Radyansk literature and theory of social realism. Socialist realism
Socialist realism: the specialty is socially active and is included in the history of history by means of violence
Marxism has become the philosophical foundation of socialist realism, which will firmly establish: 1) the proletariat - a class, historically calling for a revolution and a violent path, through the dictatorship of the proletariat, to transform the suspense from the unjust to the fair; 2) on the basis of the proletariat to stand a party of a new type, which is made up of professionals, who call after the revolution to see the life of a new classless society, in which people are freed from private power the authority of the party bureaucracy, like a very strong one.
These socially-utopian (and, as it has historically appeared, which will inevitably lead to totalitarianism), philosophical and political postulates have known their continuation in Marxist aesthetics, which without a doubt lie at the basis of socialist realism. The main ideas of Marxism in aesthetics are the same.
- 1. The art, vodnoyuchi deakoy self-reliance in the economy, wised by the economy and the artistic and mystical traditions.
- 2. The art of building is not to be poured into the masses and to mobilize them.
- 3. The Party's curiosity by art directs its own course.
- 4. Art can be adopted by historical optimism and serve the right direction of the welfare to communism. Vono can solidify the installations of the revolution. Vtіm, on a par with the head of the kolgospus, criticism is permissible; at vinyatkovy furnishing 1941-1942 pp. With special permission from Stalin, A. Korniychuk's "Front" could criticize the commander of the front. 5. Marxist epistemology, putting practice on the spot, became the basis for interpreting the figurative nature of art. 6. The Leninist principle of party spirit continued the ideas of Marx and Engels about the class character and tendencies of art and introduced the idea of serving the party into the very work of the artist.
On tsіy philosophical i aesthetic basis and the guilt of socialist realism - the science, engaged by the party bureaucracy, served the needs of the totalitarian supremacy for the formation of the "new people". Zgіdno with official aesthetics, the art showed the interests of the proletariat, and later - of the whole socialist society. Socialistic realism is artistic in a direct way, which solidifies the artistic conception: specialness is socially active and included before the creation of history by violent methods.
Western theorists and critics give their own definition of socialist realism. According to the opinion of the English critic J. A. Gooddon, “Socialist realism is an artistic creed, developed in Russia to promote the Marxist doctrine and expand in other communist lands. The whole art strengthens the aims of socialist supremacy and regards the artist as a servant of the state, or, apparently, until the Stalinist appointment, as an "engineer of human souls." Huddon stating that socialist realism had succumbed to the freedom of creativity, Pasternak and Solzhenitsyn rebelled against it, and "they were shamelessly beaten by the propaganda methods of the zahidna press."
Critics Carl Benson and Arthur Gatz write: “Socialist realism is traditional in the 19th century. the method of prose explanation and dramaturgy, tie-in with themes that sympathetically interpret the socialist idea. In the Radyansk Union, especially the Stalinist era, social and other communist lands, it is piece by piece imposed on artists by the literary establishment.
The middle of a biased, official art, like nonsense, developed in a tolerant manner in a formal, politically neutral way, but more humanistically (B. Okudzhava, V. Visotsky, A. Galich) and fronderske (A. Voznesensky) mysticism. About the rest go to the epigram:
Sings his poetry
I create an all-world intrigue.
Vіn іz let vlady
Vladi show the fig.
socialist realism totalitarian marxist proletariat
In the period of assistance to the totalitarian regime (for example, in the “vіdligu”), they broke through to the side of the other and create, uncompromisingly truthful (“One Day in the Life of Ivan Denisovich” by Solzhenitsyn). Prote y at the zhorstkish hour entrusted with the parade mystekstvo іsnuvav "black hіd": the poets victorious esopіv mova, went to the child's literature, at the artistic translation. Wealthy artists (underground) set up groups, associations (for example, "SMOG", the Lianozivsk school of painting and poetry), created unofficial exhibitions (for example, "bulldozers" in Izmailovo) - all this helped to more easily endure the social boycott of exhibitions, exhibitions, bureaucratic instance. that "polіtseyskih dilyanok kultury".
The theory of socialist realism was inspired by dogmas and vulgar sociological provisions, and looked like a bureaucratic grip on science. Tse appeared in authoritarianism and sub'єktivіzmі sudzhenі і otsіnok, vtruchani dіyalnіst і dіyalnіst vtruchani tvorcheї tvorcheї voshennі creativії svobodnosti, zhorstі komandirovannye svočіvnіstva smystekstvom. Such kerіvnitstvo cost dearly to rich-tonational radyanskіy culture, signified on the spiritual and moral status of society, on the human and creative share of wealthy artists.
A lot of artists, including the largest, among the fates of Stalinism became victims of svaville: E. Charents, T. Tabidze, B. Pilnyak, I. Babel, M. Koltsov, O. Mandelstam, P. Markish, V. Meyerhold, S. Mikhoels. Boulli vіdtіsneі vіd zhudozhnogo tsessі and roamed like fates or practiced at a quarter of their strength, not languidly showing the results of their creativity, Yu. Olesha, M. Bulgakov, A. Platonov, V. Grossman, B. Pasternak. R. Falk, A. Tairov, A. Koon.
The incompetence of the art of art was given as a sign and in the high awards awarded for conjuncture and weak work, like, not respecting the propaganda galas around them, not only did not reach the golden fund of artistic culture, but M. Babanovskiy and S. Babanovskiy started , A. A.). Surov, A. Sofronov).
Incompetence, that authoritarianism, rudeness were no less than special powers to the nature of the party leaders, but (absolute power laying out the leaders absolutely!) Became the style of party culture of artistic culture. The very principle of the party's support of science is a hell of a pro-cultural idea.
Post-perebudovna critique has undermined the importance of socialist realism. "Social realism. Vin zovsim is not so odious, analogous to you as a whole vistach. If you marvel at something without social pain, that prism of cinema, then it is clear that the famous American film of the thirtieth years "Vidnesenі vіtrom" for its mystical merits is equal to the radian film of the same period "Circus". And if you turn to literature, then Feuchtwanger's novels, for their aesthetics of anthrochy, are not polar to A. Tolstoy's epic "Peter the First" No wonder Feuchtwanger loved Stalin so much. Socialist realism is all the same "great style", but only in a Radyansk way. (Yarkevich. 1999) Social realism as art directly (a style of the concept of light and specialness) and a type of "great style", and a th method.
p align = "justify"> The method sotsіalіstichnogo realіzmu yak sposіb shaped mislennya, sposіb stvorennya polіtichno tendentsіynogo create, scho vikonuє Pevnyi sotsіalne zamovlennya, zastosovuvavsya far mezhami spherical panuvannya komunіstichnoї іdeologії, zastosovuvavsya of metoyu foreign kontseptualnoї orієntatsії sotsіalіstichnogo realіzmu yak hudozhnogo directly. So, in 1972 p. at the Metropolitan Opera, I played a musical show, as if I were struck by my tendencies. A young student came on vacation to Puerto Rico, where he got to know beautiful girl. The stinks dance merrily and sleep at the carnival. Let's sweat the stench of brothers and win our bazhannya, at the link with which the dances become especially temperamental. Only those who are less than a student will confuse the young, and there is a poor peyzanka. Vtіm, tse do not care about sleeping and dancing. At the spring merry-go-rounds from New York, the student's fathers would receive blessings and a check for a million dollars for the names. Here the merry ones become unstriking, everyone dances like a pyramid - below the Puerto Rican people, more distant relatives named, more often fathers, and on the very top of the rich American student-names and poor Puerto Rican named-peasanka. Above them, the swarthy ensign of the United States, to burn an impersonal star. Everyone is sleeping, and the names and the name are kissing and at the moment of the signing of their names on the American ensign, a new star is born, which means the emergence of a new American state - Pueru Rico to enter the US warehouse. In the midst of the vulgar p'єs radianskoї dramaturgy, it is important to know TV, which, for its vulgarity and straightforward political tendencies, reaches the equal of the American vistavi. What is not the method of social realism?
Based on the voiced theoretical postulates, socialist realism is conveyed in the figurative imagery of romanticism - a figurative form of historical transmission, fantasy, which is based on real trends in the development of activity and outweighs the natural overflow of ideas.
Socialist realism reinforces the need for historicism to be mystical: the historically concrete artistic reality can evoke “triviality” in someone else’s mind (the writer’s work is not illustrative, seemingly in Gorky’s words, “three events” - the past, the present day and the future). Here socialist realism invades
the principles of a utopian ideology of communism, who firmly know the paths of "the light of future humanity." However, for the poetry in this directness of the future (to call it like it’s utopian) it was richly addictive, and Leonid Martinov sings, writing:
Don't hesitate
cost yourself
Only here is the axis, really,
In the present
And show yourself that you are going
Between the past and the future
Introducing the future into the reality of the 20s and Mayakovsky at the p'ses "Klop" and "Laznya". This image of the future post in Mayakovsky's dramaturgy and looking at the Phosphoric woman, and looking at the car for an hour, taking away in the distant and beautiful tomorrow people fit for communism, and vipple's bureaucrats and other "non-communism". I’ll respect that many “negіdnyh” suspіlstvo “viplovuvatime” in the GULAG will stretch through their own history, and after twenty-five years have passed since Mayakovsky wrote cih p’єs i understand “negіdny kommunіzm” will be more philosophic” (“philosopher lamentation of Stalin) for the sake of the people (already hanging from the place of historical perebuvannya, or the hangings are falling). The axis is wrapped around the artistic ideas of really “the best and most famous poet of the Radian era” (I. Stalin), who, having created artistic creations, were clearly played on the stage by V. Meyerhold and V. Pluchek. Prote nothing marvelous: reliance on utopian ideas, which include the principle of historical thoroughness in the world with the path of violence, could not but turn into some kind of “pіdsyukuvannya” Gulagіvskiy “devil's orders”.
Vіtchiznyane mystetstvo in the XX century. a number of stages have passed, some of them enriched world culture with masterpieces, and others celebrated a virish (not always friendly) splash on the artistic process at the borders of Northern Europe in Asia (China, Vietnam, North Korea).
The first stage (1900-1917) - Sribny century. Symbolism, acmeism, futurism are born and develop. In the novel "Mother" by Gorky, the principles of socialist realism are formed. Socialist realism on the cob of the XX century. in Russia. Maxim Gorky became the ancestor of Yogo;
Another stage (1917-1932) is characterized by aesthetic polyphony and pluralism of artistic directions.
Radyansk vlada provodzhuє zhorstok censorship, Trotsky vvazhє that it is straightened out against the "union of capital from zabobon". Gorky tries to resist this kind of violence against culture, for which Trotsky unimportantly calls Yogo "a godly psalmist." Trotsky slayed the Radian tradition of evaluating artistic phenomena not from an aesthetic, but from a daily political point of view. We give political, but not aesthetic, characteristics of the phenomena of the art: “Kadetism”, “came”, “fellow travelers”. In his plan, Stalin will become a right Trotskyist and social utilitarianism, political pragmatics will become his pan-principles in the approach of science.
The circle saw the formation of socialist realism and giving it an active specialty, taking a part in creative history through violence, for the utopian model of the classics of Marxism. Vinyl art has the problem of a new artistic conception of specialness and light.
In the 1920s, there was a sharp controversy about this concept. As the main achievements of the human being, the mysticism of socialist realism is socially important, and the significant qualities are heroism, self-sacrifice, self-sacrifice (“Death of the commissar” by Petrov-Vodkin), self-sacrifice (“the heart of the hour for opening” - Mayakovsky).
The inclusion of the special features of the life of society is becoming an important task of the art and the value of the peculiarity of socialist realism. Prote vlasn_ interesi individuals are not taken to respect. Mystery strengthens that especially happy people - in self-discipline and service to "happy future people", and the core of historical optimism and the impossibility of life of specialness social welfare- at the honorability of її before the creation of a new “fair suspension” Tsim pathos passed on the novels “Zalіzniy Potik” by Serafimovich, “Chapaev” by Furmanov, the poem “Good” by Mayakovsky. In the films of Sergiy Eisenstein "Strike", "Battleship Potiomkin" the share of specialness is attributed to another plan by the share of mass. The plot becomes those that in the humanistic mysticism, with a turbulent share of specialness, were only another element, “suspended ashes”, “social landscape”, “mass scene”, “epic entrance”.
Proteo deyakі artists vіdkholi vіd dogma socialist realism. So, S. Eisenstein still did not re-sleep an individual hero, did not sacrifice yoga as a sacrifice to history. Mothers call out the most powerfully in the episode at the Odessa gatherings (“Battleship Potiomkin”). In this case, the director stays in the mainstream of socialist realism and does not dwell on the special part of the character, but sensitizes the audience to the experienced dramas of its own history and solidifies the historical necessity and legitimacy of the revolutionary ledge of the Black Sea seamen.
An invariant of the artistic conception of socialist realism for the first stage of its development: people in the “splashing pot” of history “splashes flow with the masses”. ІНАКШШСша Волульсячисться, Sens Zhittya Obushistosti Vbachuzhu Selfіddadnosti (Crasputely Heroїniku Zdatnіsti, turn on the creative of Novo Dіisnostі to Navіt Tsіnuy, and the hour of the town of Lyubayu himself), Dugatnі to the creature of Istorії ("І Maja Turbot!"). Pragmatic and political tasks should be put higher than moral postulates and humanist orientations. So, E. Bagritsky calls out:
І like an era punished: kill! - Vbiy.
For the first time the epoch is punished: lie! - Lie.
On the center of Etapі's instrument IZ Sotsіalіstichny Realіsta join Sovituyuyu іnshі artist directly, Shaho svdozhniy, іnvіanti artiiiiiiiii world, such an individual (Constructive) Selvіnskiy, K. Zelіnskiy, І. Yerenburg; neoromantism - A. Gryn; AKMEICS - N. Gumіlov, and Akhmatova, imaginism - S. Yesenin, Mariengof, symbolism - A. Blok;
The very concept of "socialistic realism", which hung up the artistic and conceptual qualities of the new art, vindicated the hour of turbulent discussions and theoretical jokes. In the early 1920s and early 1930s, the polls were right collective, they took the fate of a rich and varied culture, and in a different way they introduced a new method of literature: “proletarian realism” (F. Gladkov, Yu. Lebedinsky), “tendency” realism” (V. Mayakovsky), “monumental realism” (A. Tolstoy), “realism from a socialist lens” (V. Stavsky). In the 30s, children's cultures and daedals converge more on the designated creative method of Radian art as the method of socialist realism. "Literaturna Gazeta" May 29, 1932 at the leading article "For work!" wrote: "Masi look at the artist's breadth, revolutionary socialist realism in the image of the proletarian revolution." Kerivnik of the Ukrainian written organization I. Kulik (Kharkiv, 1932) saying: “... it is reasonable to call that method, which we could orientate ourselves on, should be called “revolutionary-socialistic realism”. At the award of writers at Gorky's apartment on July 25, 1932, using the artistic method of literature during the discussion of the names of socialist realism. Pіznіshe kolektіvnі zusillya vroblennya kontsії khudії ї zhudny ї ї zhny ї ї ї ї lіteraturi boi “forgotten” і bіl ascribed to Stalin.
Third stage (1932-1956). When the first half of the 1930s was enlightened, the Socialist Realism of Writers was recognized as an artistic method, which led to a truthful writer and a historically specific image of action in his revolutionary development; the head of the organization of working people in the spirit of communism was supported. Nothing specifically aesthetically pleasing appeared to those appointed, that nothing stood out to the art itself. Appointment oriented art on political engagement and with equal success it was established both before the history of science, and journalism, and before propaganda and agitation. In that very hour of socialist realism, it was important to include such types of art as architecture, applied and decorative art, music, to such genres as landscape, still life. Lyrics and satire, in fact, appeared beyond the borders of the appointed rhetoric of the artistic method. It went out of our culture, or put under the sum of great mystical values.
In the first half of the 30s. Aesthetic pluralism is administratively attached, the idea of active specialness is lost, but at the same time specialness is the beginning of orientation towards the true humanistic value. The leader, the party and its goals become the most important life values.
At 1941 p. war invades the life of the Radian people. Literature and science are included to the spiritual security of the fight against the fascist occupiers and victory. At the same time, the mysticism of socialist realism, de novo does not fall into the primitiveness of agitation, most of all it supports the vital interests of the people.
In 1946, if our country lived for the joy of winning and more great expenses, the decision of the Central Committee of the All-Union Communist Party of Bolsheviks “About the journals Zirka and Leningrad” was adopted. Z roz'yasnennyam praised at the gatherings of party activists and writers of Leningrad speaking A. Zhdanov.
Creativity and singularity of M. Zoshchenko were characterized by Zhdanov in such “literary-critical” discourses: “philistine and vulgarity”, “non-radiant writer”, “dirtyness and obscenity”, “viverta navivorit his vulgar and low soul”, “unscrupulous and unsophisticated hooligan ".
It was said about A. Akhmatova that the range of її poezії “to the point of evil”, її creativity “cannot be tolerated on the sides of our magazines”, that, “Crimea shkodi”, create tsієї chi either “blackberries”, or some “harlots” our youth cannot give anything.
Zhdanov has an extremely literary and critical vocabulary - a single argument and a tool for "analysis". The rude tone of literary rebellions, opratsyuvannya, persecution, fences, soldiery vtruchannya in the works of artists were grounded by the dictates of historical environments, the extreme situation that they are experiencing, the constant aggravation of the class struggle.
Socialistic realism is bureaucratically victorious like a separator that allows the "permissible" ("our") art to be "permissible" ("not ours"). Through this, the diversity of the art of art was revealed, on the periphery of the artistic life, or to instill neo-romanticism behind the artistic process (A. Grin’s story “ crimson windows”, painting by A. Rilova “At the black expanse”), new-realistic buttevo-podіyne, humanistic art (M. Bulgakov “ Bila guard”, B. Pasternak “Doctor Zhivago”, A. Platonov “The Pit”, sculpture by S. Konenkov, painting by P. Korina), realism of memory (painting by R. Falk and graphics by V. Favorsky), poetry will become the spirit of specialness (M Tsvetaeva, O. Mandelstam, A. Akhmatova, and later I. Brodsky). History has arranged everything according to its own places and today it is clear that the very same people who have resisted the official culture create and become the essence of the mystical process of the era and the main mystical achievements and aesthetic values.
The artistic method, as a historically delusional type of figurative thought, is determined by three factors: 1) artifice, 2) the artist's glimpse, 3) artistic and illusory material, from such a stench to come out. The figurative idea of the artist in socialist realism was grounded on a life-like basis accelerated by its development of action in the 20th century, on the light-seeing basis of the principles of historicism and dialectical reasoning butt, spiraling on a realistic traditional system of Russian history. That is why, for all its tendencies, socialistic realism is similar to the realist tradition of the nation, having created an artist's creation of a voluminous, aesthetically rich character. Such, for example, is the character of Grigory Melekhov in the novel “Quiet Flows the Don” by M. Sholokhov.
The fourth stage (1956-1984) - the mysticism of socialist realism, strengthening the historically active specialty, began to wonder about its self-worth. Even though the artists did not directly seize the power of the party and the principles of socialist realism, the bureaucracy tolerated them, as if they served, they rewarded them. "And if not - so not": B. Pasternak's teasing, the "bulldozer" opening of the exhibition in Izmailov, the demonstration of artists "on the greatest river" (Khrushchov) in the Manezh, arrest I. Brodsky, the hanger of A. Solzhenitsyn ... - "Etap the great path" of the party's curation of art.
At the same time, the statutory designation of socialist realism has lost some credibility. The frontal manifestations began to grow. Everything was marked on the artistic process: having introduced the landmarks, the new vinyl has “vibration”, from one side, the pet vaga has increased artistic creations Those literary-critical articles of anti-humanistic and nationalistic directness, from the other side, appeared to create an apocryphal-dissident and unofficial democratic slander.
Natomsti inspired by Datae, Scho Vіdrechinzhnaya Square: Socialіstichny Realіm - Method (SPOSIB, IINSTRUMENT) Wakes up artificially, Todnosti Tydpovіdniy Yomi-Distribi, Scho Picky Social-Yeuttichny Dosvіd Khh Art., Shahly carry from the art: the world is not thorough, “you need to rebuild the light, having rebuilt you can settle down”; specialty can be socially active in the right forcible change in the world.
Self-confidence is awakened in this specialty - seeing one's own self-worth and protesting against violence (P. Nilin "Zhorstokist").
Nevozhenyuyuy for a product of a bureaucratic WTRACHNY in artistic process, Nevashayuchi on Prelvineny Svіti, Zillytsky, Lampulsi, Lamnosti, Wattєvі Impulssia, Light Spring Spring Spring Low Tsіnnyi Creativity (Scholokhov's Rye "Share of People", Filmi M. Romsh the same fate”, M. Kalatozova “The Cranes Fly”, G. Chukhrai “Forty First” and “Balad about a Soldier”, S. Smirnov “Belorussky Station”). I respect that especially the richness of the art of creation, which was lost in history, was consecrated Vytchiznyanoi war against the fascists, which is explained by the real heroism of the era, and by the high civilized-patriotic pathos, which engulfed all the society in this period, and, at the same time, that the main conceptual setting of social realism (creation of the history of violence) in the military with people's knowledge, and at times did not supersede the principles of humanism.
Starting from the 60s. The art of socialist realism affirms the connection of the people with the broad tradition of the national butt to the people (created by V. Shukshin and Ch. Aitmatov). In the first decade of its development, Radianian art (Vs. Ivanov and A. Fadeev in the images of distant partisans, D. Furmanov in the image of Chapaev, M. Sholokhov in the image of Davidov) portrays people who deviate from tradition and indulge in the old world. It would have been possible, becoming a strong and irreversible urve of invisible threads that would bind specialness with a moment. Protearchy 1964-1984 pp. more and more respect is given to those, like, with what rice, specialty is connected with rich psychological, cultural, ethnographic, bututy, ethical traditions, but it was clear that a person, like in a revolutionary fight, broke with national tradition, to make it easy for a successful , humane life. .Aitmatov "Biliy steamboat"). Without a connection with the national culture, specialness appears empty and ruinously zhorstok.
A. Platonov, hanging "viperedzhalnu" hour of the artist's formula: "Without me, the people will not be the same." The miracle of the formula is one of the naviting of the Social Socialist Realіzm on the newest NETAPI (PRIE TE, SHO TSA BOOL BOOLOVUNO IT ARTUTO RECEIVED ІзєM SOCRYRAALIMUM - Platonov, Wono Tіlki m might have been visiting the Mishtsy Ryatichny, the Misces of the Dead, and in the civoy-free straightening). That very thought about the anger of the life of a person with the life of the people resounds in the artistic formula of Mayakovsky: a person "flies like a nettle with the masses." During the new historical period, Platonov emphasized the self-valuable significance of specialness.
The history of socialist realism has demonstrated in every way that the important thing in the arts is not preoccupation, but artistic truth, which would not be such a harsh and “unhandled” one. Party curiosity, as the critics and deacons of the postulates of socialist realism served to him, vimagali in the works of “artistic truth”, which ran away from the mitteva conjuncture, which supported the tasks, we set up the party. Otherwise, tvir could zaboronit and vikinuti from the artistic process, and the author, having learned the persecution, instill ostracism.
History shows that the “fences” were left overboard, and the fences turned around (for example, sing A. Tvardovsky “By the right of memory”, “Terkin in that world”).
Pushkin, saying: "Heavy mat, crushers sklo, kuє damask." In our country, a terrible totalitarian force "crushed" the intelligentsia, transforming some into snitches, others into drunkards, and still others into conformists. However, among the deacons, they forged a glybinn artist's knowledge, which rose with a great life of dosvid. Some part of the intelligentsia (F. Iskander, V. Grossman, Yu. Dombrovsky, A. Solzhenitsyn) worked in the most important environments in great and uncompromising ways.
More and more powerfully historically active singularity, the art of socialist realism first begins to reciprocate the process: as singularity for history, and the history of singularity. Crisis trillly extinguished the service to the "happy future" the idea of self-worth of a person begins to break through.
The art of socialist realism continues to affirm the priority of the "infamous", the sovereign "private", special. Prodovzhuє propovіduvatsya the inclusion of special to historical creativity mass. At the same time, in the novels of V. Bikov, Ch. Aitmatov, in the films of T. Abuladze, E. Klimov, in the performances of A. Vasiliev, O. Efremov, G. Tovstonogov, the theme of the individual's existence in front of the suspility, and the blame for the theme , which prepares the idea of "perebudovi", the theme of the support of the suspense for the share of that happy people.
In this manner, socialist realism comes to self-deprecation. A new one (and not just after him, in the disgraced and sublime mysticism) begins to sound an idea: a person is not hot for history, which gives energy for abstract progress. Might be created by people for people. A person is guilty of giving to himself to people, hisististic isolation allows life to be sensational, transforming them into absurdity (visualization and approval of the ideal idea is the merit of the mysticism of socialist realism). If the spiritual growth of a person's posture with suspіlstvo threatens the degradation of specialness, then the development of suspіlstva posture and krіm people, in spite of their interests, is detrimental for speciality, and for suspіlstva. Number of ideas after 1984 to become the spiritual foundation of rozbudov and publicity, and after 1991 p. – democratization of the state. Prote hopes for rozbudova and democratization were far from successful. How soft, stable and socially turbulent the regime of the Brezhnev type (totalitarianism in the face of human beings) was replaced by a corrupt, unstable terry democracy (oligarchy with a criminal specialty), a turbulent division of power in front of the state, a sovereign state.
Like before, as the epoch of Resurrection hangs, freedom was extinguished, “Robi scho you want!” having instilled the era of Renaissance before the crisis (because not everyone wanted to do good), so the artistic ideas, as if they were preparing a rebirth (everything for the people), turned into a crisis and a rebirth, and of all prosperity, because the bureaucrats and democrats respected people less than themselves and their own likes; behind party, national and other group signs, people were divided into “ours” and “not ours”.
Fifth period (mid-80s - 90s) - the end of socialist realism (when not surviving socialism and radian rule) and the beginning of a pluralistic development of the arts of the land: new trends in realism emerged (V. Makanin), social -art (Melamid, Komar), conceptualism (D. Prigov) and other postmodernist directly in literature and painting.
In a democratically and humanistically oriented way, mysticism brings forth two adversaries, who exude and destroy the real humanistic values of humankind. The first opponent of the new art and new forms of life is social baiduzhism, its centrism of specialness, which is holy historically under the control of the state and the claves from itself all the obligations before the suspіlstvo; greediness of neophytes of the “market economy”. The second enemy is the purposeful-lumpen extremism of the ill-informed, self-willed, corrupt and unreasonable democracy, which terrifies people to look around at the communist values of the past with their herd collectivism, which lacks specialness.
The development of the society, which is thoroughly obliged to go through the people, in its specialness, and the self-worthy specialness, having developed the social and special features of hisism, is obliged to be included in the life of the society and develop with the evil of him. The ultimate landmark of art. Without approval of the need for social progress, literature evolves, but it’s important that progress is not out of proportion and not for people’s needs, but in their own name. A happy society is the whole society, for which history is collapsing through the channel of specialness. It's a pity that the truth was revealed to the unknown and not to the communist alarmists of the distant "bright future", to the shock therapists and to other alarm clocks and democracies. The truth is no closer to the zahіdnim defenders of the rights of the individual, like they bombed Yugoslavia. Їх ці rights are a tool to fight against opponents and supermen, but the program is not real.
The democratization of our suspenstvo and the emergence of party opposes were given to those who encouraged the world to create, the authors of which try to artistically comprehend the history of our susspіlstvo in all kinds of drama and tragedies (especially significant in the name of the archpelledur of the "solicitor Oleksandrguzhenіr").
The idea of aesthetics to socialist realism about the active influx of literature on fiction turned out to be correct, but even more overdone, accepting artistic ideas does not become a “material force”. Igor Yarkvich in the publikovіyi in Intterneti Statti "L_Teatura, Estytika, freedom of that Іnshі tsіkavі rchі" Piche: "Astright to 1985 ROCHI SIMI LІBEAL ORINGOVYE TUKSKOVAKOVAKA:" Yakscho Tomorrow Tomorrow Acklikuvati Bіblіju Tu Solivіqina, then Pisiliztra Kikinosia in Insi. Panuvannya over the world through literature - this idea played hearts like the secretaries of the joint venture.
The very dawn of a new atmosphere after 1985. the world was pumped with Boris Pilnyak's Tale of an Unredeemed Month, Boris Pasternak's Doctor Zhivago, Andriy Platonov's The Pit, Vasil Grossman's Life and Share radian people. New films appeared: "My friend Ivan Lapshin", "Plumbum, or not safe gra", "It's easy to be young", "Taxi blues", "Don't send us a gun". Films of the rest of the second decade of the XX century. to talk more about the tragedies of the past (“Repentance”), to speak of anxiety for a share young generation(“Kur'єr”, “Luna-Park”) tell about hopes in the future. The deeds of these creations are left in the history of artistic culture;
Perebudova created a special cultural situation in Russia.
The culture is dialogical. Change the reader and yogo life information to lead to the change of literature, and not only people, but also essential. Її zmіst zminyuєtsya. "Fresh and modern eyes" read the reader's literary texts and know in some earlier unknown sense and value. This law of aesthetics is especially strikingly manifested at the turning point of the era, if it changes sharply life dosvid of people.
The turning point of the break was marked as a social status and rating of literary works, and a stage of the literary process.
What is the tsey camp? All the main streams of virtuous literature have recognized the crises, since the ideals inspired by them, positive programs, options, and artistic concepts of the world turned out to be impossible. (The rest does not include the artistic significance of other works, which are most often created at the cost of the writer’s input in the concept directly. An example of this is V. Astaf’eva with the strong prose.)
Literature of the bright day of that future (socialistic realism in Yogo's "pure look") in the last two decades went out of culture. The crisis of the very idea that inspired communism was spared by the ideological basis of those goals. One "GULAG Archipelago" is enough, so that you can create, that you show life at the erysipelas of the world, reveal your lies.
The new modification of socialist realism, the product of this crisis, has become the national-billshovitskaya current of literature. In the sovereign-patriotic form, this is directly represented by the work of Prokhanov, who glorified the export of violence from the invading Radian troops to Afghanistan. The nationalistic form of which can be directly known from the creations that were published by the magazines "Moloda Gvardiya" and "Our Contemporary". The collapse of which is directly visible on the historical aphids of the half-moon, which the two (in 1934 and 1945) were burning for the Reichstag. And as if not developing directly, historically, it is already known to have been created and someone else's world culture.
I have already decided that the hour of life of the “new people” was weakened, and at the hour the links were lost from the deep layers of the national culture. This turned out to be a lot of hardships for the peoples, from which this experiment was carried out. The readiness of the new people to international conflicts (Sumgait, Karabakh, Osh, Fergana, Pivdenna Ossetia, Georgia, Abkhazia, Pridnestrov'ya) and hromada wars (Georgia, Tajikistan, Chechnya) became dashing іz bіd. Anti-Semitism was supplemented by the rejection of the "osіb Caucasian nationality". May the Polish Intellectual Mikhnik: the last and last stage of socialism - nationalism. One more sum to this is confirmation and non-peaceful separation in Yugoslav and peaceful - in Czechoslovak or in white.
The crisis of socialist realism gave rise to the literary current of socialist liberalism in the 70s. The idea of socialism with human faces has become the mainstay of the flow. The artist played the perukarian operation: for socialism, the Stalinist whiskers were shaved and the Leninist beard was glued. Behind this scheme, M. Shatrov's p'esi were created. Tsya flow with mystetsky zasoby zmushena bula virishuvati political problems, if other things were closed. The writers worked on the make-up on the barracks socialism. Shatrov gave a liberal interpretation of our history for that hour, interpretation, building and satisfaction, and enlightening the higher authorities. A lot of peeps were crying out that Trotsky was given in an effort, and they took it as if they were saying in an effort that Stalin was a good man. It was taken from the hoardings of our drunkenly crushed intelligentsia.
At the key of socialist liberalism and socialism with a special human being, V. Rozov's words are written. Yogo young hero to tear furniture into a hut of a colossal Chekist, taken from the wall by the Batkiv Budyonnovsk saber, as if they cut down the Belarusian guard. Today, such temporally progressive creations with the truest ones and the darkened pleasurable ones have changed into the Hibni. A short letter for their triumph.
Another current of Russian literature is lumpen-intellectual literature. A lumpen-intellect is a creature who knows something about what, does not have a philosophical look at the world, does not look for a new special capacity and calls for thought “freely” within the framework of protective frondery. Lumpen-writer maє pozikovu, created by the masters of the past, an artistic form, which gives some creativity to the deak privablivіvі. However, it is not given to you to bring this form to real problems: you are empty, you don’t know what to say to people. The Vishukan form of lumpen-іntelіgenti vikoristovuyut for the transmission of highly artistic thoughts about nothing. Most often, it is used by modern poets, as if they were mastered by technique, but they allowed them to comprehend modernity. Lumpen-writer is hanging like a literary hero in his best alter, a man is empty, weak, a bad bastard, I don’t want to drink, I’m sorry to lie, but I don’t want to love, I can’t give my wife happiness, I can’t become happy myself. Such, for example, is the prose of M. Roshchin. A lumpen-intellect can be neither a hero nor a creator of high literature.
One of the products of the collapse of socialist realism was the uncritical naturalism of Kaledin and other vikrivachivs of the "lead abominations" of our army, zvintarny and Mist life. Tse butopis of the Pomyalovsky type, only with a lesser culture and lesser literary zdіbnosti.
Another manifestation of the crisis of socialist realism was the “tabrina” of the literature flow. Sorry, someone is rich
Vedenny "tabrnoy" literature opined on the equals of the conceived more in the form of butt painting and the relief of philosophical and artistic greatness. However, the shards of these works spoke of an unknown wide readership, and those “exotic” details called out great interest and creation, which conveyed these details, appeared to be socially significant, and sometimes artistically valuable.
Literature of the GULAG brought to the people's witness the majestic tragic life of the tabor life. This literature will be lost in the history of culture, especially in such deep manifestations, like the work of Solzhenitsyn and Shalamov.
Neo-immigrant literature (V. Voinovich, S. Dovlatov, V. Aksionov, Yu. Aleshkovsky, N. Korzhavin), which is alive for the life of Russia, richly sang for the artistic understanding of our butt. “Don’t beat yourself up to a special disguise” and on the emigrant writers’ side, it’s really important to beat the richly important in a particularly bright light. Until then, neo-imgrant literature has its own strong Russian immigrant tradition, to which include Bunin, Kuprin, Nabokov, Zaitsev, Gazdanov. Today, all emigrant literature has become a part of our Ukrainian literary process, a part of our spiritual life.
Vodnochas at neo-immigrant krill Russian literature bad tendencies have emerged: 1) put Russian writers on the stand: poїhav (= orderly and talented) - not poїhav (= disorderly and mediocre); 2) vinicla fashion: lingering in the calm and soothing far away, give categorical assessments of the bottoms, in such an immigrant life-buttya it is not possible to lie down, but in order to threaten the very life of the people in Russia. In such “odds of the outsider” (especially if the stink is categorical and in the underwater currents to avenge the intention: in Russia idiots don’t understand the simplest speeches) there is immodest and immoral.
Everything good in Russian literature was popularized as more critically, in order to resist the true order of speeches. Tse is fine. Just like that, the totalitarian supremacy and the possibility of the people of cultural values. Prote simple recitation, simple criticism still does not give access to the greater literary achievements. All values are declared at once from the philosophical towers of the world and by different ideals. Yakby Leo Tolstoy just talking about the guides of life - buv b vin Glib Uspensky. Ale is not light riven. Tolstoy developed the artistic concept of resistance to evil by violence, of internal self-perfection of specialness; vin stverdzhuvav, that by violence it is possible to destroy less, to be possible - with love, but to remake the next one in front of you.
This conception of Tolstoy passed on to the twentieth century, and, yakbees listened to it, it would have forgotten the hardships of this century. Today, it will help them to understand and podolat. Concepts of such a scale that we cherish our epoch and go into the future, we do not see. If she shows up, we will have great literature again. Vaughn in the dorozi, and a guarantee of this - the traditions of Russian literature and the tragic life of our intelligentsia, nabutiy in the camps, in the chambers, on the robot and in the kitchen.
The peaks of Russian and light literature "War and Peace", "Zlochin and Punishment", "Maister and Margarita" are behind us and in front. Those who in us were Ilf and Petrov, Platonov, Bulgakov, Tsvetaeva, Akhmatova, give inspiration to the great future of our literature. The unique tragic life of the story, which our intelligentsia has brought to the suffering, and the great traditions of our artistic culture cannot but lead to a creative act of creating a new artistic world, the creation of true masterpieces. Let's see if we can't see the historical process, and if we haven't seen it, the country, for example, has great potential, historically we've seen the crisis. Artistic and philosophical achievements will sharpen us in the next hour. Stink to come earlier for economical and political achievements.
What is socialist realism
So it was called directly from literature and mysticism, which was formed on the basis of the 19th cob of the 20th century. and that was established in the era of socialism. In fact, it was official directly, as if it were strongly interested in and supported by the party bodies of the SRSR, as in the middle of the country, and there.
Socialist realism - appearance
The official term in the press was announced by the Literary Gazette on May 23, 1932.
(Neyasov V.A. "Boy from the Urals")
AT literary works a description of the life of the people poednuvavsya iz izobrazhennyam yaskravih іndivіdualnosti and zhittєvih podіy. In the 20s of the twentieth century, under the infusion of radyanskaya artistic literature That art began to emerge and form the flow of socialist realism in foreign countries: Germany, Bulgaria, Poland, Czechoslovakia, France and other countries. Socialist realism in the SRSR was fairly established in the 1930s. 20th century as the main method of rich-tonational radian literature. After its official vote, socialist realism began to stand up to the realism of the 19th century, which Gorky called “critical”.
(K. Yuon "New Planet")
From the official tribunes, it was voted that, depending on the fact that in the new socialist society there is no way to criticize the fret, the works of socialist realism can cherish the heroism of the everyday life of the rich-ethnic radyansky people, which may be the light of the future
(Quiet I.D. "Reception at the Pioneers")
Indeed, it turned out that way, that the ideas of social realism were promoted through a specially created for the first time in 1932. organization, Union of Artists of the SRSR and the Ministry of Culture, called for a new order of art and literature of the leading ideology and politics. Be-yakі zhudozhnі that krіdnannya, krіm Splits of artists in the SRSR, were fenced. From which moment the head deputy is the state organs, the main genre is thematically create. Those writers, who stood for freedom of creativity and did not fit into the official line, became outcasts.
(Zvyagin M. L. "To work")
The best representative of socialist realism, Maxim Gorky is the founder of socialist realism in literature. Standing in the same row with him: Oleksandr Fadєєv, Oleksandr Serafimovich, Mykola Ostrovsky, Kostyantin Fedin, Dmitro Furmanov and other radian writers.
Zahid the sun of social realism
(F. Shapaev "Silsky leaf-carrier")
The disintegration of the Union was called to the point of destruction by the very same ones in all directions of art and literature. At the next 10 years of life, the creation of social realism in the mass population was abandoned and scorned not only huge SRSR, ale y in the post-tradyansky lands. Prote, the 21st century has aroused interest anew to the “creators of the era of totalitarianism”, which are no longer available.
(A. Gulyaev "New River")
Following the exit of the Union, a mass of currents came directly to replace socialist realism in the literature and literature, most of which were led by a direct fence. Obviously, this halo of "foreclosedness" played a significant role in their popularization after the collapse of the socialist regime. Ale, at the moment, not marveling at their presence in literature and art, it is impossible to call them widely popular and popular. Vtіm residual verdict forever zalishaєtsya for the reader.
Being a creative way, scho zastosovuvavsya in the arts and literature. This method was introduced by the aesthetic viraz of the singing concept. This concept is connected with the period of struggle for the promotion of socialist welfare.
This creative method has become the main artistic method directly from the SRSR. Realism in Russia, having voted for the truthful expression of reality and the anatomy of the revolutionary development.
The founder of the method in literature is M. Gorky. SAME VIN in 1934-MU ROTSI on the first SRSR Written SRSR Writing Socyal_stichny Realism Yak Form, Shaho Cherdzhu Skuttya Yak Diannya Ta Creative, Meta Polyakaє's Meta Polyaguє at the uncomplicated Division of Nab_lshchi Zіniki Іndivіda for richly 'I.
Realism, philosophy, which is typical of the Radianian literature, being based on ideological principles. As far as the concept is concerned, the child of culture is guilty of following a non-appeal program. Socialistic realism of foundations on the conventional radian system, labor enthusiasm, as well as revolutionary opposition to the people and leaders.
This creative method is punished by all cultural figures of the skin sphere of art. Tse put creativity at the end of a hard frame.
Proteo deyakі artists of the SRSR created their own and yaskravi create, scho small zagalnolyudskoe znachennya. It was only recently that the low talent of socialist realist artists was recognized (Plastova, for example, who painted scenes from rural life).
Literature in that period was a tool of party ideology. And the writer himself looked like an "engineer of human souls." For the help of your talent, vin mav pour on the reader, be a propagandist of ideas. The main task of the writer was to win the chitach from the soul of the Party and support him at once to fight for the encouragement of communism. The subjective aspirations and the peculiarities of the heroes in our works of socialist realism have brought the appearance to the objective historical hypotheses.
At the center, be it a creative work, there are obov'yazkovo just a positive hero. In addition, the hero was a progressive human being, I was a stranger to human sumniv.
Speaking of those that the Volodya people are guilty of mysticism, that they themselves are on their own, in the hopes that they think that art can be founded on the right, Lenin clarified that literature can be party. Lenin realized that this kind of art is an element of the infamous proletarian right, a detail of one great mechanism.
Gorky insisted that the main task of socialist realism is based on the development of a revolutionary look at those who are, in the form of a spiritual acceptance of the world.
In order to ensure a clear passage of the method of creating pictures of TV prose and poetry, and even more, it was necessary to subdue the vikritty of capitalist evils. Under the skin of your eyes, you can praise socialism, gazing and reading to the revolutionary struggle.
The method of socialist realism has embraced absolutely all spheres of art: architecture and music, sculpture and painting, cinematography and literature, dramaturgy. This method is based on low principles.
The first principle - narodnіst - vyyavlyavsya at tsomu, scho among the creations of Mali but obov'yazkovo vyhіdtsami z people. Nasampered, the guards and the villagers.
Create small revenge descriptions of heroic vchinkіv, revolutionary struggle, everyday life of a bright future.
Another principle was concreteness. Vaughn expressed itself in the fact that reality was a process of historical development, in that it reaffirmed the doctrine of materialism.
Material from Wikipedia - free encyclopedia
Socialist realism- the artistic method of literature and art, incitement to the socialist concept of the world and people. On the thought of a concept, the artist can use his creations to create the life of a socialist society. Otzhe, social realism maw bi dobrazhat life in light of the ideals of socialism. The concept of "realism" is literary, and the concept of "socialist" is ideological. By themselves, the stench superimposes one to one, but in this theory of science, the stench is angry. The results have established norms and criteria that are dictated by the Communist Party, and the artist, who is a writer, the sculptor or the painter, is guilty of doing everything before them.
Literature of socialist realism became an instrument of party ideology. The pismennik was interpreted as "engineer of human souls". With his talent, he can pour himself into the reader as a propagandist. Vіn vikhovuvav chitacha on kshtalt Party at once from timuvav їх at the fight for the victory over communism. The subjective nature and aspirations of the peculiarities of the heroes in the works of social realism were due to social realism, but they were brought to the point of an objective bridging of history.
At the center of creation, obov'yazkovo mav, there is a positive hero:
- Vin is an ideal communist and an example for socialist society.
- Vin is a progressive person, like someone else's sumniv soul.
Lenin, in such a way, expressing the idea that the art can stand for the proletariat: “The art belongs to the people. The most important sources of art can be found among a wide class of workers ... Art can be based on their feelings, thoughts, and strengths and can grow together with them. In addition, he clarified: “Literature can become party ... Get rid of non-party writers. Get rid of superhuman writers! Literary on the right can be a part of the savage proletarian right, the twinks and bells of one single great social-democratic mechanism that is collapsing with all the avant-garde of the entire robotic class.
The founder of social realism in literature, Maxim Gorky (1868-1936), writing about social realism as follows: yogo crooked names and you can see all the greatness of the heroic work of the proletariat-dictator. Vіn same stverdzhuvav: "... the writer is guilty of mother garne knowledge of the history of the past and knowledge of the social phenomena of the present, in the same wine of invocations, simultaneously vikonuvat two roles: the role of the midwife and the burial ground"
A.M. Gorky, having taken into account that the main leaders of socialist realism are the development of a socialist, revolutionary look of the world, of a viable mind of the world.
To inherit the method of socialist realism, tvir verses and novels, creation of picturesque works too. it is necessary to order the measures of vikrittya wickedness of capitalism and the praise of socialism, so that the readers and peepers will be forced to the revolution, igniting their minds with just anger. The method of socialist realism was formulated by the Radyansky children of culture under the kerіvnitstvom of Stalin 1932. Winning all spheres of artistic activities (literature, dramaturgy, cinematography, painting, sculpture, music and architecture). The method of socialist realism is based on the following principles:
1) describe the reality accurately, clearly up to a specific historical revolutionary development; 2) improve your artistic vision with the themes of ideological reforms and the development of workers in the socialist soul.
Principles of social realism
- Nationality. The heroes of creation may be gone from the people, and the people were ahead of the workers and the villagers.
- Party spirit. Show the heroic spirits, the life of a new life, the revolutionary struggle for the light of the future.
- Concreteness. In the imagery of action, show the process of historical development, which, in its own right, is guilty of adhering to the doctrine of historical materialism (matter is primary, evidence is different).
The Radyansk epoch is used to name the period of the venerable history of the 20th century, which is 1917-1991 pp. At the same time, it took shape, she survived the peak of her development of Radianska artistic culture. I absolutely at a shirt at the hat at the storm of the main artwork, I began to buy "socially_stichny reality", Zaka was called "Social'al_stichny Realіzm", s'yaviyi історіїньі ик кольновной комосио їstorby in іm'ya Kіntsevo Meti - L_Kvіdatskyi Privatoji Vlasnostі Ta Gorky "Mother", Yogo zh p'esa "The Enemies"). In the development of the art of the 20s, two trends clearly show through, so you can learn from the butt of literature. From one side, a number of great writers did not accept the proletarian revolution and emigrated from Russia. From the other side, the creative deacons poetized the spirit, believed at the height of the goals, as if they set communism before Russia. Hero of literature of the 20s. - Bilshovik, scho Volodya over the people's will. V. V. Mayakovsky (“The Libyan March”), A. A. Blok (“The Twelve”) have the key to creating creations. The new one saw a sprat of grouping. The largest bula group was the Association of Artists of the Revolution. The stench depicted the current day: they beat the Red Army, they beat the workers, the villagers, the children of the revolution and the workers. The stinks respected themselves with the fall of the Wanderers. The stench went to factories, backwaters, to the Red Army barracks, so that they could indiscriminately guard the life of their characters, “cover up” yoga. Young people united in another creative union - OST (Tovaristvo stankovistiv), as they graduated from the first Radyansk art university. The motto of the OST is a development of easel painting themes that show examples of the 20th century: an industrial place, craftsmanship, and sports too. At the sight of the AChR mainstream, the "ostovtsy" succumbed to their aesthetic ideal, which was inspired by the work of their successors - "peredvizhniki" artists, and new European trends.
Deyakі create social realism
- Maxim Gorky, novel "Mother"
- a group of authors, the painting "V.I.
- Arkadiy Plastov, painting "Fascist proletiv" (TG)
- O. Gladkov, novel "Cement"
- film "Pig and shepherd"
- film "Tractor drivers"
- Boris Yoganson, painting "Communist support" (TG)
- Sergiy Gerasimov, painting "Partisan" (TG)
- Fedіr Reshetnikov, painting "Starting a Dviyka" (MTG)
- Yuriy Neprintsev, painting "After the Battle" (Vasil Tyorkin)
- Vira Mukhina, sculpture "Worker and Kolgospnitsa" (at VDNG)
- Mikhailo Sholokhov, the novel "Quiet Flows the Don"
- Oleksandr Laktionov, painting “A Leaf from the Front” (TG)
The film "Circus" directed by Grigory Oleksandrov ends like this: a demonstration, people in white robes with soothing guises go to the song "My country is wide". This frame, after the release of the film, 1937, will be literally repetitions of Oleksandr Deyneka’s monumental panel “Stakhanovtsy” – how to replace a black child, how to sit on the shoulder of one of the demonstrators, here on the shoulder of a Stakhanovka plant a bila. And then the same composition will be featured in the gigantic canvas “Noble People of the Krayina Glad”, written by a team of artists under Vasil Єfanov’s curation: a collective portrait, de presented at once by the heroes of the practice, polar explorers, pilots, akins and artists. Such a genre of apotheosis - and vіn nabіlshe daє zorovÔ vozvlennya about the style, which is practically monopoly panuvav radyanskom mystetstvі more than two decades. Socialist realism, or, as critic Boris Groys called yoga, "Stalin's style."
A frame from Grigory Alexandrov's film "The Circus". 1936 rik Film Studio "Mosfilm"Socialist realism became an official term of 1934, after that, like Gorky, he was alive in the First World of Radian writers (until he was vipadkovi vzhivannya). Then it wasted to the statute of the Composite of Writers, but it was explained in a more inconspicuous and even more trite way: about the idea of people moving into the soul of socialism, about the image of activity in the revolutionary development. The axis of the vector is the directness of the future, the revolutionary development is a moment of stagnation to literature, to the extent that literature is Timchas' mysticism, in it there is a plot sequence and the evolution of heroes is possible. And how zasosuvat tse figurative art- did not understand. The prote term has expanded to cover the entire spectrum of culture and has become obov'yazkovym for everything.
The power was the head deputy, the addressee of that kindly art of social realism. Vono looked at culture like agitation and propaganda. Obviously, the canon of socialist realism of the goiter of the Radyansk artist and writer depicts even those who want the state to be able to. Tse stosuvalos yak subjects, and th form, the way of the image. Obviously, a direct prayer could not be, the artists worked as if by the call of the heart, but over them it was as if accepting an instance, and it was viruvala, chi buti, for example, paintings on exhibitions and chi meritorious, the author was interested or zovsim navpaki. Such is the power of the vertical in the supply of procurement, zamovlennya and other ways of looking for creative activity. The role of the receiving authority was often played by critics. In spite of the fact that there were no traditional normative poetics and crypts of rules in the socialist realist art, the criticism kindly caught and broadcast the supreme ideological fluences. Behind the tone, this criticism could be mocking, impoverished, repressive. Vaughn ruled the court and hardened the virk.
The system of sovereignty took shape over the course of twenty years, and the main hired artists were members of the AHRR - the Association of Artists in Revolutionary Russia. The need to victorious social security was written down in their declarations, and the sovereign bodies were appointed as deputy: the Revolutionary Krad, the Chervona Army and so on. However, even though the replacement of mysticism arose in a varied field, among the anonymous calls for other initiatives. Boulli spilnoti zovsіm іnshoy shtibu - avant-gardist and not entirely avant-garde: all stinks competed for the right to be the main art of modernity. AHRR had a win in this struggle, to that which the yogo aesthetics gave to the relish of power, and the relish of the masses. A painting that simply illustrates and protocols the plots of action, all the minds. And naturally, after the primus dissolution of all artistic groups in 1932, aesthetics itself became the basis of socialist realism - obov'yazykovogo up to vikonannya.
Socialist realism zhorstko evoked a hierarchy of pictorial genres. On the її vertex - this is the name of the thematic picture. Tse figurative explanation with correctly placed accents. The plot may be brought to the present, and if not to the present, then until the quiet situations of the past, as if we were to celebrate the beautiful present. As it was said by the appointed socialist realism: the efficiency of the revolutionary development.
In such a picture, there is often a present conflict of forces - even though the power of law is demonstrated ambiguously. For example, in Boris Yoganson’s painting “At the Old Ural Plant”, the position of the worker is being rebuffed in the light, and the position of the exploiter-manufacturer is numbed in the shadows; before that, the artist had heaped up yoga with an irritating tone. In Yogo, the painting “Finishing the Communists” is more like a white officer's pottery, which he will finish, - fat and folded.
Boris Yoganson. At the old Ural factory. 1937 rik
Boris Yoganson. Dopit komunistіv. 1933 rikPhotograph by RIA "News",
Thematic paintings with a historical-revolutionary zmіst stooled with battle paintings and well-historical ones. Historical ranks were the main rank after the war, and the stench of the genre is close to the descriptions of apotheosis paintings - such is the aesthetics of opera. For example, in the painting by Alexander Bubnov "Wound on the Kulikovo Field", de Russian military check for the cob of the battle with the Tatar-Mongols. Apotheoses were created and mentally current material- such are the two “Kolgospnі svyata” of 1937, Sergiy Gerasimov and Arkadiya Plastova: a triumphant prosperity for the last film “Kuban Cossacks”. Vzagali, mystetstvo socialist realism to love prosperity - all can be rich, because prosperity is a joy, all the time that vikonnanny spodіvan.
Oleksandr Bubnov. Ranok on the Kulikovo field. 1943-1947 rockyDerzhavna Tretyakov Gallery
Sergei Gerasimov. Kolgospne is holy. 1937 rikPhotograph by E. Kogan / RIA "News"; Derzhavna Tretyakov Gallery
Socialist realist landscapes also have an important scale. Even more often, the panoramas of the “Russian rozdollya” are like a bi image of the Ukrainian country in a particular landscape. The painting by Fyodor Shurpin “The Wound of Our Fatherland” is a vivid example of such a landscape. Truth be told, the landscape here is nothing more than ashes for the post of Stalin, and in other similar panoramas Stalin is almost invisibly present. It is important that the landscape compositions are horizontally oriented - the vertical is not straight, the diagonal is not dynamically active, but the horizontal static. Tse light is imminent, which is already seen.
Fedir Shurpin. The wound of our fatherland. 1946-1948 rocky Derzhavna Tretyakov Gallery From the other side, even more popular are hyperbolic industrial landscapes - forget-giganti, for example. Batkivshchyna is going to be Magnitka, Dniproges, backwaters, factories, power plants. Gigantism, pathos of quantity - this is also important for socialist realism. It is not formulated without a middle ground, but it manifests itself not only on equal terms, but in fact, as everything is painted: the fault of the fabric is important and strengthened.
In the meantime, in painting industrial giants, a lot of "jacks of diamonds" can reach success, for example, Lentuliv. The dominance of their painting, the materiality showed itself even more pre-river in the new situation.
And in portraits, this material pressure is even more noticeable, especially in women. Already not only on equal malovnichoy texture, but on the entourage. Such a fabric vaga - oxamite, plush, hutra, and everything is lightly stained, with an antique look. Such, for example, is Johanson's portrait of the actress Zer-Kalova; Illya Mashkova makes such portraits - a whole salon.
Boris Yoganson. Portrait of Honored Artist of the RSFSR Daria Zerkalova. 1947 rik Photograph by Abram Shterenberg / РІА "News"; Derzhavna Tretyakov Gallery And in general, the portraits of Mayzha in the enlightened soul are looked at as a way to glorify famous people, as if they deserved their practice for portraiture. Other methods of practice are presented in the text of the portrait: the axis of Academician Pavlov is stressed in the laboratory and the work of the biostation, the axis of the surgeon Yudin is performing the operation, the axis of the sculptor Vira Mukhina is sculpting the statuette of Boreas. All portraits created by Mikhail Nesterov. In the 80s and 90s of the 19th century, he became the creator of the monastic idyllic genre, later on the castle, and in the 1930s he became the leading Radyansk portrait painter. I was the teacher of Pavel Korin, whose portraits of Gorky, the actor Leonidov, and Marshal Zhukov, according to the monumental order, monuments already make up.
Mikhailo Nesterov. Portrait of the sculptor Vira Mukhina. 1940 rikPhoto by Oleksiy Bushkin / РІА "News"; Derzhavna Tretyakov Gallery
Mikhailo Nesterov. Portrait of the surgeon Sergiy Yudin. 1935 rikPhotograph by Oleg Ignatovich / РІА "News"; Derzhavna Tretyakov Gallery
Monumentality expands to look at still life. And the stench is called, for example, by the same Mashkov, epically - “Snіd moskovska” or “Radyanskі bread” . A lot of "jacks of diamonds" went up first in the part of subject richness. For example, in 1941, Petro Konchalovsky wrote a painting “Oleksiy Mykolayovich Tolstoy visiting the artist” — and in front of the writer, okist, scribbles of red ribi, baked birds, cinders, tomatoes, lemon, cups for fresh drinks… Ale, the trend towards monumentalization is wild. Everything is important, solid. In Deineka, the sports bodies of yoga characters are heavy, gaining weight. Oleksandr Samokhvalov at the series "Metrobudivki" and other masters from a large community"Colour of Artists"the motif of the "great figure" appears - such women of the deity, which emphasize the earthly power and the power of creation. And the painting itself becomes important, dense. Ale thick - at the world.
Petro Konchalovsky. Oleksiy Tolstoy visiting the artist. 1941 rik Photograph by RIA "News", Derzhavna Tretyakov Gallery The fact that fading is also an important mark of style. From one side, there may be a commemorated brush stroke - a sign that the artist has worked. If the texture is smoothed out, then the author's work is not visible - but it can be remembered. And, let's say, at the same Deineka, who previously operated with large color areas, now the surface of the picture becomes a relief. From the other side, the maestri’s zayva does not want to want - it’s immodest, it’s not for yourself. The word "vipinannya" is even more ominous to sound in the 1930s, if a campaign is being waged to fight against formalism - in painting, in children's books, in music, and in flames. Do not fight with the wrong infusions, but really, fight in the fire, be it in some manner, be it in some tricks. Adzhe priyom put under the doubtful width of the artist, and width - ce absolutely angry with the subject of the image. Shirіst not maє on uvazі zhodnogo mediation, and reception, infusion - tse mediation and є.
Tim is no less, for different heads, they learn different methods. For example, for lyrical plots, it is quite suitable for a bare-bones, “wooden” impres-sionism. Vin manifested itself not only in the genres of Yury Pimenov - in his painting “Nova Moscow”, the girl in a car in the center of the capital, transformed by new life, or in the “New Quarters” - a series for the everyday life of outlying microdistricts. Ale and, let's say, at the majestic canvas of Oleksandr Gerasimov "Joseph Stalin and Kliment Voroshilov at the Kremlin" (popular name - "Two leaders sent a message"). The atmosphere of the board means human warmth, openness one to one. Obviously, such an impress-Zionist language cannot be found in the depicted parades and tracts - everything is there, as before, borderlinely suvoro, academically.
Yuri Pimenov. New Moscow. 1937 rikSvitlina A. Saykova / RIA "News"; Derzhavna Tretyakov Gallery
Oleksandr Gerasimov. Josip Stalin and Kliment Voroshilov at the Kremlin. 1938 rikPhotograph by Viktor Velikzhanin / TASS Newsreel; Derzhavna Tretyakov Gallery
It has already been said about those that socialist realism can have a futuristic vector - directing the future, up to the result of revolutionary development. And the shards of the victory of socialism are inevitable, then the signs of the future, which happened, are present in the present. Come out, what an hour socialist realism will collapse. Today is already a future day, moreover, there won’t be any kind of offensive future. History has reached its greatest peak and has risen. The Deynekiv Stakhanivtsy in white robes are no longer human beings—they stink as celestials. And the stench is not surprised to strike at us, but curl up at eternity, as if already here, already with us.
Here, approximately in 1936-1938, there was no residual sight. Here is the best point for socialist realism and obov'yazkovym hero flock Stalin. His appearance in the paintings of Efanov, or Svarog, or whether you look like a diva - this is the biblical motif of a miraculous manifestation, traditionally, naturally, with other heroes. Ale, so practice the memory of the genre. At this moment, social realism is truly becoming a great style, the style of a totalitarian utopia - only a utopia, that it has grown. And if the utopia is out of whack, then the style is overtaken - monumental academization.
And every other kind of art, as if grounded on a different understanding of plastic values, is shown by the art of forgetfulness, "under the cupboard", invisible. Zvichayno, the artists were small as a sinus, in which it was possible to build, de escaping and cultivating newcomers. For example, in 1935 at the Academy of Architecture, a workshop of monumental painting was founded, led by the artists of the old school - Volodymyr Favorsky, Lev Bruny, Kostyantyn Istomin, Sergiy Romanovich, Niko-lai Chernishov. Ale, all similar oases feel bad.
There is a paradox here. The totalitarian art in its verbal declarations is less like a human being - the words "human being", "human being" are present in all manifestos of socialist realism. But really, social realism often continues the axis of this month's pathos of the avant-garde with its myth-creating pathos, with its apology for the result, reshaping the whole world out of practice - and in the midst of such pathos, the mass of human beings is not depleted. And the “quiet” painters, who do not write declarations, but really stand on the defense of the individual, the frivolous, the human, — stench is doomed to an invisible reason. I myself, in this "closet" mysticism, people continue to live.
Try to attract the new social realism of the 1950s. Stalin - a cementing figure for style - is no longer alive; a great deal of pіdleglі perebuvayut at ruined - in a word, the epoch has come to an end. In the 1950s and 1960s, the fates of social realism should be social realism from human guises. There were more provistki and troch earlier - for example, Arkady Plastov's paintings on rural topics, and especially his painting "Fascist Flying" about a stupidly hammered shepherd boy.
Arkady Plastov. Fascist proletiv. 1942 rik Photograph by RIA "News", Derzhavna Tretyakov Gallery Ale naipokazova - the painting by Fyodor Reshetnikov "Arriving on a kanі-kuli", de juniy suvorovets at the new yalinka honored the didovі, that "New Dviyka" - about a naughty schoolboy "Arrived on vacation" - a rather shocking detail). All the same, socialist realism, all the same, and the speech of the report - but a sovereign thought, like a bula in the basis of all explanations earlier, transforms into a family thought, and the intonation changes. Socialist realism is becoming chamber, now it's about life ordinary people. Here you can see the different genres of Pimenov, here you can find the creativity of Alexander Laktionov. Yogo found the painting "Leaf from the Front", as it appeared in rich leaflets, - one of the leading ones. Radyansk paintings. Here there is pompousness, and didacticity, and sentimentalism - this is such a socialist realist philistine style.
