yourself the topic, choose the author and you can add or tell about some kind of literary hoax, take part in the next meeting. It will be interesting for you and for us.
And one more announcement for those who go to our films. On January 19, the premiere of the film "Vyatskiy Dinosaurs" of the Vyatka Cynovide Footage, director Anton Pogrebnaya. In addition to the film, there will be a meeting with the shooting group, with the Directors of the Paleontological Museum - the previous and current, so that the conversation promises to be interesting.
And finally, for the connoisseurs of high art, the intellectual copyright film is the film by Alexander Sokurov "Stone". The show of this film was timed to the anniversary of Chekhov, but, of course, the film does not carry some information load. This is a purely artwork that gives some mood, gives a reason for numerous associations, it will deliver great pleasure to lovers, so on January 26 - come.
Well, today at the end of our conversation, those who want can linger a little, there will be a continuation of the concert, which we watched before the meeting, there will be completely unique numbers, and you can listen to the concert to the end.
Today is our topic: "" The genius of artistry "Lyudmila Petrushevskaya". Natalia Dmitrievna Bogatyreva will tell us about the work of Lyudmila Petrushevskaya. You all know that she is the most active participant of the Green Lamp and participated in many of our meetings. This man is extremely knowledgeable and able to analyze, appreciate and love not only literature, but also the movie too. But it will be a little bit. And at the beginning, I will say literally two words about Lyudmila Stefanovna Petrushevskaya.
Petrushevskaya - surprisingly gifted and surprisingly free, bold man. She is a screenwriter. She is a playwright. She is an artist. She is the author and artist songs, fairy tales. It is very difficult to list everything. Now she is mastering the step, and yoga is engaged, etc. etc.
Lyudmila Petrushevskaya was born on May 26, 1938 (that is, she was already 76 years old) in Moscow in the family of students of the famous IFLI (Institute of Philosophy of Literature and History). It fell on very hard tests, as well as the share of many of its peers. These tests began before her birth, in 1937-38, three members of her family were executed, two more, according to her, were sitting in a mental hospital. Petrushevskaya recalls: "We were members of the family of enemies of the people. Neighbors did not let the kitchen, there was nothing. " She survived heavy military childhood, hungry really. She wrapped up, begging, sang on the streets, lived in relatives. Then he saved her with an orphanage under Ufa.
Lyudmila Petrushevskaya
After the war, she returned to Moscow, sang in the children's choir, studied vocals, wanted to become an opera singer. Her grandfather is an outstanding Linguist Nikolai Faofanovich Yakovlev. He created writing for several peoples of Caucasus based on Cyrillic. In early 50s, he became a victim of repression, he was thrown away from work, he went crazy, lived for another 20 years. Mom worked as an editor, his father was a doctor of philosophy. They lived in a 12-meter room, slept with mom under the table. Father from the family went.
She graduated from the Faculty of Journalism MSU, early began to compose poems, writing scenarios for student evenings, in the journal "Crocodile". Of course, at first did not think about writing activities. He sang, played in student amateur, had a nickname "chansonet". He worked on the radio, a correspondent in Moscow newspapers, magazines, editor in various publishers, on television, was engaged in the Theater Studio Alexey Arbuzov. Writing plays, stories, cartoon scripts. For example, the cartoon scenario "Tale of fairy tales", together with Norstens, is her job.
According to Petrushevskaya, she experienced a permanent fear of the life of relatives: kids, moms, her husband. The husband was sick, was paralyzed after falling from the cliff on the expedition. At 37, she buried him, there was no work, not printed, did not put. Eternal need, launched, on the hands of Mom, Son. Thought that it was better to leave.
The first collection of stories came out at 50 years (!) In 1987. Today, Petrushevsky's stories are translated into many languages \u200b\u200bof the world, its dramatic works are put in Russia, abroad. She continues to draw, compose, execute songs, fairy tales, sing.
Well, two words about her family. At the moment, Lyudmila Stefanovna - the widow, her deceased husband Boris Pavlov, who left life in 2009, was the director of the gallery in Solyanka. Petrushevskaya three children - Kirill Evgenievich Kharatyan, born in 1964, a journalist. He worked in the Publishing House "Kommersant", in the newspaper "Moscow News". Now - deputy editor-in-chief and columnist newspapers "Vedomosti". Fedor Borisovich Pavlov-Andrievich is a journalist, TV presenter, producer. Now the director of the gallery in Solyanka, as the director puts the plays of Petrushevskaya. And Natalia Borisovna Pavlova is a musician, founder of the Moscow Fank Group "Clean Tone".
Lyudmila Stefanovna - the laureate of many premiums, including the international award "Alexandr Puschkin", which was awarded to her in 1991 in Hamburg, the State Prize of Russia, the Triumph Prize, the Stanislavsky Prize, the Fantasy Prize for the collection of stories-horror stories "lived A woman who tried to kill the child of her neighbor. " Academician Bavarian Academy of Cinema. Here is a brief biographical reference. Just asked me to tell me in general terms about the life of Petrushevskaya. Well, now we will listen to Natalia Dmitrievna. Then you can make your impressions, your attitude, tell about your favorite works, about how you feel about the author. You are welcome.
Natalia Dmitrievna Bogatyreva,candidate of Philological Sciences, Associate Professor VatGGU : Hello again. The initial idea of \u200b\u200bmy performance is purely literary. The theme of our today's meeting is "" The genius of artistry "Lyudmila Petrushevskaya", but you will notice that the theme of artistry itself is practically not affected by me, because it means that it is necessary to talk about a variety of human talents. A person who can be called "Man - Orchestra", literally fountaining with gifts in different fields of art. I only touch the literature, and it is interesting that the reputation of Petrushevsky in the literature, despite the many premiums that were listed here, is extremely unambiguous. Estimates are so polar, so incompatible ... from complimentary to absolutely not acceptable it as a writer as the author of different genres. This phenomenon, of course, is very interesting, mysterious.
There are already many dissertations about Petrushevskaya's work, the most serious, including doctoral - not purely in her work, and when it is included in some series of other names. And candidate dissertations only on the work of Petrushevskaya not one dozen already.
Initially, I thought just to tell about those genres that she uses innovative, inside of which she feels so loosely and so relaxed, talented. But she reread her favorite "ninth volume" (he is called, these are publicism), and found a completely brilliant article there. I read it before, but I reread and thought that my message would be palacing indefinitely in comparison with her text, where she talks about how she passed from stories to drama, from dramaturgy to fairy tales, from tales to journalism, to scenarios. In general, it does it in editions completely and stylistically flawless and brilliantly. Therefore, stopping, of course, on the genres, I will touch and purely literary things. I apologize in advance if they seem very special, not for everyone in this audience, maybe the philological saint is interesting. But this is an attempt is not my own, God forbid, I'm not a researcher Petrushevskaya, I'm just a reader, interested reader, as they say. I hope that you can apply such an epithet - a qualified reader. But this is a person who is deeply interested in me, so I just tried to figure out the opinions of specialists who have already been expressed. We are therefore talking such things as the nature of the language and style of Petrushevskaya. The originality of her gloomy hyperrealism and, as even sometimes they speak, post-thealism, dirty realism, sometimes even denoted her creativity, and the ratio of realism and postmodernism in her work. This is also a special philological topic, but postmodernism is a modern phenomenon and, naturally, we are interested in and to touch it, and in it to deal. Well, such things, of course, as an outstanding education, a latitude of view, an extraordinary latitude of the horizon, the encyclopedicity of knowledge, and what is called the literature of Creativity Petrushevskaya, will also sound somehow in our reflection.
Natalia Bogatyreva
Galina Konstantinovna has already called the facts of biographies, which in this case are important and I probably speaking about Petrushevskaya, I will complain about such an assessment: the work of Petrushevskaya is mixed on the dark collisions wearing "not philosophical-existent, but a decreased household character." That is, if we consider the relationship between being and life, Petrushevskaya is immersed in such areas of life, which can cause frost on the skin, and impress the absolute absurdity of our existence. Whatever enough, life, it seems, it concerns each - this is everyday life, with absurd there is little relatives, but in Petrushevskaya it turns out that the most terrible, post-apocalyptic paintings are rooted in everyday human life. It is clear that many of the origins of such a look at the urban life, we find the life of the intelligentsia in her childhood and in the deprivation of families.
Petruyshevskaya's prose was not published when she wrote and was completed. Almost the only exception was the appearance of two stories on the pages of Aurora magazine in 1972. Here the other date was called, but it was when Petrushevskaya was already recognized and released in the late 80s, and then she was triumphantly produced by huge circulations. But the first two stories were published in 1972. The plays are generally a very difficult story, they were put, mainly in independent home theaters. She recognized: "I led the lifestyle of a completely prohibited writer. It was not for anything. Soviet government did not print me and did not allow you to put my plays. " It was hurt her, she seemed strange that even in these actually ideologically very hard times was able to appear the story of Solzhenitsyn "One Day Ivan Denisovich" in the "New World", if Printed was "Matrinin Dvor" Solzhenitsyn, if the villagers were allowed to draw pictures of gloomy life Colhomous villages, then why rejected her paintings of urban life. She seemed deeply unfair. I think everyone will be interested in the fact that Petrushevskaya, in his youth can be, was very offended by Tvardovsky, because she suggested her stories to the "New World", he read it and the resolution imposed such: "Not to print, but the author Do not lose mind, "that is, gave tribute to her talent. Well, the reason why not print - too gloomy. One dissertation was read that if such a liberal writer, a publicist, a critic, a philosopher, a writer, like Tvardovsky, did not respond, and no matter how rejecting the experiences Petrushevskaya, then what to talk about official criticism, about the official Soviet. I think this is not a very dissertation, because Tvardovsky is called a liberal criticism - this is a big stretch. Now we understand that he is a deep blowdown, a person who was far from liberal assessments. But the genius of modern liberalism Dmitry Bykov really believes that in modern literature from all the writers of the Russian only person who deserves the Nobel Prize is Lyudmila Petrushevskaya. And on this basis, there are skeptical to bull, and some teachers and members of our department of literary in Vyatggu to Petrushevskaya (laughs).
This is a picture of it, and it is very curious, because Petrushevskaya itself, probably, would not agree with the estimates that it saves gloomy physiologist and naturalistically admires the absurdity of life, because still in her work there is a powerful spiritual tension and metaphysical subtext . It seems to me a deeply fair such estimate: a hero of Petrushevskaya or a person in the artistic world of Petrushevskaya - appears as a tragic being, whose mind and spirit are enclosed in a bodily shell. The body requires heat and food, and not everyone gives it easy and immediately like Manna Heavenly. Here, many extremely sharp collisions arise, but the immersion in the bone dark element of life does not mean that the human soul is being forgotten and completely recalled. Petrushevskaya really managed to create in his works the story of the sufferings of the human soul, silent in the darkness of material and bodily existence.
Anatoly Vasilevsky
When we begin to reflect on the very essence of the language and style of such hyperealist or postmodern, or absurd Petrushevsky tests, then such conclusions will be fair. "Building a narrative on the contrast between the burning life material and the icy calmness of the storyteller" Petrushevskaya seems to intertwine in his texts, forces three style traditions, three plates of stylistic. And this is its uniqueness, uniqueness and originality. When critics appreciate only one of these layers, it turns out that it turns out that it turns out unfair. I now indicate these layers and your right to agree with this or disagree. When we are talking about intertext, a lot more names will be called, but, nevertheless, these style layers are connected, on the one hand, with the tradition of Varlama Shalamov and his "Kolyma stories", on the other hand, with a bright zoshchenkov tradition. And finally, without a name, without tieting to a specific literary name, we will call the stylist - the tradition of amazing lyrism and penetrating precisely the poetic element in prose, in drama, in general in any genre in Petrushevskaya. These are the three components and form the uniqueness of famous Petrushevskaya. That is, it, in fact, the only one in the new Russian literature really agrees with Shalamov that the life of the household and the life of the provincial or the capital city of modern is life similar to Hell Kolyma. And she was seen in the texts of Petrushevskaya literally through the eyes of a pluto, raised from hell. Accordingly, no horrors and nightmares may surprise such a subject of perception: from its point of view, such a life cannot be tragic.
On the other hand, Petrushevskaya sounds parody, the root, fantastic word, ascending, beyond any doubt, to Zoshchenko. Here, as a rule, we can hear the tongue of street queue, communal, such a narrator looks at everything through the prism of your kitchen experience, in the books it sees an exclusively subject of sale, and everything heard roughly reduces to rude, low, material and physical. All this would probably be familiar to us, because individually we can find this jet and other authors of modern. But when it is permeated with a lyrical intonation, correctedly with the tragic theme of death, when we understand that in the texts of Petrushevskaya lyrical jet - this is the expression of the deepest sympathy for its heroes, then he shines, begins to break through this philosophical side of its narration and metaphysical The component of its philosophy.
I think that it will not be better than Petrushevskaya itself, so I will allow myself to quote. Very short text from this very "ninth volume". By the way, when I spoke about this volume at the Department, one of the teachers asked: "And what - she already wrote 9 volumes?". Generally speaking, the collected works by Petrushevskaya includes 5 volumes, and this is just the name of the volume of journalism. There may be any association anything: with the "ninth shaft" of Aivazovsky or something else. It's just called the "ninth volume", and there is a tiny stovetie - "who needs an ordinary person."
Here is a man, it can be seen in the face - it dies, as it is always visible. He comes out of the house, and at home the wife and son, and in the evening, returning, he will not need them, the wife will pay again, the son is screamed, an ordinary story, tired.
Here is a young woman running with bags by bus, she hurries to the hospital, in the bags of thermos and packages. Her house remained a child, left one to do not drag with him to the hospital. Who needs this woman, with her concern, red from washing with their hands, with such rare minutes of peace, with beautiful eyes, in which no one will look. (But she is lively! See how Petrushevskaya writes about her, they simply can not goosebumps at this moment. - N. B.)
Or an old woman who tells his stories is so loud, because it is used to that they do not listen, and in a hurry to speak, while there is a living person, because she lives alone ...
We go past them, do not pay attention to them - and they are on us. But every person is a huge world. Each person is the ultimate link of the long chain of generations and the source of the new row of people. He was a favorite child, a gentle child, eyes like the stars, a toothless smile, the grandmother, mother and father were inclined above him, and loved him ... and released him. And now behind his hand clings a new little hand.
The viewer will say: why do I need to look at it in the theater, and even for money - I won on the street see them by the crowds of such. And at home, thank you.
Does he see them? Will it look at them?
Does it regret, loves? Or at least understand them? And does anyone understand Him himself?
Understand - it means to forgive.
To understand - it means to regret. Think about the life of another person, bowed to his courage, shed a tear over someone else's fate, as over his own, sigh alone, when salvation comes.
In the theater sometimes there is such a rare opportunity - to understand another person.
And understand yourself.
Who are you, viewer?
How are you?
Here, literally, tiny journalistic text. It is written as a liner in the program to the spectral "Three Girls in the Blue" Moscow Theater "Lenk". But, nevertheless, I understand this: it's Credo Petrushevskaya, this is the quintessence of her writing position. If we do not see this or do not feel in her prosaic texts, it is actually not always her wine, and maybe it's her style, her choice and here everything is also unpredictable, as usual in life: Whether finds how Cameton, consonant in our soul, or not. But the estimated judgments that critics were shared in relation to Petrushevskaya very long time: some said that it was Chernukha and therefore it is impossible to have a serious matter and evaluate this Scripture; On the other hand, - the opinion that it needs to be understood, to explore and approach the author, as a serious, talented person with his intonation, with his voice.
Well, how do I rate the style of Petrushevskaya? As a special female tale, which includes some kind of slaughter, impatient, sometimes very ironic, sometimes sarcastic, sometimes complete self-irony of intonation. This is a very difficult weaving of someone else's words and other people's intonations. And it is not always easy to distinguish its intonation here, which is so pathetic in the program.
"Time Night" is considered one of the most famous works of Petrushevsk. This is a big story translated and published in a number of foreign countries earlier than us. This is a thing for which Petrushevskaya was awarded not once. And this is the largest genre education along with the novel "Number One, or in the Gardens of Other Opportunities." These are these two major works, from which "time night" I know more, because I didn't read the novel "number one". I confess that it is purely emotionally when you read - especially the final - you understand that it is so scary that ... well, as after a terrible film, after which you can't wake up. It is very scary, it causes it sometimes, for example, I have a feeling on the verge of nausea, and I feel the same feeling when I have a lot of Petrushevskaya I have a volley - one, another, the third ... Still, probably, it is impossible.
Natalia Bogatyreva
But, pay attention: the heroine of the novel, on behalf of which the story is being conducted, a little autobiographical. I speak a little bit, because, of course, the author is a much deeper, interesting, gifted, talented person, and there, in relation to the story, it sounds constantly irony on the verge of sarcasm. She poet, however, with a smile all the time adds - a grafomanka. The poet who cannot live on what is trying to publish, to offer somewhere, and therefore, literally, the sound in these domestic disagreements. But in fact, it is an attempt, seemingly a man of culture, a man of a high intelligent note, or to perceive such an unprepared for high perception of life.
Well, the fairy tales of Petrushevskaya, of course, from the point of view, the genre seems to me, on the one hand, interesting, because they are very different. There are also gloomy, very brutal fairy tales, but like every fairy tale, they are still blonde, with a light finale and with a good happy ending. Therefore, read how she herself tells about her fairy tales, as they composed - it is also quite interesting.
Nadezhda Frolova
Well, I finish, probably, I still mention that the volume of journalists is really extremely interesting, precisely because there are stunning paintings by Petrushevskaya interaction with the most famous theaters, playwrights, its contemporaries. Memories of how she participated in a novice playwright in the circle of Arbuzov, whom he considers the real teacher. Her memories of friendship with Oleg Efremov and the story about his care - more accurate evidence, probably, we will not find somewhere in other sources. This is a story about working on the "fairy tale" Yuri Norstein. This is finally some details that make us smile, because they are perceived at a completely different way. We all remember how the talented actor was Karachents, and we know which tragedy happened to him. And I read it like Ludasik - the wife of the stroller Karachetseva - called, ran up and said something there, and you realize that once, and a half or two decades ago, it was a special atmosphere of theatrical, a special story, and she too Interesting as the story of our art, our life.
Perhaps I will not talk anything else, ask questions if you want, otherwise I'm talking too much.
(Applause)
Makarova: Thank you, thank you very much! We would listen and listened! Please questions, your statements.
Evgeny Yushkov,pensioner: Natalia Dmitrievna, so I heard in your speech that Petrushevskaya worthy of the Nobel Prize. You do not know whether she was offered at the time when she was completely banned, published abroad? I will give a local example: to all the well-known local poetess Lyudmila Suvorov neither a dream did not intend to transfer his poems abroad, but the warning in the Lunacharsky mansion received. But if this did not happen at one time, it could well be nobel. (Laughter in the hall)
E. Yushkov
N. Bogatyreva: I will try to answer. You see, talk about the Nobel Prize of Petrushevskaya, it seems to me that this is also a well-known exaggeration. This is from the area when we say: "What a talented person!" Or "Which soldier does not dream of becoming a general!" If a person showed himself so diverse in the literature, and someone believes that he is worthy, he will be pleasant to hear it. But what I read and what reliably I know about whether it was persecuted, whether she tried to publish abroad at a time when she was not printed anywhere ... You understand, she was so very surprised at youth and maybe even And he was offended on the same "new world" that she had never even had a political motive to raise or take the position of the political dissident. This is not in her texts. Top! And she was surprised why then such a unconditional strict ban. Tvardovsky, in part in those resolutions that he imposed, explained, motivated, explained that he could feel how talented man, therefore, I did not have such a fact in her biography. It is strange and for researchers too: why the absence of such a component - the confrontation of the personality of the artist and power is such a reaction on her.
E. Yushkov: That is, you can protect the next dissertation on this topic.
N. Bogatyreva(laughs): It is possible, I think that the flue of dissertations does not run out towards Petrushevskaya. It is compared with Chekhov already at a serious level, in the same dissertations. Chekhov traditions, etc. In the excerpt that I read, the Tolstaya thought sounds.
E. Yushkov: If not a secret - how does the thesis of your dissertation sounds?
N. Bogatyreva:No, it's not a secret absolutely, I'm not going to hide. Just to Petrushevskaya it is not related. This is the silver age, the prose of the Silver Age and the work of Leonid Andreev as the Russian existentist - this is the sphere of my scientific interests. The candidate thesis was called "Forms of the expression of the author's consciousness in the prose of Leonid Andreev".
E. Yushkov: And Daniel Andreeva ...
N. Bogatyreva: Daniel then could not be touched upon when I wrote the dissertation, he was not yet printed and was completely not known. But by the way, in the manuscript "Rose of the World" went, but was not published, so it was impossible to refer or mention him. Since you asked such a personal question, and everyone felt, probably, from my story, that most of all I like the volume of journalists in Petrushevskaya. I have it so: I read journalism and it is on journalism that I am trying to understand how sincerely a person is and as far as it opens in these texts. It does not always happen, not with all publicists. Here, say, Roman Senchin, we at the time discussed him. In the "Eltyshev", too, a gloomy picture, there are hyperealism with a macaber and so on, but when I started reading his articles (I could not, of course, do not react that he also has Andreyev is a favorite writer), despite the gloomy seems to be his , there it did not happen, and it immediately determined my attitude personal to him. And Petrushevskaya in the volume of journalism I am very close and very interesting. And her creativity ... You see, when they write about it as a postmodern, I think: if I agree with this, I will cross it for myself. Sorry, but this is my attitude to postmodernism. I believe that this is a dead-end branch of contemporary art. Absolutely. When the dissertations write that postmodernism will be held, which is already now we can talk about postrealism that it is necessary to treat him soberly and take the best thing that in it is undoubtedly there is, well, ... it is very healthy, I think. But the fact that it is a dead-end branch - I am absolutely sure. But when they write that Petrushevskaya is not a postmodern, because she has a spiritual component, absolutely closed for postmodernism, but I absolutely agree with that. She moves in line with postmodernism, and uses his techniques, and a lot adds to it in the sphere of absurd, but it cannot be exhausted by postmodernism. And how to call it method - hyperrealism, post-formalism and somehow differently - this is the case of theorists. They will be involved certainly. (Laughs)
Vladimir Spochkin, Engineer: Natalia Dmitrievna, it is difficult for me to eat with you, because you are still a philologist, a candidate of science, and I am an engineer, but, nevertheless, I would like to protect postmodernism. Postmodernism is neither good and neither bad, postmodernism - because there is such a time, because we all walked for the plinth and we live in this in search of the meaning in this leap. We are infinitely shifting the same cards from place to place in search of this solitaire to get something new. This is postmodernism.
E. Yushkov and Vladimir Spochkin
N. Bogatyreva: I absolutely agree. (Laughs)
V. Gipchkin: Agree? This means - the first success. (Laughter in the Hall). The second: in postmodernism, a very strong play start, because there everything is done by non-surrenders, in a joke, as if ...
N. Bogatyreva: That's right, but when it is total, but when it, so to speak, the universal banner is terrible.
V. Gipchkin: All people are arranged in different ways: someone loves oranges, and someone cucumbers. I, for example, not from Petrushevskaya, gently, and from Sorokina and from Mamleyev, and from Petrushevskaya I don't have such a feeling, because this aunt ...
E. Yushkov: Why Sorokin? Sorokina ...
Makarova: ... everyone loves! (Laughter in the hall)
Elena Viktorovna Shutyleva: Let's, about Petrushevskaya, and not about Sorokin.
V. Gipchkin: I repeat again: someone loves oranges, someone cucumbers, someone - Sorokin, and someone - Petrushevskaya. I would like to emphasize in Petrushevsky one dignity: she does everything a little unbelievous, she scares us - non-surrenders, she calls our fears - non-surrenders. Her mystical things are written deliberately by the everyday kitchen tongue, it is on the decline that it works to immerse us in a trac of life. And life is a thing in which we, roughly speaking, everyone boils, we will not scare us. This will receive deliberation, immersion in life I really like it in her work. Here is postmodernism, postrealism - you are so interpreting them, and other critics say that postrealism is the crossing of postmodernism and new realism.
Vladimir Gipchkin and Andrei Zhigalin
N. Bogatyreva: Yes, it is so, but I just did not go to such theoretical studes to delve.
V. Gipchkin: Let's go further. Now the word "workers" is not used from the TV screens, the word "people", the word "people" is not consumed. From the TV screens, we see either gangsters who have grown up with the operations and do not understand which of them operas, and who is a gangster. By the way, the performance in the theater on the Spasskaya "Dog-Yakuza" - just about it. There is a clan of dogs on the stage, where good dogs are being introduced, and we do not understand how to distinguish them, because everything is equally disgusting. Petrushevskaya seeks to return us the concept of a simple person. Her "Karamzin. Rustic Diary "- the most magnificent thing! There, too, there is his poor Lisa, which, however, Utopop is not in the pond, but in a barrel with water (she caught a cup there). Ruf her name is this heroine. She won a cup, but she was rising and drowned inadvertently. Everything is written ironically there. But this is a giant patchwork: you want a mosaic, you want a panel, from the fragments of which the appearance develops, I will not be afraid of this word, our people, who is not afraid of anything. The men are fighting in war, and women grow in the village. You don't need to immerse yourself in the darkness of us, because the human soul seeks to survive catharsis, cleanse from the bad and live again. And the goal of Petrushevskaya is not to intimidate us, do not immerse them in these gloomy and fantasy, and all of us raise them. That's completely in your speech, I did not hear it.
Makarova:Thank you.
N. Bogatyreva: It is a pity that you did not hear it, I formulated it just.
V. Gipchkin: I have not finished yet! (Laughter in the Hall). Her novel "Number One" is a magnificent, deep philosophical thing, built as a computer game. There, as in a computer game shooter, the hero is endowed with several lives, from one character is reborn to another. There are tags set, where it is reborn through metapsychosis, there is a painful process of passing through this ice ... Read this novel! In my understanding is the novel of the last fiftieth anniversary, a serious, deep philosophical novel. Thus, in my understanding Petrushevskaya - another person. This is a person deeply thinking, but disguised under various masks, hiding under these masks, maybe from some reality, maybe it is easier for her to get to our lack. I ask me to help in one - I can't catch her true face anywhere. Where is she herself? She is not a genius of artistry, she is a genius of reincarnation, she is a protein. In one case, she is Pelevin, in another case, she almost under Marshak works with its magnificent "wild animals fairy tales." Pushkin says: "As the thoughts of the blacks come to you, sculpt the champagne bottle and lists the" marriage of Figaro "." And I, when I feel bad, also champagne scolding and reading "wild animals of fairy tales." (Laughs). I recommend, read about Claop and so on. Therefore, this is not such a gloomy person, this is a person who seeks to immerse us in the abyss so that our souls survive the catharsis so that we will be reborn from the gloom of this life to something that we find a support in life. I did not hear anything in your report.
Makarova:In vain did not hear. In this case, we are like-minded people, not opponents.
V. Gipchkin: That's all I wanted to say.
N. Bogatyreva: Let us share reflections on the gaming nature of postmodernism. It is clear that you have a favorite novel "Number one" and "wild animals fairy tales." Who else is that favorite, say.
V. Gipkin: "Paradoski. Lines of different lengths. " I can still list a lot. But your opinion, where she still opens where she is real, where she does not hide behind the mask, but herself?
N. Bogatyreva: She really plays masks. Where is she herself? Only in the "Ninth Tome", I am absolutely convinced of this. By the way, she herself also said that he believed his style and his tongue, burned from various finds, from a folk language - a kind of discovery. And she was very offensive when her stories lay in the editorial board, they were not printed, but, nevertheless, she could, for example, in some publication of the stories of young authors to gain a piece, syntactically absolutely reminiscent of her prose. She said: "I learned even entire paragraphs and understood that these manuscripts go hands." Many seems to be easy to write about life. Who will not work? So the temptation was to steal, and she was very painful and insulting. She says that then took these manuscripts and regretted that he trusted the editors. And about whom to learn ... Well, here in the same "ninth volume" gives examples: you, tell me, only want to invent something ironic, very bright and, it would seem awkwardly popular expression, and it Already in the people there is. For example, "does not affect the effect" - it heard that it is clear that it is paroding illiteracy, but it seems that this is a rather vivid expression that often sounds.
Natalia Bogatyreva and Galina Makarova
V. Gipkin: But it does not parody, the fact of the matter is that she is trying to speak in the language that the people say.
Makarova: She herself calls himself a collector of the language, and she does not invent the tongue, she does not invent anything. She collects language, but it collects not the language on which everything and every day say, but collects the language that she hears once, surprised by this language. It even says that the best language is in intellectual alcoholics.
N. Bogatyreva: The most colorful!
Makarova: Yes. She walks through the streets so that no one knows her, without any hats there, no one knows her, and she listens. All her works are absolutely real stories that she heard. And I can also read her words: "I am writing from pain about what torments when I want to scream - help! The one who appears to mercy cannot bear a sick situation and must tell about someone else's grief, as his own. And not the good one who these stories considers Chernuha and a hindrance for his prosperity. The same my story was perceived different people in different ways: some were angry and prohibited, others cried and reprinted, handed over to friends in the years when no one has published me. "
Boris Semenovich Kiryakov,writer, local historian: Sorry, please, Galina Konstantinovna, but then it is talking about the fact that some read, connecting only the brain, and she calls for the heart to be connected.
Boris Kiryakov
Makarova: Yes, of course, of course. And then, you know, everything is read in different ways and differently see there: someone is only interested in the story, only the plot, what happened to the heroes. And for some reason I am interested in the scenes only in the second place. I admire the language: delicious, witty, unexpected, unique absolutely. That's exactly how she puts these words, how she chooses them, as she picks them up. And even the most tragic story turns into delight.
V. Gipchkin: Absolutely agree, because her art prevails over the plot. Sounds, spelling ... You can only regret those people who see only Chernukha.
Andrei Zhigalin, poet: her plot is also wonderful ...
Makarova: Of course, definitely ...
E. Yushkov: Do you think that Lyudmila Petrushevskaya will fall into the school curriculum, at least optional?
N. Bogatyreva:She already got, read it in the 5th grade - the "three windows" play, in my opinion. It is already in the program.
Makarova: By the way, pay attention to who already has access to the Internet, there is a huge number of videos of Petrushevskaya: songs, plays, her "Moscow Choir", "Three Girls in Blue" ...
N. Bogatyreva:Beautiful perfect, delightful acting work: Inna Churikova, Tatyana Peltzer, who has already passed.
V. Gipchkin: So you correctly mentioned that in the theater she is already herself. It seems to me that here we see her true face.
N. Bogatyreva: She writes about how she was delighted to compose for the theater when it should be not narratives, that is, not those who need to hide - other people's speeches, other words, but only dialogues. That is, it is necessary to present conversations, monologues, dialogues.
V. Gipkin: Then you can evaporate from the author's text.
A. Zhigalin: Reading her plays is very hard. So I remember the first book that I read - "three girls in blue", there is a feeling that there is a flow of sliced, completely incomprehensible replicas that are not interconnected. This is one of her books that I could not read. And then I looked at the theater on the Spasskaya performance - "music lessons" with Alexander Royal in the lead role. I put the hope of Zhdanov, by the way, the graduate of the workshop of Peter Fomenko. And how it was! The play was not able to fulfill, but I saw the performance and it turned out - what a wonderful play is all the same!
Andrei Zhigalin and Lyubov Sadakova
Makarova: I believe that this is not so much from the acting works, it still depends on that in the theater is the main-article, directorial reading. Of course, Nadia Zhdanova is a student of Fomenko. And she, of course, breathed there the life, which we sometimes find it difficult to see in the text of the plays. It is already skill and actors, and director.
A. Zhigalin: My favorite story in Petrushevskaya is "hygiene." This is a brilliant just story! Very scary, you can remove the movie the most excellent. The main thing is the end is good. I advise everyone to read it.
N. Bogatyreva: If we talk about genres, it experiments even in such a genre as a cycle. That is, the creation of a chain of works that necessarily fall into a single space of the author. These are the "Songs of the Oriental Slavs", but she herself, by the way, confessed that this cycle is not very pleased, because he considers it imitative. She has a cycle of the stories of "Requiem", the cycle "Mystery of the House", well, and the fairy tales are also organized as cycles. This is another interesting experimental genre education.
A. Zhigalin: Here we have young people shoot the cinema themselves amateur and are looking for good plots, stories. Here Petrushevskaya can be boldly, her fairy tales, especially the "black coat", and shoot. If someone suddenly does it, then I am very advised.
Makarova: Leontius Gennadyevich, you looked at us completely on Gallery. And what for you Petrushevskaya?
Leontius Gennadievich Plylivsky,candidate of Historical Sciences, Associate Professor VatGGU: Here you talked about where her creativity is taken from. It's not Chernukha at all. If you recall the time when she started to write, is the time of the domination of existentialism: the first wave - the 20-40s, the second - 50-70s. Existentialism is them, we have forbidden, but the fastest is the fruit. All who at least somehow knew how to read, who had a hand to the book, all "hurt" Sartre. Sartre was the ruler of the Dum. Remember the existentialist cafe is a black ceiling, black walls, black floor, everything is black. Here is the situation of creativity. Petrushevskaya simply could not be another, and could not become someone else as the creator.
A. Zhigalin: She has folk existentialism then it turns out ...
L. Plylovsky: Well, let it be so. Folk existentialism is interesting (laughs).
Somebody: New term in literary review. (Laughter in the Hall).
L. Plylovsky: Yes, you can already write dissertation. It's no Chernukha, it is life, where everything grows from. I remember very well when I first began to write something and began to ask my mother: "Well, how do you write?" She says: "Take the simplest". Puts the kitchen table box, pulls the knife. They and dad, when they created a family, bought a knife and for 20 or 30 years they used them, pushed it, and he was finished. "We describe the life of a knife, an ordinary knife, which we cut bread, other foods." Here, please, practically the same in Petrushevskaya. It's everyday life, there is no Chernihi. This is a common life, an ordinary person. It is possible to describe the sublime and the pan in which you boil buckwheat croup.
Leonte Pishelsky
Makarova: The main thing is to be honestly described.
L. Plylovsky: No, there is no honesty in the world. We are all lying.
N. Bogatyreva: Let's then philosophize on the topic: Do we like it or accept the terms of the game? These are different things.
L. Plylovsky: About the honesty Petrushevskaya I do not know, I'm talking about the origins of her creativity. Another important is a sample of a person. To Petrushevskaya, you can apply the English formula "Selfmademan" - this is a person who created himself, it is a person who would like to be similar. What a sparkling fountain it represents, despite its present age. And what creative laboratory. And the fact that she was not printed in the Soviet Union ... and right. It is strange that she did not understand that she could not print. What does it mean: "I do not touch political topics"? Life is also a policy. And the Twardovsky, a short-range conservative, printed Solzhenitsyn - two stories - only on the direct orders over. The order came from such a top, from Khrushcheva, to disobey which he as a party soldier simply had no right. That's all. Tvardovsky and no one else could simply prite it. Did not have right. And the possibilities did not have. Naturally, life is also a policy.
And in the Soviet Union - you remember: "Our life is beautiful, and our future is even more beautiful, and what will be behind it - so there will be communism!". Therefore, Petrushevskaya there was no place.
Makarova: It was just meant when I was mentioned.
A. Zhigalin: About the knife - it would be interesting ... Petrushevskaya would have come up with probably the details of the story, perhaps they were killed by someone, or something else. And here, by the way, it is possible that one of the origins of Creativity Petrushevskaya is Andersen, who also took ordinary items, immersed in life, but he woked it all from life in Genesis. That's probably also the source of her.
V. Gipchkin: So we felt in our conversations exactly what constitutes the basis of Creativity Petrushevskaya: it relies on domestic things, on ordinary things, on grounded things, to low things, and outlows some other denominator who protects us and enlightens us.
N. Bogatyreva: Metaphysics, the philosophy of high spirituality in all this is definitely.
Irina Nikolaevna Krochova: But too much has it dark, and lightly ...
V. Gipkin: And this is a person!
Makarova (Sad): Yes ... then he sees.
V. Gipkin: Do not be scared! Do not take everything close to heart.
I. Krochova: Everything is right!
Makarova: Maya Alekseevna, and you have long reread Petrushevskaya?
Maya Alekseevna Selezneva: I did not read it.
Makarova: At all?!
M. Selezneva: I was frightened by her performances and everything decided - this is not for me.
Maya Selezneva
M. Selezneva: Yes. It is hard, I realized that it was not for me.
A. Zhigalin: Very hard read! Only the director may revive everything ...
M. Selezneva: No, I go more easy way.
V. Gipchkin: And I easily read ... This is a touching, tumor history - "Three girls in blue". A nightmare.
Elena Viktorovna Shutyleva(laughs): Touching, light, but a nightmare. Do you understand yes?
Makarova: That's the way, that's the way.
V. Gipchkin: From this they will explode, excuse me, tears. And it is bad to say that it is hard to read ...
Makarova: Elena Viktorovna, and how are you?
E. Schutyleva: I, perhaps, I also do not belong to the numerous fans of Petrushevskaya, I will not endure it, frankly, just do not come out. She is so alien to me that when I read it, I feel bad. Maybe because after all the emotional state in people is different, so there are people ... Maybe I'm not so deep, it seems to me maybe even so. Remember, as in the circus: "Nervous, please remove." Here I am probably from this category. Because that inner essence, and what she makes see, it makes me shudder, I can't read it.
Elena Shutyleva
A. Zhigalin: There is a desire to burn the ambulance, eliminate?
E. Schutyleva: No, why to burn out? Every person has its bottom. There are people with such a strong nervous stability ... Well, here as a sea pitching: a person may not bear it at all
N. Bogatyreva(laughs): The vestibular apparatus may not work.
E. Schutyleva: Completely, I am not a cosmonaut.
V. Gipkin: On this topic, Sadur Piez wrote - "Pannachka". There evil exists only when you let it in yourself. Here you are likely to be afraid to put it in yourself.
E. Schutyleva: But why? Each person understands his capabilities, has its own defense limit: someone will miss, recycle and leave, and I can not. I read a few things from her, but after that I just could not ... Apparently, I am not intended to endure it. But I absolutely like her tongue. I am generally very touching about the language, to the Russian language. Turgenev is my favorite writer, he has a completely amazing language, beautiful ... and that on his background ... Well, I can not.
Elena Shutyleva
A. Zhigalin: That is, reading Turgenev do not read Petrushevskaya?
V. Gipchkin: And I can not submit Turgenev now in the kitchen.
E. Schutyleva: Talent - Naturally ...
N. Bogatyreva: It is compared with Platonic, because Platonov is also kosonassed ...
E. Schutyleva: Yes, yes, of course!
N. Bogatyreva: ... and in the same extent of her heroes are tonasked.
E. Schutyleva: But he is still more lung, I would say that.
Makarova: Galina Vladimirovna, and how are you? Transfer Petrushevskaya?
Galina Vladimirovna Solovyova,doctor, Associate Professor KRAM: I transfer Petrushevskaya, but also dosed, that is, then I will leave for a long time.
Makarova:Like any art dosage, yes.
Solovyova: I would like to draw attention to the question, which several times arose today: why it was not printed in Soviet times when she started when she came to Twardovsky and so on. It seems to me that it is so obvious, and it seems to me that our audience understands everything. Indeed, in those years and upbringing, and our education has formed an image of a happy life, and we didn't know anything, we did not have not only able to leave somewhere, but also to read somewhere about something and so on . Therefore, her vision and her such concrete - honest, brave - it was certainly impossible then. It is impossible for someone to plunge into it, he thought, could not fully read, but at least he thought.
Galina Solovyova
This is very strong literature, first of all. We are trying to read in order to understand other people - this is the most important thing. Truth? To be tolerant, be able to forgive, it needs to be brought up in yourself. In this regard, Petrushevskaya is really a very strong writer, and even if we initially after some kind of things we negatively treat it, read it. Comprehend, rethink, and not just love and know. That's my impression and attitude.
N. Bogatyreva: Absolutely agree with you.
Makarova: Very good thanks.
N. Bogatyreva: But you know, here's another thought that arises ... She raises such things about a person who depend very little from political. So I absolutely agree with you (refers to L. Pishelsky) - It is existentialism in its pure form.
L. Plylovsky: This is just true art, in its pure form.
N. Bogatyreva: Moreover, it so mercilessly affects the creature of what prevents people to meet even the same tolerance, the ideal of empathy, forgiveness, kindness, and so on. Person prevents. Personal "I" interferes. "I", opposing all of the world! And she in life is rooted so that it becomes scary when you read, because you find out: a person is really like that. And he to overcome it worth a huge spiritual effort. And that's why she is terrible, yes!
Natalia Bogatyreva
V. Gipkin: Great! Totally agree with you!
N. Bogatyreva: Here you know, and I have a feeling ... You when they began to talk after me, I had a feeling of absolute agreement with you (laughs). And I was very strange when you said that I did not sound it ...
Makarova (Laughs): Well, it happens, it happens.
A. Zhigalin: By the way, in the name "Petrushevskaya" already have a name - "Petrushka". And he was expensive, he was fun ...
N. Bogatyreva: This look she, by the way, has recently been admitted and plunged into it, it is talented. Why not? For God's sake! "The old woman, slowly crossed the road," it's just a masterpiece! I am glad to listen to it!
A. Zhigalin: Or maybe we will listen? We'll see?
Makarova: We will definitely see, I promised. But first we will finish, and listen to the songs, a little time.
N. Bogatyreva: It seems to me, you can already ...
Makarova: Yes, I know that it's time ... Wait a little bit, Tanya!
N. Bogatyreva (laughs): Tanya readily ...
Makarova: Put on the 49th minute (about the concert of Petrushevsk), Please wait a little bit, slightly. Well, if there are no more willing to perform, I will say.
I am very glad that we took such a difficult, immense topic, such a universe called Petrushevskaya, and it seems to me that we coped. Of course, it is impossible to argue the immense, but, thanks to, first of all, Natalia Dmitrievna, it turned out. She knows how to very briefly and very deeply say about the main thing, on the main one. And Petrushevskaya, like a real artist, still the main thing is its artistic features, features of the language, style. And in general, everything you said today is so interesting! And I am generally grateful, as it may be, many of you, the club for the fact that we take such topics that make you plunge into the topic or to the author - and fall in love. So I read Petrushevskaya before, of course, but I was not in love with her. When I began to prepare ... You understand it is such a pleasure! Now we will listen to songs - it's something! This is so free man that he really wants to imitate.
Natalia Bogatyreva, Galina Makarova and Anatoly Vasilevsky
Well, and I still want to finish the fact that Natalia Dmitrievna is a lot of gratitude! Not only for today, but for those evenings, when she took part in our meetings, and at the views of our filmmubs, where she, too, is always surprising deeply able to perceive the most complex works of art. Therefore, my gratitude is immense. And from the club "Green lamp", and on your behalf, too, I want to give Natalia Dmitrievna our green lamp. Thus, it comes into our narrow circle of the "green lamp" activists, leading the "green lamp", and I hope that we will not have happiness to listen to Natalia Dmitrievna.
(Hands miniature green lamp)
N. Bogatyreva: How lovely!
(Applause)
N. Bogatyreva: Thank you! Stunning!
Natalia Bogatyreva
Makarova: I invite you all to the next meeting - "Mysteries in Literature". Behind the books - to the subscription, there is a lot of things that you do not even suspect.
And now, please, the 49th minute, and see the second branch. This is a concert of 2010, here Petrushevskaya 72 years.
(View video was accompanied by applause)
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- Petrushevskaya, L. S.Time Night: Tale. - M.: Vagribus, 2001. - 175 p.
- Petrushevskaya, L. S. City of Light: Magic stories. - St. Petersburg. : Amfora, 2005. - 319 p.
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- Petrushevskaya, L. S.Children's holiday: [(stories from the life of children and their parents): Collection]. - M.: AST: Astrel, 2011. - 346 p.
- Petrushevskaya, L. S. Wild animals fairy tales; Marine intermediate stories; Puski wielded. - St. Petersburg. : Amfora, 2008. - 401 p.
- Petrushevskaya, L. S.House of girls: stories and stories. - M.: Vagribus, 1999. - 448С.
- Petrushevskaya, L. S.Life is the theater. : [Stories, Roman] .- St. Petersburg: Amfora, 2007. - 398 p.
- Petrushevskaya, L. S. There was a woman who wanted to kill a neighbor child. - M.: Ast: Astrel, 2011. - 216 p.
- Petrushevskaya, L. S.Mysterious fairy tales. Poems (hee) 2. Border fairy tales about kittens. Poems. - St. Petersburg. : Amfora, 2008. - 291 p.
- Petrushevskaya, L. S.Stories from my own life: [autobiographical novel]. - SPb.: Amfora, 2009. - 540 p.
- Petrushevskaya, L. S. ... as a flower at dawn: stories. - M.: Vagribus, 2002. - 255 p.
- Petrushevskaya, L. S. Apartment Colombina: [Paze]. Spb. : Amfora, 2006. - 415 p.
- Petrushevskaya, L. S. Candy with liqueur: (stories from life) .- M.: AST: Astrel, 2011. - 313 p.
- Petrushevskaya, L. S.Kitten Lord God: Christmas stories. - M.: Astrel, 2011. - 412 p.
- Petrushevskaya, L. S.Little girl from "Metropol": story, stories, essay.- spb. : Amfora, 2006. - 464 p.
- Petrushevskaya, L. S. Moscow Choir: [Pieces]. - St. Petersburg. : Amfora, 2007. - 430 p.
- Petrushevskaya, L. S. Real fairy tales. - M.: Vagribus, 1999. - 446 p. - (Female handwriting).
- Petrushevskaya, L. S.Do not get into the car, where two: stories Talk: [Collection]. - M.: AST; Spb. : Astrel-SPb, 2011. - 443 s.
- Petrushevskaya, L. S.Number one, or in the gardens of other features: Roman. - M.: Eksmo, 2004. - 336 p.
- Petrushevskaya, L. S. Paradoski: lines of different lengths . - St. Petersburg. : Amfora, 2008. - 687 p.
- Petrushevskaya, L. S. Adventure letters "A" .- m.: Astrel, 2013. - 47 s.
- Petrushevskaya, L. S. Adventures Kuzi, or city of light: [Tale: for art. shk. age]. - M.: Planet Childhood, 2011. - 189 p.
- Petrushevskaya, L. S. Travels in different directions: [stories, essays, feuilletes] .- SPB. : Amfora, 2009. - 351 p.
- Petrushevskaya, L. S.Stories about love. - M.: AST: Astrel, 2011. -317 p.
- Petrushevskaya, L. S.Roman with findings: Warum So Spat? - M.: Astrel: Corpvs, 2010. - 478 p.
- Petrushevskaya, L. S. Black Butterfly: [Stories, Dialogues, Piece, Fairy Tales]. - St. Petersburg. : Amfora, 2008. - 299 p.
- Bavin, S.Ordinary stories: (L. Petrushevskaya): Bibliogr. feature article. - M.: RGB, 1995. - 36 p.
- Bogdanova, P.Women's play: "Three girls in the blue" L. Petrushevskaya // Conmpocheradramurgy. - 2013. - № 2. - P. 213 - 217.
Lyudmila Petrushevskaya and her group "Kerosene"
Lyudmila Petrushevskaya with confidence can be called one of the outstanding domestic writers of the last century. It is the author of a significant number of stories and children's books, the theatrical plays are delivered by her works, films were removed. Her creativity has become a discovery for many: the author is quite rigid, and sometimes it is just ruthless, without sticks describes all the difficulties of life.
Childhood
Petrushevskaya Lyudmila Stefanovna was born on May 26, 1938 in Moscow. Her parents were well educated people. Mom worked as an editor, Dad was a linguist. Grandfather Petrushevskaya - Nikolai Yakovlev, Soviet scientist, professor of linguistics.
The childhood of the writer took place in the hard military and post-war time, which, undoubtedly, imposed his mark on her fate. The girl, fleeing from the war, was forced to live in distant relatives, and then brought up at all in one of the orphanages near Ufa.
Having matured, Lyudmila decided to tie his life with journalism. Therefore, after receiving a school certificate, the girl comes in Moscow State University, at the Faculty of Journalism. She finished learning in 1961 and settled to work as a journalist. After Petrushevskaya several times changed the place of work. In the early 70s, it is arranged to work in the Central Television Studio Editor.
Creative way
The first verses of Lyudmila Petrushevskaya began to compose still in his youth. They were simple enough, lungs. Some of the poetess at that time referred to his work is unpervently, she did not intend to become a writer. However, talent is not so easy to hide: while studying at the University, Petrushevskaya wrote scenarios for various student events. In the mid-60s, the first plays appeared, but for a long time she did not decide to publish them.
Her plays were interesting, vitality, close to many. Therefore, it is not surprising that their director noted them. Of course, the famous theaters could not take the work of a little-known author. But the theaters are small willingly worked with her works. So, in 1979, in the theater R. Viktyuk, there was a performance "Lessons of Music". And the Lviv Theater "Gaudeamus" presented the spectators a performance "Chinzano".
Only after 1980, the work of Lyudmila Petrushevskaya began to pay attention to theaters. These were sets:
- "Love" - \u200b\u200btheater on Taganka.
- "Apartment of Colombina" - "Contemporary".
- "Moscow choir" - MCAT.
- "Cabaret of one actor" - theater them. A. Raikina.
It is noteworthy that for a long time Lyudmila Petrushevskaya could not be printed. Her stories and plays were not officially prohibited, but the editors of the publishers did not want to take a job to publish quite severe social topics. And Petrushevskaya that wrote them. However, the refusal to press the poetess did not stop.
Despite the fact that books on social topics, poems and poems Petrushevskaya wrote very easily (which is worth one of her cycle about women's life!), Gradually, she changed the scope of activity. The writer was fascinated by the creation of children's books, and also tried to compose love novels.
In 1984, her new cycle comes out - linguistic fairy tales "Ruski Foy". In 1990-2000, she wrote "Treatment of Vasily", "Fairy Tales about the ABC", "Real Tales". A little later, the "Book of Princesses", "The Adventures of Petra Powder" were published. Multiplicating films were created based on the fairy tales about the piglery Peter.
The works of Lyudmila Petrushevskaya are translated in more than 20 languages \u200b\u200bof the world and are published today in many countries. The last book of the writer "From the first person. Talk about past and present "was released in 2012. After Lyudmila Stefanovna switched to other types of creativity, still continuing to write, but already in smaller volumes.
A family
Lyudmila Petrushevskaya was married several times. About the first husband the writer knows a little - he died, leaving his wife with a little son Kirill. After Petrushevskaya married art historian Boris Pavlova. Two more children were born in this marriage - Son Fedor and Natalia's daughter.
Talented man talented in everything
Petrushevskaya was engaged in creating cartoons on their own fairy tales. She founded an animation "Studio of manual labor", which spent a lot of time, drawing cartoons with modern computer technology.
The writer has another talent - she is fond of painting and even graduated from professional courses. Petrushevskaya writes pictures and sells them, and the funds received transfers a charitable foundation that swells orphans.
In 1991, Lyudmila Petrushevskaya was under investigation, even some time was forced to hide, living abroad. She was accused of insulting President Gorbachev.
It was like this: the writer sent a letter to the Lithuanian government, her message was translated and published in one of the newspapers. This letter contained enough unpleasant for power, in particular for Gorbachev, statements. However, the case was closed, after Gorbachev was removed from power. Posted by: Natalia Numvakova
Petrushevskaya Lyudmila Stefanovna - Prose, playwright, poet, screenwriter, author of watercolors and monotype, artist and director of eight own animation films ("Studio of manual labor"), composer and singer, creator of the Stray Theater "Kabare Lyudmila Petrushevskaya".
Born on May 26, 1938 in Moscow in the family of students of IFLI (Institute of Philosophy, Literature, Stories). The granddaughter of the linguist, Professor-oriental N. F. Yakovlev. Mom, Valentina Nikolaevna Yakovlev, subsequently worked as an editor, Father, Stephen Antonovich Petrushevsky, whom L.S. Almost did not know, became a doctor of philosophy.
L.S., whose family was subjected to repression (three shot), survived the hardest famous hunger during the war, lived in relatives who did not give work (as members of the family of the enemies of the people), as well as a senior of war - in an orphanage for disabled children and Tuberculeznikov who survived hunger, under Ufa. Cumshot school in Moscow with a silver medal, received a diploma at the Faculty of Journalism of Moscow State University.
It began to write early early, published notes in newspapers ("Moscow Komsomolets", 1957, "Mosk. True", 1958, Journal "Crocodile" of the 60th g., Newspaper "Week", 1961), worked as a correspondent All-Union Radio and Magazine "Circames". The first story wrote in 1968 ("such a girl", published 20 years later in the magazine "Ogonek"), and from that moment on, he wrote to the main prose. He sent stories to different magazines, they were returned, only Leningrad "Aurora" responded. The first published works there were the stories "History of Clarissa" and "Nazistor", which appeared in 1972 in the journal Aurora and caused sharp criticism in the "literary newspaper." In 1974, the story "Networks and Trap" was printed there, then "in the field". In total by 1988, only seven stories were published, one children's play ("two windows") and several fairy tales. Having entered into the Writers' Union in 1977, L.P has earned translations from Polish, articles in magazines. In 1988, he turned to Gorbachev's letter, sent a letter to the Union of Writers. And the Secretary of the Writers of Writers Ilyin helped with the publication of the first book ("Immortal Love", 1988, the Publishing House "Moskovsky Worker", circulation of thirty thousand).
The play "Lessons of Music" was set by Roman Viktyuk in 1979 at the MSU Student Theater, after 6 performances it was banned, then the theater went to DC "Moskvorechye", and "lessons" again banned in the spring of 1980 (the play was published in 1983 in periodic edition, in a brochure "To help artistic amateur", a circulation of 60 thousand copies).
Lyudmila Petrushevskaya is the author of many prosaic works and plays, books for children. She is also written scenarios for animated films "Lyamzi-Tyri-Bondi, an evil wizard" (1976), "all incomprehensible" (1976), "Stolen Sun" (1978), "fairy tale" (1979, joints with Y. Nororstein ), "The cat who knew how to sing" (1988), "a harepiece", "From you some tears", "Poroshen Peter" and the first part of the film "Shinel" (in collaboration with Yu.Norstein).
Petrushevskaya stories and plays are translated into many languages \u200b\u200bof the world, its dramaturgical works are put in Russia and abroad.
Laureate of the International Award "Alexandr Puschkin" (1991, Hamburg), the State Prize of the Russian Federation in the field of literature and art (2002), the Independent Prizem "Triumph" (2002), the Buninsky Prize, the Stanislavsky Award, World Fantasy Award (World Fantasy Award) For the collection, "there was a woman who tried to kill the child of her neighbor," a humorous premium "Small Golden Ostap" for the collection "Wild animals of fairy tales" and others.
Academician of the Bavarian Academy of Arts.
In 1991, from February to August was under investigation on the fact of insulting President M. S. Gorbachev. The reason was a letter to Lithuania after entering the Vilnius Soviet tanks, reprinted in Vilnius and translated in the Yaroslavl newspaper North Bee. The case was closed due to the resignation of the president.
In recent years, its books are published - prose, poetry, dramaturgy, fairy tales, journalism, more than 10 children's books are printed, they are put on performances - "He is in Argentina" in the MHT. Chekhov, the play "Love", "Chinzano" and "Birthday of Smirnova" in Moscow and in different cities of Russia, are trained in graphics (in GMIA. Pushkin, in the Literary Museum, in the Akhmatova Museum in St. Petersburg, in the private galleries of Moscow and Yekaterinburg ). L.Petrushevskaya performs concert programs called "Cabaret Lyudmila Petrushevsk" in Moscow, in Russia, abroad - in London, Paris, New York, Budapest, in Poole, Rio de Janeiro, where the hives of the twentieth century are performed in her Translation, as well as songs of its own essay.
I start selling your watercolors and monotypius - through the Internet - in favor of the orphanage for teenagers, disabled in Porkov under Pskov. There are sick guys who have a charitable society "Sleeping Sprout" saved from staying in the senile house of persons with disabilities-psycho-cells, where they are sent 15 years after orphanages - for life. The guys teach teachers, they get used to independence, grow vegetables, are engaged in needlework, household, etc. Now heavier time, they need to help.
Lyudmila Stefanovna Petrushevskaya (Born on May 26, 1938 in Moscow) - the famous Russian writer (prosaic, playwright).
In wartime, lived in relatives, as well as in the orphanage under Ufa. After the war, returned to Moscow, graduated from the Faculty of Journalism of Moscow State University (1961). He worked as a correspondent of Moscow newspapers, employee of publishing houses, since 1972 - editor at the Central Television Studio.
Writes stories from the mid-1960s. The first publication is considered by two stories published in 1972 by the magazine Aurora, although in November 1971 in the journal "Pioneer" appeared fairy tales "talking plane" and "Suitcase Chepuchi". Since the mid-1970s, dramaturgical works are also writes, immediately attracted the attention of the leaders a combination of uncompromising realism with artistic saturation. The first productions were held in student theaters: the play "Lessons of Music" (written in 1973) was set in 1979 by Roman Viktyuk in the Studio Theater DK "Moskvorechye", as well as Vadim Golikov in the Luge Theater. Since the 1980s The works of Petrushevskaya passed into professional theaters, starting with the play "Love" (written in 1974), set by Yuri Lyubimov in the theater in Taganka in 1981-82.
Since 1983, when Petrushevskaya's first book comes out (a collection of plays, joint with Viktor Slavkin), its works, both prosaic and dramatic, are published increasingly, especially during the period of restructuring and subsequent years. The acuity of the artistic material, the skillful use of the elements of the spoken language, the unusual level of truthfulness in the descriptions of life, paradoxically intertwined with elements of surrealism - everything that caused suspicion and rejection at censors and editors of the Brezhnev time, - now Petrushevskaya in the number of the first figures of Russian literature, Causeing at the same time around its works is hot controversy, sometimes moving into ideological confrontation.
Subsequently, disputes calm down, however, as Petrushevskaya's playwright continues to remain popular. The performances of her plays were walking on the scenes of Mkhat, St. Petersburg Small Drama Theater, theater. Leninsky Komsomol and many other theaters in Russia and abroad. According to her works, a number of telecons and animated films are also raised, among which the "fairy tale" of Yuri Norstein should be highlighted. Petrushevsky books are translated into English, Italian, German, French and others. Languages.
The tendency to the experiment does not leave Petrushevskaya throughout the creative path. It uses mixed forms of narration, invents its own genres ("linguistic fairy tales", "wild animals of fairy tales" and other mini-stories cycles), continues the artistic study of the spoken language, writes poetic works. Other types of art is mastered: painting and graphics (many Petrushev's books are illustrated with its drawings), performs with the execution of song compositions on their own texts.
Fantastic in the work of Lyudmila Petrushevsk
In many works, Petrushevskaya used various types of fantastic. The plays often use the shears of surrealism and the theater of the absurdity (for example, the "Colombina Apartment", 1988; "Men's zone", 1992). In prose, it is often elements of mysticism; The writer particularly interested in the border between life and death, which, in her works, the characters intersect both both and in another direction, moving from our world to the otherworldly (menippey) and on the contrary (stories about ghosts). The largest of the works of Petrushevskaya, the novel "Number One, or in the gardens of other opportunities" (2004) is complex in the form of a narrative with the relocation of souls, traveling to the afterlife and a description of the shamanic practices of the fictional northern people. The name "In the Gardens of Other Opportunities", the writer used before, denoting them in its publications sections of the most fantastic works. Not alien to Petrushevskaya social fiction ("New Robinsons", 1989; "Hygiene", 1990) and even adventure adventure ("Chariti", 2009).
Petrushevskaya also enjoys widely fame as the author of a plurality of fairy tales, household and magical, both fabulous to children and suitable, rather, for an adult reader or with an indefinite age address.
Lyudmila Petrushevskaya was a member of the Union of Writers of the USSR (since 1977), a member of the Creative Council of the Magazine "Dramaturg", the editorial board of the magazine "Russian Visa" (since 1992). Member of the Russian Penaging Center, Academician of the Bavarian Academy of Arts.
It was noted by the Pushkin Prize of the Foundation A. Tepefer (1991), Prizes of October Journal (1993, 1996, 2000), "New World" (1995), "Banner" (1996), im. S. Dovyttov magazine "Star" (1999), Triumphant Prize (2002), State Prize of Russia (2002), New Drama Festival Prize (2003).
Lyudmila Stefanovna Three children: two sons and daughter. Lives in Moscow. Husband, Boris Pavlov, died in 2009