Russian futurist manifests. The most common features of the doctrine of symbolism, program manifests, theoretical disputes about the understanding of the symbol that symbolists proclaimed in their manifest

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SYMBOLISM (from Fr. Symbolisme, from Greek. Symbolon - a sign, identification sign) - aesthetic course formed in France in 1880-1890 and gained widespread in literature, painting, music, architecture and the theater of many european countries At the turn of 19-20 centuries. Huge importance symbolism had in the Russian art of the same period, which acquired in art historian science determination "Silver Age".

Western European symbolism.

Symbol and artistic image.

As an artistic course, symbolism publicly declared itself in France, when a group of young poets, in 1886, which rushed around S. Mallarm, was aware of the unity of artistic aspirations. The group included: J. Moreas, R.Gile, Henri de Reno, S. Merte, and others. In the 1990s, P. Valery, A. Hid, P.Klodel joined poets. The design of a symbolism in the literary direction was a lot of contributed to P. Motlen, who published in the newspapers "Pariot of Modern" and "La Nuvel Riv Gosh" his symbolistic poems and a series of essays Cursed poets, so zhzhzh.k.Guismans, who spoke with the novel On the contrary. In 1886, J. Moreas placed in Figaro Manifesto symbolismwhich formulated the basic principles of the direction, relying on the judgment of S. Bodler, S. Mallarm, P. Carllen, S.Anry. Two years after the publication of Manifesta, J. Moreas A. Bergeson released his first book On direct data consciousnessIn which the philosophy of intuivism was announced, in the basic principles, the symbolists echoing with the worldview and the additional rationale gives it.

IN Manifesto symbolists J. Moreas determined the nature of the symbol, which displaced the traditional artistic image and became the main material of symbolist poetry. "Symbolistic poetry is looking for a way to apply an idea into a sensual form, which would not be self-sufficient, but at the same time, serving the idea of \u200b\u200bthe idea, would preserve their individuality," said Seaas. A similar "sensual form", in which the idea is checked - a symbol.

The principal difference of the symbol from artistic image - His multivalism. The symbol cannot be decrypted the efforts of the mind: on the last depth it is dark and is not available to final interpretation. In Russian soil, this feature of the symbol was successfully determined by F. Sologub: "Symbol - window in infinity." Movement and the game of semantic shades create non-core, the mystery of the symbol. If the image expresses a single phenomenon, the symbol is in itself a number of values \u200b\u200b- sometimes opposite, multidirectional (for example, "miracle and monster" in the image of Peter in the Roman Merezhkovsky Peter and Aleksey). The poet and theoretics of symbolism Vyachovanov expressed the idea that the symbol marks not one, but different essences, A. Boyy determined the symbol as "compound of heterogeneous together." The playback of the symbol dates back to the romantic idea of \u200b\u200bthe dvoemiria, the interpenetration of the two plans of being.

The multi-layerness of the symbol, its unlocked multi-consciousness relied on mythological, religious, philosophical and aesthetic ideas about supercrossibility, incomprehensible in its being. The theory and practice of symbolism were closely conjugated with the idealistic philosophy of I.Kanta, A.Shopengauer, F. Schellling, as well as reflections F. Nitsche about superman, staying "on the other side of good and evil." At its heart, symbolism was closed with the Platonic and Christian concepts of the world, learning romantic traditions And new trends. Not realizing the continuation of some particular direction in art, symbolism carried the genetic code of romanticism: the roots of symbolism - in the romantic commitment to the highest principle, the ideal world. "The pictures of nature, human acts, all the phenomena of our lives are meaningful for the art of symbols, not by themselves, but only as intangible reflections of the primary, which have been placed on their secret affinity with them," wrote J. Moreas. From here, the new tasks of the art, elected earlier on science and philosophy, to come close to the essence of the "real" by creating a symbolic picture of the world, forge "the keys of secrets". It is the symbol, and not exact sciences will allow a person to break through to the ideal essence of the world, pass, by definition of Vyach.Ivanov, "from real to the realmost." A special role in comprehending ultraoughness was assigned to poets as carriers of intuitive revelations and poetry as the fetus of ultra-industrial natives.

The formation of a symbolism in France - a country in which the symbolist movement originated and bloomed, is due to the names of the largest French poets: S. Bodler, S. Mallarm, P. Carllen, A. Grazo. Forerunner symbolism in France - S. Bodler, who released a book in 1857 The flowers of Evil. In search of paths to the "unspeakable" symbolists, the thought of Bodler about "correspondences" was picked up between flowers, smells and sounds. The proximity of various experiences should, in the opinion of symbols, put in the symbol. The motto of symbolistic quest became Sonnet Bodler Compliance With the famous phrase: Sound, smell, shape, color. Bodler's theory was later illustrated by Sotethoma A.Mbo Vowels:

« BUT» black White« E.» , « AND» red,« W.» green,

« ABOUT» Blue - Color bizarre riddles ...

Search for compliantations - at the heart of the symbolistic principle of synthesis, unification of the arts. The motives of the interpenetration of love and death, genius and illness, the tragic gap between the appearance and the essence contained in the Baudelair book became dominant in the poetry of symbolists.

S. Mallarm, "The Last Romance and the First Decadent" insisted on the need to "instill images", to transfer not things, and their impressions of them: "Call the subject means to destroy three quarters of pleasure a poem, which is created for gradually guessing, inspire it - Here is a dream. " Poem Mallarm Luck will never abolish the case It consisted of a single phrase scored by various fonts without punctuation marks. This text, according to the author's plan, allowed to reproduce the trajectory of thought and accurately recreate the "state of the soul".

P. Motlen in a famous poem Poetic art Identified the commitment of musicality as the main admission of genuine poetic creativity: "Music is primarily". In the presentation of the Reline, poetry, like music, seeks to the medium, non-verbal reproduction of reality. So in the 1870s, Vellen created the cycle of poems called Songs without words. Like a musician, the poet symbolist rushes towards the echrial flow of the exhaust, the energy of the sound. If the poetry sh. Bodler inspired the symbolists in a deep longguing in harmony in a tragically fused world, the poetry of Verlene hit his musicality, difficult-to-worn experiences. Following the faithful, the idea of \u200b\u200bmusic was used by many symbols to designate creative secrets.

In the poetry of the genius young men A. Grab, for the first time, who used the Verlibre (free verse), was embodied by symbolists to armared the idea of \u200b\u200brefusal from "eloquence", finding the point of crossing between poetry and prose. Coming in any, the most non-elective spheres of life, Rambo reached the effect of "natural supernaturalness" in the image of reality.

Symbolism in France also manifested itself in painting (Moro, O. Eden, O. Rod, M. Deni, Puwa de Chavann, L. Levi-Durmer), music (Debussy, Ravel), Theater (Poet Theater, Miksta Theater, PC Theater du Marionette), but the main element of symbolistic thinking always remained lyrics. It was French poets that were formulated and embodied the basic covenants of the new movement: mastering creative secrets through music, deep compliance with various sensations, the maximum price of a creative act, installation on a new intuitive way of knowledge of reality, on the transfer of elusive experiences. Among the forerunner of the French symbolism, all the largest lyrics from Dante and F. Viyon were realized, to E.P. and T. T.

Belgian symbolism is represented by the figure of the largest playwright, poet, Esseist M.Terlinka, famous for the plays Blue bird, Blind, Miracle of St. Anthony, There, inside. Already the first poetic collection of metrylinka Greenhouses It was saturated with unclear hints, symbols, the heroes existed in a semi-infantastic setting of a glass greenhouse. According to N. Berdyaeva, Meterlink depicted "eternal, purified from all impurities a tragic start of life." Most viewers of contemporaries play Materilline were perceived as rebuses that need to solve. The principles of his creativity M.Terlink identified in the articles collected in the treatise Treasure smirny (1896). The basis of the treatise is the idea that life is a mystery in which a person plays an inaccessible mind, but a role intelligible inner feeling. The main task of Materillink's playwright considered the transfer of non-action, but states. IN Treasure smirny Meterllink put forward the principle of the "second plan" dialogues: for the outwardly random dialogue, the meaning of words originally apparent is insignificant. The movement of such hidden meanings made it possible to beat numerous paradoxes (the wondery of everyday, shallow blindness and blindness, madness of normal, etc.), dive into the world of hardly catchy sentiment.

One of the most influential figures of the European symbolism was the Norwegian writer and playwright G. Ibsen. His plays Per Gunt, Gedda Gabler, Dollhouse, Wild duck Combined concrete and abstract. "Symbolism is a form of art that simultaneously satisfies our desire to see the embodied reality, and climb over it, - IBSEN defined. - Reality has a reverse side, the facts have a hidden meaning: they are the material embodiment of ideas, the idea is represented through the fact. Reality is a sensual image, a symbol of the invisible world. " Ibsen delimited his art and French version of symbolism: his drama was built on the "idealization of matter, the transformation of real", and not in search of the proven, otherworldly. Ibsen attached a specific image, the fact of symbolic sound, raised it to the level of mystical sign.

In the English literature, symbolism is represented by the figure of O. Aild. The patch of the bourgeois public, the love of paradox and aphorism, the life concept of art ("Art does not reflect life, but creates it"), hedonism, frequent use of fantastic, fabulous plots, and later "uncoolency" (the perception of Christ as an artist) allow Take O.Hald to writers of symbolist orientation.

The powerful branch of the symbolism gave in Ireland: one of the greatest poets 20th century, Irishtz U.B. Seyats counted himself to symbolists. His poetry, performed by the rare complexity and wealth, was fed by Irish legends and myths, theosophy and mysticism. The symbol, as Jeels explains, is "the only possible expression of a certain invisible essence, a matte glass of the spiritual lamp."

Background of symbolism.

Background of the occurrence of symbolism - in the crisis, hitting Europe in the second half of the 19th century. The reassessment of the values \u200b\u200bof the recent past was expressed in a rope against narrow materialism and naturalism, in great freedom of religious and philosophical quest. The symbolism was one of the forms of overcoming positivism and the reaction to the "decline of faith." "Matter disappeared", "God died" - two postulates, drawn on the symbolism symbolisms. The system of Christian values, on which European civilization rested, was loosened, but also a new "God" - faith in the mind, in science - turned out to be unreliable. Loss of landmarks gave birth a feeling of lack of supports, left under the feet of the soil. Plays G. Ibsen, M.Terlinka, A. Prinberg, Poetry of French symbolists created an atmosphere of phonicity, changeability, relativity. Modern style in architecture and painting melted the usual forms (creations of the Spanish architect A.Garati), as if in the air or the fog, dissolved the outlines of objects (paintings by M. Deni, V. Borisov-Musatova), for a silent, curved line.

On the deck of 19 century. Europe reached unprecedented technical progress, science gave a man power over environmental And continued to develop a gigantic pace. However, it turned out that the scientific picture of the world does not fill emptiness in the public consciousness, reveals its inaccuracy. Limitations, the surfaceness of the positivist ideas about the world was confirmed by a number of natural science discoveries, mainly in physics and mathematics. Opening x-rays, radiation, invention of wireless communication, and a little later quantum theory And the theory of relativity was shaken by the materialistic doctrine, the faith was cut into the uncondition of the laws of mechanics. Detected before "unambiguous patterns" were subjected to a significant revision: the world was not just unknown, but also unrecognizable. Consciousness of the fallacy, incompleteness of the former knowledge led to the search for new ways to comprehend reality. One of these paths is the path of creative revelation - was proposed by symbols, according to which the symbol is unity and, therefore, provides a holistic understanding of reality. The scientific worldview was built on the amount of errors - creative knowledge can adhere to a pure source of ultra-affected insights.

The appearance of symbolism was a reaction and a crisis of religion. "God died," the f.nitsche proclaimed, thereby expressing the sense of the exhaustion of traditional creeds to the perched era. Symbolism is revealed as a new type of foreigner: religious-philosophical issues, the question of superman - i.e. About a person who rushed the challenge to its limited opportunities, inserting a closure with God, in the center of the works of many symbolist writers (Gibsen, D. Mezhkovsky and others). The bindings of the centuries became the time of searching for absolute values, deepest religious impressionability. The symbolistic movement, based on these experiences, the dominant value attached to the restoration of connections with the world to otherwise, which was expressed in the frequent handling of symbolists to the "secrets of the coffin", in the increasing role of imaginary, fantastic, in the hobby of mysticism, pagan cults, theosophy, occultism, magic. The symbolistic aesthetics was embodied in the most unexpected forms, deepening in the imaginary, the Covenant world, in the area, not yet investigated, - sleep and death, esoteric revelations, the world of Eros and magic, altered states of consciousness and vice. A special attractiveness for symbolists had the myths and plots marked by the seal of unnatural passions, disastrous charm, limiting sensuality, madness ( Salome O.Wailde, Fire Angel V. Bruryova, the image of Ophelia in the poems of the block), hybrid images (Centaur, Mermaid, Woman Snake), indicating the possibility of existence in two worlds.

The symbolism was closely connected with the eschatological premonitions, who mastered the man of the commodity era. Waiting for the "end of the world", "Sunset of Europe", the death of civilization aggravated the metaphysical moods, made the spirit to triumph over the matter.

Russian symbolism and its forerunner.

Russian symbolism, the most significant after French, was at the heart of the same prerequisite as the symbolism of Western: the crisis of positive worldview and morality, a sharpened religious feeling.

Symbolism in Russia absorbed two streams - "senior symbols" (I. Annensky, V. Brysov, K. Balmont, Z.Gippiius, D. Mezhkovsky, N. Minsky, F.Sologub (F.Thetynikov) and "Young Breedom » (A. Boya (B.Bugaev), A.Blok, Vyach.Ivanov, S.Solovyev, Ellis (L. Kobylinsky). The symbols were close to M.Voloshin, M. Kuzmin, A. Dobrobrubov, I. Konievsky.

By the beginning of the 1900s, Russian symbolism reached a heyday and had a powerful publishing base. In the introduction of the symbolists were: the magazine "Scales" (out. From 1903 with the support of the entrepreneur S. Polyakov), Publisher "Scorpio" , Magazine "Golden Fleece" (ed. from 1905 to 1910 with the support of N. Ryabushinsky's patron), Publishing house "Ory" (1907-1910), "Musaget" (1910-1920), « Vulture "(1903-1913)," Sirin "(1913-1914)," Roshovnik "(1906-1917, founded by L. Yandreev), Apollo magazine (1909-1917, Ed. And founder S. Makovsky).

Generally accepted Forerships of the Russian symbolism - F. Tyutchev, A.Fet, Vl.Solovyev. The founder of the symbolistic method in Russian poetry Vyach.Ivanov called F. Tyutchev. V. Brusov was expressed about Tyutchev as the founder of nuances poetry. The famous string from the poem of Tyutchev Silentium. (Silence) The thought is spent there is a lie He became the slogan of Russian symbolists. The poet of night knowledge of the soul, the abyss and chaos, Tyutchev turned out to be close to Russian symbolism with his aspiration to the irrational, inexpressible, unconscious. Tyutchev, who indicated the path of music and the nuance, symbol and dreams, led Russian poetry, according to researchers, "Waste from Pushkin". But it was this way that was close to many Russian symbolists.

Another predecessor of symbolists - A.Fet, who died in the year of the formation of Russian symbolism (in 1892, D.Mergekovsky reads a lecture About the reasons decline and new trends in modern Russian literature, V. Bryusov is preparing a collection Russian symbolists). Like F. Tyutchev, A.Fet spoke of the inexpressibility, the "immaintity" of human thoughts and feelings, the dream of Feta was "poetry without words" (to the "unspeakable" following Feta, A. Block, the favorite word of the block - "not enough") . I.Thenegenev was waiting for the feta poem, in which the last stuffs would be transmitted to the silent movement of lips. Feta poetry is unrecognized, it is built on an associative, "romance" basis. It is not surprising that Fet is one of the favorite poets of Russian modernists. Feth rejected the idea of \u200b\u200bthe utilization of art, limiting his poetry only the sphere of beautiful than the reputation of the "reaction poet". This "badness" was based on the symbolistic cult of "pure creativity". The symbolists learned the musicality, the associativity lyrics Feta, its supred character: the poet should not be depicted, but to put the mood, not "convey" the image, but "open a lumen in eternity" (wrote from S. Mallarm). K. Balmont studied from Feta mastering the music of the word, and A. Block found subconscious revelations in lyrics feta, mystical ecstasy.

On the maintenance of Russian symbolism (especially for the younger generation of symbolists), the philosophy of VLSolovyev was noticeably affected. As Vyachov put. In a letter to A. Bloka: "Solovyov we are mysteriously baptized." The source of inspiration for symbolists served as the image of Saint Sophia, the suspension of Solovyov. Saint Sofia Solovyov - At the same time, the Old Testament wisdom and the Platonic idea of \u200b\u200bwisdom, the eternal femininity and the world soul, "Virgo Rainbow Gate" and a immensant wife - a subtle invisible spiritual beginning, permeating the world. The cult of Sofia with great trepacy was perceived by A. Block, A. Boya. A. Block called Sofia an excellent lady, M.Voloshin saw her embodiment in the legendary queen Taih. Alias \u200b\u200bA. Bail (B.Bugaeva) assumed an initiation of eternal femininity. The "Young Basvolists" was consonant with Solovyov votability, the concern to the invisible, "unspecified" as a true source of being. Pooh Solovyov Dear friend Perceived as the motto of "young browsing", as a set of their idealistic sentiment:

Cute friend, Ile you do not see

That all we visible -

Only defill, only shadow

From invisible eyes?

Dear friend, Ile you do not hear

That everyday noise Cracker -

Only the response is distorted

Triumphing consonant?

Directly not affecting the ideological and figurative world of "senior symbols", the philosophy of Solovyov, however, in many of its provisions coincided with their religious and philosophical ideas. After the establishment in 1901 of the Religious and Philosophical Meetings. Haippius was amazed by the generality of thoughts in attempts to reconcile Christianity and culture. Anxious premonition of the "end of the world", the unprecedented coup in history contained the work of Solovyov Tale of Antichrist, immediately after the publication, met with incredulous ridicule. In the environment of symbolists Tale of Antichrist caused a sympathetic response and understood as a revelation.

Manifesto symbolism in Russia.

As the literary flow, Russian symbolism is drawn up in 1892, when D. Mezhkovsky produces a collection Symbols And he writes a lecture About the causes of decline and new currents in modern literature. In 1893 V. Brysov and A.Mitropol (Lang) prepare a collection Russian symbolistsin which V. Brusov speaks on behalf of the direction that does not exist in Russia - symbolism. Such a hoax was answered by the creative ambitions of Bruces to become not just an outstanding poet, but the founder of the whole literary school. Brucers saw his task as a "leader" in "Create poetry, alien to life, to embody the buildings that could not give life." Life is only "material", a slow and sluggish process of existence, which the poet symbolist should be transformed into "trepid without end." Everything in life is only a means for bright singers- Bruce formulated the principle of self-ridden, towering over the simple earthly existence of poetry. Bryusov became a master, teacher, headed by a new movement. D.Mergekovsky was admitted to the role of the ideologist "senior symbols".

D.Mergekovsky outlined his theory, and then in the book About the reasons decline and new currents of modern Russian literature. "Wherever we go, no matter how much we hiding for the dam of scientific criticism, we feel the intimacy of the mystery, the proximity of the ocean," wrote Merezhkovsky. General for theoretics symbolism reflections on the collapse of rationalism and the faith - two pillars of European civilization, Merezhkovsky complemented by judgments about the decline of modern literature, who abandoned the "ancient, eternal, never as well as idealism" and preference to Naturalism of Zola. Associate literature can only rush to unknown, beyond, to "shrines that are not". Giving an objective assessment of the state of literary cases in Russia and Europe, Merezhkovsky called the premises of the victory of new literary flows: thematic "worniness" of realistic literature, its deviation from the "ideal", non-compliance with minority. The symbol, in the interpretation of Merezhkovsky, is poured out of the depths of the artist's spirit. Here Merezhkovsky determined the three main elements of the new art: mystical content, symbols and expansion of artistic impressionability.

The difference between realistic and symbolic art was emphasized in Article K. Balmont Elementary words about symbolic poetry. Realism is belonging to itself, the consciousness of realists does not go on the framework of earthly life, "Realists are captured, as a suit, concrete life," while in art, everything is tangible, the need for more sophisticated ways of expressing feelings and thoughts becomes. This need is the poetry of symbolists. The Balmont article denotes the main features of symbolic poetry: a special language rich in intonation, the ability to excite a complex mood in the shower. "Symbolism is a mighty force, seeking to guess new combinations of thoughts, paints and sounds and often guessing them with particularly convincing," Balmont insisted. Unlike Meriazhkovsky, Balmont saw in symbolic poetry not an introduction to the "Depths of the Spirit", but "the announcement of the elements." Installation on the involvement of perpetual chaos, "spontaneity" gave in Russian poetry "Dionysian type" lyrics, chanting "boundless" personality, self-defined individuality, the need to live in the "Theater of the Arm of Improvisations". Such a position was recorded in the names of Balmont collections In vastness, We will be like the sun."Dionysia" gave tribute to A.Blok, who had a swirl of "free elements", stealing passions ( Snow mask, Twelve).

For V. Bryusov, symbolism became a way to comprehend reality - "key of secrets." In the article Keys secrets (1903) He wrote: "Art is the comprehension of the world by other, inexplicable paths. The art is that we are in other areas call revelation. "

In the manifestations of "senior symbols", the main aspects of the new course were formulated: the priority of spiritual idealistic values \u200b\u200b(D. Mezhkovsky), the medium, "spontaneous" character of creativity (K. Balmont), art as the most reliable form of knowledge (V. Bruzov). In accordance with these provisions, the development of creativity of the older generation of symbols in Russia was going on.

"Senior Symbolists."

The symbolism of D.Mergekovsky and Z.Gippiius was emphasized by religious nature, developed in line with the neoclassical tradition. The best poems of Merezhkovsky, entered into collections Symbols, Eternal satellites, built on "ugly" with other people's ideas, were devoted to the culture of the past epochs, gave a subjective revaluation of world classics. In the prose of Merezhkovsky on a large-scale cultural and historical material (History of Antiquity, Renaissance, Domestic History, Religious Thought of Antiquity) - Search for the Spiritual Fundamentals of Being, ideas moving history. In the camp of Russian symbolists, Merezhkovsky represented the idea of \u200b\u200buncoolency, looking for a new Christ (not so much for the people, as for the intelligentsia) - "Jesus Unknown".

In the "electric", according to I. Bunin, verses, Z. Hippiius, in its prose - a philosophical and religious problem, foreigners. The rigor of the shape, the defects, the movement to the classification of expression in combination with religious metaphysical sinner distinguished Hippius and Merezhkovsky in the "Senior Symbolist" environments. In their work, a lot and formal achievements of symbolism: music of moods, freedom of spoken intonation, the use of new poetic sizes (for example, dolnika).

If D. Mezhkovsky and Z.Gippiius thought symbolism as the construction of artistic and religious culture, V. Brusov, the founder of the symbolic movement in Russia, dreamed of creating a comprehensive art system, "synthesis" of all directions. Hence the historicism and rationalism of Brasov's poetry, the dream of "Pantheon, the temple of all the gods." The symbol, in the representation of Bruce, is a universal category that allows you to generalize everything ever existed, truth, ideas about the world. A compressed program of symbolism, "Covenants" of the flow of V. Brysov gave a poem Young poet:

The young man is pale with the gaze burning,

Now give you three covenants:

The first acceptance: do not live in

Only the coming - the poet area.

Remember the second: do not sympathize with anyone

Himself love is limblessly.

The third store: worship art,

Only him, fearlessly, aimlessly.

The approval of creativity as a goal of life, the glorification of a creative person, the aspiration from the gray everyday life of the present in the bright world of imaginary coming, dreams and fantasies is such a postulate symbolism in the interpretation of Bruce. Other, Bruce's scandalous poem Creation expressed the idea of \u200b\u200bintuitiveness, the scope of creative impulses.

From the creativity of D.Mergekovsky, Z.Gippiius, V. Brysov was significantly different by neoromantism K. Balmont. In lyrics K. Balmont , Singer vastness, - romantic pathos elevation over everyday life, look at poetry as life. The main thing for Balmont-symbolist was the challenge of the limitless opportunities of creative individuality, an inflated search of means of its self-expression. The admission of the transfiguration, titanic personality affected the installation on the intensity of life-sends, expanding emotional imagery, impressive geographical and temporal scope.

F.Sologub continued in Russian literature F.Dostoevsky line of the study of the "mysterious communication" of the human soul with a disastrous beginning, developed a general-grained plant for understanding human nature as nature irrational. Some of the basic symbols in poetry and prose SOLOGYUB have become "spinning swings" of human states, "heavy sleep" of consciousness, unpredictable "transformations". The interest of SOLOGUB to the unconsciousness, his deepening in the mystery of mental life spawned the mythological imagery of his prose: so the heroine of the novel Shallow demon Barbara - "Centaur" with the body of the Nymph in the flea bites and the ugly face, three sisters of Rutilov in the same novel - three Moira, three graces, three Harites, three Chekhov sisters. Comprehension of dark beginnings mental life, neomiophologism is the main signs of the symbolistic model of SOLOGUB.

A huge impact on Russian poetry of the twentieth century. Psychological symbolism of I. Annensky, whose collections Quiet songsand Cypress casket appeared at the course of the crisis, the decline of the symbolist movement. In the poetry of Annensky - a colossal impetus to update not only poetry symbolism, but also the whole Russian lyrics - from A.Akhmatova to Aadamovich. The symbolism of Annensky was built on the "effects of exposure", on complex and, at the same time, very subject, real associations, which makes it possible to see in the Annensky predica of aqmeism. "Poet-symbolist, - wrote about I. Annensky Editor of Apollo magazine Poet and critic S. Makovsky , - Takes something physically and psychologically concrete and, without defining it, often not even calling it, depicts a number of associations. Such a poet loves to hit unforeseen, sometimes a mysterious combination of images and concepts, seeking an impressionistic effect of exposure. The subject is exposed in this way seems to be a new person and as if experienced for the first time. " The symbol for Annensky is not a springboard for a jump to metaphysical altitudes, but a means of displaying and explaining reality. In the mourning-erotic poetry of Annensky, the decadent idea of \u200b\u200b"prison", longing of earthly existence, unfulfilled Eros was developed.

In the theory and artistic practice of "senior symbols" the latest trends were connected with the inheritance of achievements and discoveries of Russian classics. It was within the framework of the symbolist tradition with the new sharpness, the creativity of Tolstoy and Dostoevsky, Lermontov (D.Mergekovsky L. Tolstoy and Dostoevsky, M.Yu.lermonts. Poet of superman), Pushkin (article W.Solovyev Fate Pushkin; Bronze Horseman V. Bruryova), Turgenev and Goncharov ( Books reflections I. Annensky), N.Nekrasova ( Nekrasov as a poet of the city V. Bryusov). Among the bright explorer of the Russian classics became a brilliant researcher. Poetics Gogolnumerous literary reminiscence in the novel Petersburg).

"Young browsing."

The inspirationor of the brothervolic wing of the movement - Moskvich A. Bely, who organized the poetic community of "Argonauts". In 1903 A.Boy published an article On religious experiencesIn which, after D. Mezhkovsky, insisted on the need to connect art and religion on the need, but the tasks put forward other, more subjective and distracts - "approach the world soul", "transferring its voice in lyrical changes." The White article clearly looked through the benchmarks of the younger generation of symbols - "two crossbars of their cross" - the cult of the prophet-madman Nietzsche and the ideas of VLSolovyev. The mystical and religious sentiments of A. Belhoy combined with reflections on the fate of Russia: the position of the "Young Besivolists" was distinguished by moral connection with the homeland (A. Bel's novels Petersburg, MoscowArticle Meadow green Cycle by Field Kulikov A.blok). A. Belom, A.Boka, Vyach. Ivanov turned out to be alien to individualistic recognition of senior symbols, declared by the titanism, the oversight, gap with the "land". It is no coincidence that one of its early cycles A. Block will call " Bubbles of land", Borrowing this image from Shakespeare tragedy Macbet: Control with earthly elements dramatically, but inevitably, the use of land, its "bubbles" is disgusting, but the task of the poet, his sacrificial appointment is to come in touch with these generations, go to the dark and destructive beginning of life.

The largest Russian poet A. Blok, who became the most important Russian poet A. Blok, who became the definition of A. Aakhmatova, "Tragic Tenor of the Epoch". His creativity A.Blok considered as "Trilogy of Localization" - Movement from the Music of Excellent (in Poems about the beautiful lady), through the underworld and cheerful elements (in Bubbles of land, City, Snow Mask., Scary world ) to the "elementary simplicity" of human experiences ( Nightingale garden, Motherland, Retribution). In 1912, the block, putting the line under its symbolism, recorded: "No symbolism". According to the researchers, "the strength and value of the separation of the block from the symbolism is directly proportional to the forces tied it in adolescence with new art. Eternal symbols captured in the bloc lyrics (beautiful lady, a stranger, a nightingale garden, a snowy mask, a rose and cross and dr.), Got a special, shrill sound due to the sacrificial humanity of the poet.

In his poetry, A.Blok created a comprehensive symbol system. Colors, items, sounding, actions - everything is symbolic in poetry block. So "Yellow Windows", "Yellow Lanterns", "Yellow Zarya" symbolize vulgarity of everyday life, blue, purple tones ("blue raincoat", "blue, blue, blue eyes") - the wreck of ideal, betrayal, stranger - unknown, unfamiliar people The essence that appeared in the guise of a woman, a pharmacy - the last shelter suicide (in the last century the first assistance to drowns, victims turned out to be in pharmacies - ambulance carriers appeared later). The origins of the block symbols are rooted in the Mystecism of the Middle Ages. So yellow in the language of culture of the Middle Ages indicated the enemy, blue - betrayal. But, unlike medieval symbols, symbols of poetry block are meaningful, paradoxical. Stranger can be interpreted both as a phenomenon of music to the poet, and as a fall in the beautiful lady, turning it into the "Beatrice at the Kabatskaya rack", and like hallucination, golden, "Kabatsky Ear" - all these values \u200b\u200bechoes each other, "flicker For a veil. "

However, ordinary readers such "ambiguities" were perceived with great alertness and rejection. The popular newspaper "Exchange Vedomosti" placed a letter of prof. P.I.Dyakov, who offered one hundred rubles to anyone who "translates" to the generally intentional Russian language poem block You are so light….

The symbols are captured by the flour of the human soul in poetry A. Bail (collections Urn, Ash). The gap of modern consciousness in symbolic forms is depicted in the white novel Petersburg - the first Russian novel of the "flow of consciousness". Bomb prepares the main character novel nickname Abbeukhov, torn dialogues, disintegrated in the "random family" of abbelukhov, scraps of famous plots, a sudden birth among the marsh "city-expression", "cities-explosion" on the symbolic language expressed key idea The novel is the idea of \u200b\u200bdecay, separation, undermining all connections. The symbolism of the white is a special ecstatic form of the experience of reality, "Every second departure to infinity" from each word, the image.

As for the block, for the White, the most important note of creativity is love for Russia. "Our pride is that we are not Europe or that only we are genuine Europe," wrote white after a trip abroad.

Vyach.Ivanov most fully embodied in his work the symbolistic dream of the synthesis of cultures, trying to combine nightingry, renewed Christianity and the Hellenian worldview.

The artistic quest of "Young Breshimvolistov" was noted by enlightened mysticism, the desire to go to the "rejected seleniums", to follow the sacrificial way of the Prophet, not turning away from gross terrestrial reality.

Symbolism in the theater.

The theoretical basis of the symbolism was philosophical work F. Nitsche, A. Bergson, A.Shopengauer, E. Maha, Neokantians. The semantic center of symbolism becomes mysticism, allegorous phenomena and objects; Irrational intuition is recognized primary creativity. The main topic becomes Fatum, mysterious and inexorable rock, which plays the fate of people and managing events. The formation of such views is quite natural: psychologists argue that the change of centuries is always accompanied by an increase in eschatological and mystical sentiment in society.

In symbolism, the rational start is reduced; Word, image, color - any specific - in art lose their informational content; But it repeatedly increases the background, transforming them into mysterious allegory, affordable only to irrational perception. The "ideal" type of symbolic art can be called music, by definition, deprived of any specifics and appeal to the subconscious of the listener. It is clear that in the literature, symbolism was supposed to be born in poetry - in the genre where the rhythm of speech and its phonetics initially have no less meaning than the meaning, and then can prevail over the meaning.

The founders of the symbolism of steel French poets Paul Nameron and Stephen Mallarm. However, the theater, as the most socially sensitive type of art, could not remain aside from modern views. And the third founder of this direction was the Belgian playwright Maurice Meterlink. Actually, and Mallarm in their theoretical works dedicated to symbolism, refers to the theater of the future, treating him as a replacement for the service, the ritual, where elements of drama, poetry, music, dance are merged in extraordinary unity.

Meterllink began literary activities as a poet, backing in 1887 a collection of poems Greenhouses. However, in 1889 his first play appeared, Princess Malen.enthusiastically adopted by modern criticism. It was on this, the dramatic field, he achieved the highest success - in 1911 he was awarded the Nobel Prize. Such plays meterlinka like Blind (1890), Pelias and Melisanda(1892), Death tentajil(1894), Sister Beatris(1900),Miracle of St. Anthony (1903), Blue bird(1908) and others became not only the "Bible" of symbolism, but also included in the Gold Foundation of World Dramaturgies.

In the theatrical concept of symbolism, special attention was paid to the actor. The theme of the destructive rock, managing people, as dolls, was refracted in the stage art in the denial of the identity of the actor, the depletion of the performer and turning it into the puppet. It is such a concept that the theoretics of symbolism (in particular, Mallarm) and its practices - director: A.appia (Switzerland), Fukz and M. Winhardt (Germany), and in particular - Gordon Crag (England), in Consistently carried out the principle of actor-supermarine, masks, devoid of human emotions. (It is very symbolic that Crag published the magazine "Mask"). A multifaceted, psychologically surround scenic character symbolists categorically preferred unambiguous ooetized images signs.

A.Arebo, P. Carllen, S. Mallarm.

In Russia, the development of symbolism gets very fertile soil: general eschatological sentiments are exacerbated by a severe public response to the failed revolution 1905-1907. Pessimism, the themes of the tragic loneliness and fatality of Being find a hot response in Russian literature and the theater. Brilliant writers, poets and silver century directors will gladly dip in the theory and practice of symbolism. Vyachovanov (1909) and Sun. Meyerhold (1913) are written about the symptic theater aesthetics. Materilline's dramaturgical ideas are developing and creatively developed by V. Brysov ( Land, 1904); A.Blok (Trilogy Balaganchik, King on Square, Stranger, 1906; Song of Fate, 1907); F. Sologub ( Winning death, 1907, etc.); L.andreyev ( Life of man, 1906; King hunger, 1908; Anatema, 1909, etc.).

By the 1905-1917 period there are a number of brilliant symbolistic dramatic and opera performances supplied by Meyerhold on a variety of scenic sites: the famous BalaganchikBlock, Death tentajiland Pelleas and Melisanda M.Terlinka, Eternal fairy taleS. Pshibyshevsky, Tristan and IsoldeR. Vagner, Orpheus and EurydicaH.V. Glituk, Don JuanJ.B.Molher, MasqueradeM.Lermontova, etc.

The symbolism is also drawn and the main stronghold of Russian scenic realism is the Moscow Art Theater. In the first decade of the 20th century. The MHT was delivered to the mono-acting plays meterlinka Blind, uninfectedand There, inside; Drama LifeK. Gamsuna Rosmertsholm G. Ibsen, Life of manand Anatema L. Andreeva. And in 1911 to the joint with K.S.S. Stanislavsky and L.A.Sulezhitsky production Gamletta. G.Krag was invited (in the lead role - V.I.Kolovov). However, an extremely conditional aesthetics of symbolism was an alien to theater, originally made a bet on the realistic sound of performances; And the powerful psychology of Kachachaov turned out to be unlaced in the cradle installation on the supermarinee actor. All these and subsequent symbolistic performances ( Miserere.S.Yushkevich, Will be joyD.Mergekovsky, Ekaterina IvanovnaL.andreyeva) at best remained only within the framework of the experiment and did not enjoy the recognition of the viewers of the MHT, which are delighted with the statements of Chekhov, Gorky, Turgenev, Moliere. Happy exception was the performance Blue birdM.Terlinka (Statement Stanislavsky, directors. Solerzhitsky and I.M. Moskvin, 1908). Having received from the author the right of first stage, the MHT transformed a heavy, semantically oversaturated symbolist playwright in a thin and naive poetic fairy tale. It is very significant that the Age Spectator orientation was changed in the play: he was addressed to children. The performance was maintained in the repertoire of the art theater for more than fifty years (in 1958 they held a two-thousandth presentation), and became the first auditorium for many generations of young Muscovites.

However, the time of symbolism as aesthetic flow approached the end. This undoubtedly contributed to social shocks, comprehended by Russia: War with Germany, the October Revolution, denoting a sharp layer of the entire lifeguard of the country, civil war, destruction and hunger. In addition, after the revolution of 1917, the official ideology in Russia became public optimism and pathos of the creation, which fundamentally contradicted the entire orifier of symbolism.

Perhaps the last Russian apologist and theoretics of symbolism remained Vyach.Ivanov. In 1923 he writes a "software" theatrical article Dionysis and Pradional Internationalwhich deepens and disappoints theatrical concept of Nietzsche. In it Vyach. Ivanov is trying to reconcile the aesthetic and ideological concepts contradictory and ideological concepts, proclaiming the new, "genuine symbolism" to the means of "restoring unity" in the "permissive moment of enthusiastic pathos." However, the call of Ivanov to theatrical productions Mystery and myth-making mass acts similar to the perception with Liturgy remained unclaimed. In 1924 Vyach. Ivanov emigrated to Italy.

Tatyana Shabalina

The value of symbolism.

The flourishing of Russian symbolism fell on the nine-day years, after which the movement began to decline: within the framework of the school there are no longer significant works, new directions arise - acmeism and futurism, the symbolistic minority ceases to correspond to the dramatic realities of the "present, nekhalandar twentieth century". Anna Akhmatova so described the situation of the beginning of the tenths: "In 1910, the symbolism crisis was clearly marked, and beginner poets were no longer adjacent to this flow. Some went to futurism, others in aqmesis. Undoubtedly, symbolism was the phenomenon of the nineteenth century. Our riot against symbolism is completely legitimate, because we felt like people of the twentieth century and did not want to live in the previous one. "

In Russian soil, such features of symbolism were manifested as: Multiplicity of artistic thinking, the perception of art as a method of knowledge, the acuction of religious and philosophical issues, neoromantic and neoclassical trends, the intensity of the worldview, neomymphologism, a dream about the synthesis of arts, rethinking the heritage of Russian and Western European culture, installation on The limit price of a creative act and vital formation, deepening in the scope of the unconscious, etc.

Numerous rollouts of the literature of Russian symbolism with painting and music. Poetic dreams of symbols find conformity in the "gallant" painting by K.Sovov, the retrospective dreams of A. Benua, "Cutting Legends" M. Vrubel, in the "motifs without words" V. Borisov-Musatova, in the exquisite beauty and classical disgracement of the cloth Zserbryakova , "Poems" A.Chryabina.

Symbolism laid the beginning of the modernist flows in the culture of 20 V., became an update enzyme, which gave new quality of literature, new forms of art. In the work of the largest writers of the 20th century, both Russians and foreign (A.Akhmatova, M. Tsvetaleva, A. B. Plotonova, B. Pasternak, V.Nabokova, F.Kafki, D.Jaisa, E. Pyunda, M. Prust , U.Folkner, etc.), is the strongest influence of the modernist tradition inherited from the symbolism.

Tatyana Scriabin

Literature:

CRAG G.E. Memories, articles, letters. M, 1988.
Yermilova E. Theory and figurative world of Russian symbolism. M., 1989.
Djimails A., Boyadzhiev G. History of the West European Theater. M., 1991.
Khodasevich V. End of Renata / V. Brysov. Fire Angel. M., 1993.
Encyclopedia symbolism: painting, graphics and sculpture. Literature. Music / Sost J. Kass. M, 1998.
Poetic flows in the Russian literature of the end of the X1x - the beginning of the twentieth century. Literary manifesto and artistic practice: Reader / Sost A. Sokolov. M., 1998.
Payman A. History of Russian symbolism. M., 1998.
Basinsky P. Fedyakin S. Russian literature of the end of X1x - the beginning of the twentieth century. M., 1998.
Colobaeva L. Russian symbolism. M., 2000.
French symbolism: dramaturgy and theater. St. Petersburg, 2000.



As the literary flow, the Russian symbolism is drawn up in 1892, when D. Mezhkovsky issues a collection of symbols and writes a lecture on the reasons for decline and new currents in modern literature. In 1893 V. Brysov and A.Mitropol (Lang) prepare a collection of Russian symbols, in which V. Bryusov speaks of the person who has not yet exist in Russia in Russia - symbolism. Such a hoax was answered by the creative ambitions of Bruces to become not just an outstanding poet, but the founder of a whole literary school. Brucers saw his task as a "leader" in "Create poetry, alien to life, to embody the buildings that could not give life." Life is only "material", a slow and sluggish process of existence, which the poet symbolist should be transformed into "trepid without end." Everything in life is only a means for bright-singers, - formulated Bryus the principle of self-smiled, towering over the simple terrestrial existence of poetry. Bryusov became a master, teacher, headed by a new movement. D.Mergekovsky was admitted to the role of the ideologist "senior symbols".

D.Mergekovsky outlined his theory in the report, and then in the book about the reasons for the decline and new currents of modern Russian literature. "Wherever we go, no matter how much we hiding for the dam of scientific criticism, we feel the intimacy of the mystery, the proximity of the ocean," wrote Merezhkovsky. General for theoretics symbolism reflections on the collapse of rationalism and the faith - two pillars of European civilization, Merezhkovsky complemented by judgments about the decline of modern literature, who abandoned the "ancient, eternal, never as well as idealism" and preference to Naturalism of Zola. Associate literature can only rush to unknown, beyond, to "shrines that are not". Giving an objective assessment of the state of literary cases in Russia and Europe, Merezhkovsky called the premises of the victory of new literary flows: thematic "worniness" of realistic literature, its deviation from the "ideal", non-compliance with minority. The symbol, in the interpretation of Merezhkovsky, is poured out of the depths of the artist's spirit. Here Merezhkovsky determined the three main elements of the new art: mystical content, symbols and expansion of artistic impressionability.

The difference between realistic and symbolic arts was emphasized in the article by K. Balmont Elementary words about symbolic poetry. Realism is belonging to itself, the consciousness of realists does not go on the framework of earthly life, "Realists are captured, as a suit, concrete life," while in art, everything is tangible, the need for more sophisticated ways of expressing feelings and thoughts becomes. This need is the poetry of symbolists. The Balmont article denotes the main features of symbolic poetry: a special language rich in intonation, the ability to excite a complex mood in the shower. "Symbolism is a mighty force, seeking to guess new combinations of thoughts, paints and sounds and often guessing them with particularly convincing," Balmont insisted.

Unlike Meriazhkovsky, Balmont saw in symbolic poetry not an introduction to the "Depths of the Spirit", but "the announcement of the elements." Installation on the involvement of perpetual chaos, "spontaneity" gave in Russian poetry "Dionysian type" lyrics, chanting "boundless" personality, self-defined individuality, the need to live in the "Theater of the Arm of Improvisations". Such a position was recorded in the names of Balmont's collections in vastness, we will be like the sun. "Dionysia" gave tribute and A.blok, who had a swirl of "free elements", stealing passions (snow mask, twelve).

For V. Bryusov, symbolism became a way to comprehend reality - "key of secrets." In the article, the keys of secrets (1903) he wrote: "The art is the comprehension of the world by other, inexplicable paths. The art is that we are in other areas call revelation. "

In the manifestations of "senior symbols", the main aspects of the new course were formulated: the priority of spiritual idealistic values \u200b\u200b(D. Mezhkovsky), the medium, "spontaneous" character of creativity (K. Balmont), art as the most reliable form of knowledge (V. Bruzov). In accordance with these provisions, the development of creativity of the older generation of symbols in Russia was going on.

Russian futurist manifests

Silence to public taste (1912)
Silence to public taste [leaflet] (1913)
First All-Russian Congress of the Bays of the Future (1913)
Theater, cinema, futurism. V. Mayakovsky (1913)
Raysts and Fudgers (1913)
We are painted (1913)
Go to hell! (1914)
Degty drop. V. Mayakovsky (1915)
Pipe Martian (1916)
Futurist Putting Fourthist Manifesto (1918)

Printed by the book: Russian Futurism: Theory. Practice. Criticism. Memories / Sost. V. N. Terekhina, A. P. Zimenkov. - M., Heritage, 2000. - 480 p.

Silence to public taste

Reading our new first unexpected.
Only we are our face Time. Time Horn Trubits We are in verbal art.
Past closely. The Academy and Pushkin are incomprehensible to the gyeroglyphs.
Throw Pushkin, Dostoevsky, Tolstoy, and so on. With a steamer of modernity.
Who will not forget his first Love, does not recognize the last.
Who is credulous, will turn the last love for perfumes for Balmont's perfume? Is there a reflection of a courageous soul of today?
Who, cowardly, will be afraid to pull paper lats from the Black Fraka of Brusov Warrior? Or on them dawns of unknown beauties?
Wash your hands touched by the dirty mucus of books written by these countless Leonides Andreev.
All these maxim are bitter, chip, blocks, sologues, Remizov, Averchenkov, Black, Kuzminy, Bunin, and so on. and so on. Need only a cottage on the river. This reward gives fate tailor.
From the height of the skyscrapers, we violate on their nonentity! ..
we order honor rights poets:
1. to increase the dictionary in its volume arbitrary and derivative words (word-innovation).
2. On the insurmountable hatred of the language existing before them.
3. With horror, remove your bunny brooms from the proud chela from the bath brooms.
4. Stand on the words "We" among the sea whistling and indignation.
And if there is still dirty stamps of your "common sense" and "good taste" in our lines and "good taste", then they are already treated for the first time Zarnitsa of the new coming beauty of self-reliable (selfless) word.

Almanac "Society to public taste. In defense of free art. Poems, prose and articles. " [M.], ed. Kuzmina and S. Dolinsky. In addition to the four listed authors, Livshits and Kandinsky participated in Almanach. Circulation 500 or 600 copies. This is the first Russian futuristic manifesto and the most successful, it was a stormy reaction in society and in the press. There were no more such success in the manifests. After a few months, a leaflet with a similar text and a collective photo was released. The group has not yet named "futurists." In everyday life, the group was called "Burliuki", and Khlebnikov - "Mischina". The word "futurists" was used only as a crown in someone else's address.

Slogube, Kuzmin - "Title of disrespect." Proper - Sologub, Kuzmin.

Silence to public taste
[Leaflet]

In 1908 he came out "Sadok judges." - in it g "Great poetof modernity - Velimir Khlebnikov For the first time spoke in print. Petersburg meters considered " Khlebnikov crazy. " They did not printed, of course, none of the things of the one who was Revival of Russian literature. Shame and shame on their heads! ..
Time went ... V. Khlebnikov, A. Klycheykh, V. Mayakovsky, B. Livvitz, V. Kandinsky, Nikolai Burlyuk and David Burlyuk in 1913 released the book "Society to public taste".
Khlebnikov Now was not alone. Around him was grouped by Pleiad writers, koi, if and went different ways, were combined with one slogan: "Down with the word-means, let him live Self-self-made word!»Russian critics, these traders, these slumping salons, which are in their daily violets, thick-skinned and not understanding beauty, broke out by the sea of \u200b\u200bindignation and rage. Not surprising! He was brought up with a school bench on samples of descriptive poetry, to understand the great revelations of modernity.
All of these countless surplus Izmailovs, Homunculus "Food, feeding ones that falling from the tables of realism - the rampage of Andreyev, blocks, Sologubov, Voloshini, and the like, - argue (what a dirty charge) that we are" Decadents "- the last of them - and that We did not say anything new - in the amount nor in rhyme, nor in relation to the word.
Did they have been justified in Russian literature our orders to honor Poets rights:
To increase the dictionary in its volume arbitrary and derivative words!
For insurmountable hatred of the existing language!
With horror, remove your wreath of penny glory from the proud Chela from the bath brooms!
stand on the words "We" among the sea whistle and indignation!

Leaflet. M., 1913. On the turnover of a four-page leaflet as a comparison of old and new poetry, Pushkin and Khlebnikov, Nadon and D. Burliuk, Lermontov and Mayakovsky, excerpts from Gogol and Tarmed were published.

First All-Russian Congress of the Bays of the Future

We gathered here to arm a world against yourself! It's time for slapper
Crack blown and scarecrow carving will stir up the coming year of art!
We want our opponents to defend their scattering belongings. Let not be positive, they will not be able to hide behind them.
We ordered thousandth crowds at meetings and theaters and from our pages
Clear books, and now they declared the rights of bays and artists, breaking the ears of stying under the pomotion and immobility:
1) destroy "pure, clear, honest, sonorous Russian", loose and smoothed by the languages \u200b\u200bof people from "criticism and literature". He is not fit of the Great "Russian People"!
2) Destroy the outdated movement of thought under the law of causality, toothless "common sense," symmetric logic ", wandering in blue shadows of symbolism and give personal creative imposition of the true world of new people.
3) destroy the grace, frivolity and beauty of cheap public artists and writers, continuously releasing all new and new works in words, in books, on canvas and paper.
4) For this purpose, new books "Three" Khlebnikov, twisted and E. Guro take place by the first August of the year. Fig. K. Malevich, "Heavenly Camels" E. Guro, "Dusty Moon" - employees "Gileia" - "Printing and We" and others.
5) rushing on the stronghold of art sequity - to the Russian theater and decisively convert it.
Artistic, Krew, Alexandrinsky, big and small there is no place in today! - To this end, it is established on the idea of \u200b\u200bWillanin.
b) and several Londlements (Moscow and Petrograd) will be arranged in it. Daim will be put: twisted "victory over the Sun" (Opera), Mayakovsky Railway, Khlebnikov "Christmas Tale", etc.
Artists themselves, artists: K. Malevich, D. Burluk and musician M. Matyushin.
Rather, reciprocated old ruins and raise a skyscraper, chain, like a bullet!

With authentic right.
Chairman: M. Matyushin
Secretaries: A. Klychechy, K. Malevich
Vecitionerko, July 20, 1913

For 7 days. St. Petersburg., 1913, August 15. Manifesta is accepted at the congress, in which only his authors were attended (Khlebnikov could not come). In September 1913, M. Larionov was made with the projects of the FUTU Theater, and on April 26, 1914 in gas. "New" appeared "Declaration on the Futuristic Theater", written by V. Sherenevich.

Theater, cinema, futurism

The Great Broke, started by us in all areas of beauty in the name of the art of the future - the art of futurists, will not stop, and it cannot stop, in front of the door of the theater.

Hatred for the art of yesterday, to neurasthenia, cultivated paint, verse, ramp, who has not been proven to identify the tiny experiences from the life of people, makes me put forward in proof of the inevitability of recognition of our ideas not lyrical pathos, but an accurate science, research of the relationship between art and life .

Contempt to existing "art journals", such as "Apollo", "masks", where on a gray background of meaninglessness, like slightening spots, swimming foreign terms are swimming, makes me experience real pleasure from the placement of my speech in a special technical cinematographic magazine.

Today I nominate two questions:

1) Is the art of a modern theater?

And 2) Can a modern theater withstand the competition of cinema?

The city by drinking cars with thousands of horsepower, for the first time gave the opportunity to satisfy the material needs of the world into some 6-7 hours of daily labor, and the intensity, the tension of modern life caused a huge necessity in the free game of cognitive abilities, which is art.

This explains the powerful interest of today's person to art.

But if the division of labor caused a separate group of beauty workers to life; If, for example, the artist, throwing the "charms of drunken mess", goes to a wide democratic art, he should give society a response, under what conditions his work from the individually necessary becomes socially useful.

The artist, declaring the dictatorship of the eye, has the right to exist. Approve the color, line, form as self-sufficient values, painting found the eternal path to development. Found that the Word, His drawing, his Fonic Party determines the flourishing of poetry, have the right to exist. These are the foundations to the eternal prosperity of the poet's verse.

But the theater, which served to our arrival only with an artificial cover for all types of art, does it have the right to independent existence under a wreath of special art?

The modern theater is settled, but its situation is a product of the artist's decorative work, which only forgot his freedom and humiliated himself to a utilitarian look at art.

Consequently, from this side the theater can only speak an unkultural enslator of art.

The second half of the theater is "the word". But here, the onset of aesthetic moment is due to the internal development of the word, and the use of it as a means to expressing random for the art of moral or political ideas *.

And here the modern theater speaks only the abuser of the word and the poet.

So, before our arrival theater as independent art did not exist. But is it possible to find in history at least some traces on the possibility of his approval? Of course yes!

Shakespearesky Theater did not have a scenery. Ignorant criticism explained it to an unfamiliar with decorative art. Unless this time was not the greatest development of pictorial realism. And the Oberarmmergau Theater is not fighting words shackles inscribed.

All these phenomena can be explained only as a premonition of special art of the actor, where the intonation of even a certain meaning of the word and fictional, but free in the rhythm movement of the human body express the greatest internal experiences.

It will be the new free art of the actor.

The present time, passing a photographic image of life, the theater flows into the following contradiction:

The art of the actor, essentially dynamic, is knocked down by a dead background of the scenery, - this cake contradiction destroys the cinema, slim and locking the motion of the present.

The theater himself led himself to death and should pass his heritage to cinema. And the cinema, making the industry in the industry with naive realism and artistry with Chekhov and Gorky, will open the way to the theater of the future, unworn art actor.

Vladimir Mayakovsky

* So, for example, the impaired healer of the theater over the past 10-15 years (artistic) is explained only by the temporary public lift ("at the bottom", "per-GUNT"), since small-shaped plays, lived for several hours, die for the repertoire. (Approx. Author.)

Kina magazine. - M., 1913, № 14

Raysts and Future
Manifesto

Timofey Bogomazov, Natalia Goncharova, Kirill Zdanevich, Ivan Larionov, Mikhail Larionov, Mikhail Le Dantey, Vyacheslav Levkievsky, Sergey Romanovich, Vladimir Obolensky, Moritz Fabry, Alexander Shevchenko.

Sat "Massetown tail and target." M., 1913.

Why we are painted
Manifesto futurists

The inflounted city of arc lamps, sprinkled by the bodies of the streets, sprinkling homes - we brought a painted face; Start Dan and the track is waiting for the runners.
Colders, we have come not to destroy the construction, but glorify and approve. Our coloring is not fiddling, not a refund - it is inextricably linked with the warehouse of our life and our craft.
A glowing song about a person, like a cityist in front of the fight she calls for victories over the ground, hypocritically attached under the wheels to the hour of observation, and sleeping guns woke up and spit on the enemy.
Updated life requires a new public and new preaching.
Our coloring is - the first speech, found unknown truths. And the fires defined by her say that the Earth's servants do not lose hope to save old nests, gathered all the forces on the protection of the gate, crowd, knowing that we are winners with the first scored ball.
The course of art and love for life led us. The loyalty of the craft encourages us fighting. The resistance of a few gives the strength that can not be overcome.
We tied up art with life. After a long secluding masters, we learned life loudly and life invaded art, it's time to invade art. Facial coloring is the beginning of the invasion. That is why our hearts are so criticized.
We do not strive for one aesthetics. Art not only monarch, but also a newspaper and decorator. We appreciate and font and news. Synthesis of decorativeness and illustrations - the basis of our coloring. We decorate life and preach - so we are painted.
Coloring - new jewels folk, like all on our day. The old were incoherent and pressed with money. Gold was valued as the decoration and became expensive. We will overthrow gold and a stone from a pedestal and declare invaluable. Beware, collecting them and keepers - will soon be beggar.
It began in 05. Mikhail Larionov painted standing on the background of the carpet to a simulator, extinguishing on her drawing. But there was no smacking yet. Now the same is the Parisian painting the feet of dancers, and the ladies are powdered by brown powder and in Egyptian eyes extend. But it is age. We associate contemplation with action and throw in the crowd.
The infused city of arc lamps, sprinkled by the bodies of the streets, sprinkling homes - we did not bring the former: the unexpected flowers came to the greenhouse and tease.
The townspeople have long been repositted nails, wind their eyes, paint lips, cheeks, hair - but everyone imites the earth.
We don't have no work to earth, creators, our lines and paints arose with us.
If we were given the plot of parrots, we would pluck feathers. For the sake of brush and pencil.
If we were given an immortal beauty, they would love it and killed - we, going to the end. Tattoo does not occupy us. Tattooed once forever. We are painted at an hour and treason of experiences calls to betrayal coloring, as the picture devours the picture, as the windows shields, our face flashed behind each other. The tattoo is beautiful but speaks of small - only about the tribe and the exploits. Our coloring page is a newspaper.
Facial expressions do not occupy us. That from the fact that they are accustomed to understand, too timid and not beautiful. As a tram ramp, warning metering vessels, like drunken sounds of the Great Tango - our face. Mimica is expressive, but colorless. Our coloring page is a decorator.
Riot against the Earth and the transformation of persons in the surgery spotlight.
The telescope recognized the constellations lost in spaces, the coloring will tell about the lost thoughts.
We are painted - because the pure face is disgusting, because we want to iron about the unknown, rebuild your life and carry the soul of the human soul on the rover.

Ilya Zdanevich
Mikhail Larionov

J. "Argus". 1913. № 12.

GO TO HELL!

Your year has passed since the release of our first books: "Piggy", "Through Cup", "Sadok judges", etc.
The emergence of new poetry has affected the still crawling old people of Russian literary arts, like a white pashae, dancing tango.
Commercial old men stupidly guessed the value of the new and "habit" of the public foolishly foolish them.
K. Chukovsky (also not a fool!) Delivery to all fair cities, the wreck goods: the names of twisted, Burdyukov, Khlebnikov ...
F. Sologub grabbed the head of I. Northerner to cover his bald talent.
Vasily Bryusov was habitually chewed by the pages of the "Russian thought" poetry of Mayakovsky and Livser.
Throw, Vasya, it's not a traffic jam! ..
Isn't the old man who stroked us on the head so that of the sparks of our causing poetry to sew an electronically to communicate with muses?
These subjects gave rise to her herd of young people, before without certain classes, to pounce on the literature and show their grimacing face: Surveyed by the winds of Mezonin of Poetry, "Petersburg Herack" and others.
And the arms of Adamov sick with a survey - Gumilyov, S. Makovsky, s. Gorodetsky, Pyat, who has tried to attach the sign of Aqmeism and Apolloism on the sweaty songs about the Tula samovars and toy lions, and then began to spin the Motion dance around the established futurists. Today we span the obsession on our teeth past, stating:
1) All futurists are combined only by our group.
2) We threw our random Help Ego and Cubo and united into a single literary company Futurists:

David Burluk, Alexey Tschechy, Benedict Livshits, Vladimir Mayakovsky, Igor Northerner, Victor Khlebnikov.

Fitting Parnass, St. Petersburg, publishing house "Zhuravl", 1914. Here the authors of the manifesta called themselves with futurists and all other futurists sent, in fact, for hell. Northerner in 1911 called himself a futurist, more precisely, "ego-futurist". But with him almost immediately they laughed and no longer contacted.

Drop Degty
"Speech that will be uttered at the first convenient case"

Gracious sovereigns and merciful sovereigns!

This year is a year of deaths: just every day the newspapers are sobbing a loud sorrow on someone's mastitis, until the term has passed in best world. Every day, the crashing crying is petitting over the many names cut out by Mars. What noble and monastic strict newspapers today come out. In black mourning dresses of funeral ads, with eyes, brilliant crystal tears of the necrologist. That is why it was somehow especially unpleasant to see that this most resistant grief of the press raised such obscene fun about one very close to me.

When the critics harmful critics were lucky on a dirty road, the road of a printed word, a futurism coffin, the weeks of the newspaper: "Ho, ho, ho! so it! Vesy, Vise! at last!" (The terrible excitement of the audience: "How died? Futurism died? What are you?")

Yes, died.

For a year now, instead of him, a felling, barely lavaiguing between the truth, beauty and plot, on the pops of the audience, the boring kogano-aychenwalido-like olders are filled. The year is already in the auditoriums of the boring logic, proofing some sparrow truths instead of a funny ringing of decrees on empty heads.

Lord! Yes, do you really not feel sorry for this wrinkling, in red swirls, a little stupid, a little unknown, but always, oh! Always bold and burning. However, how do you understand youth? Young, which we are expensive, will not soon return from the field of Brahi; You, remaining here for a relaxing lesson in newspapers and other offices; You are - or unable to wear raftics or old bags stuffed with wrinkles and seeds, whose business to think about the most serene transition to another world, and not about the fate of Russian art.

And you know, I myself am not very sorry for the dead man, truth from other considerations.

Reliable the first gala-out of Russian futurism in memory, marked by such a call to the Social Social Taste. From this dashing landfit, three shocks are especially memorable under the three shouts of our manifesta.

1. Mim the ice cream of all kinds of canons, making ice from inspiration.
2. Break the old language, powerless to catch up with jumping life.
3. Reset the old great from the steamer of our time.

As you can see, not a single building, not a single comfortable angle, destruction, anarchism. There were laughing mans as over the cuddling of crazy, and this turned out to be a "devilish intuition" embodied in a stormy today. War, expanding the borders of states, and the brain makes breaking in the borders yesterday unknown.

Artist! Are you a thin meshe contour to catch the carrying cavalry. Repin! Samokh! Remove buckets - paint bursts.

Poet! Do not sit in the rocking chair of Yambov and the chorals a powerful fight - the whole rocking chair will turn!
Salmon word, lyrics! How many of them, new led by Petrograd, and Condritrissa! Digit, northerner! Futurists are shouting about the oblivion of old literature. Who for the Cossack Gick is hears the trill of Mandolinist Brysov. Today, all futurists. Futurist people.

Futurism to the dead grip took Russia.

Without seeing futurism in front of me and can not look at himself, you shouted about death. Yes! Futurism died as a special group, but in all of you he is flooded.

Once, futurism died as the idea of \u200b\u200bthe elected, we do not need it. We consider the first part of our program - destruction. That's why not be surprised if today in our hands you will see the drawing of the architect, and the voice of futurism, and yesterday, yesterday, still soft from sentimental dreaminess, today will fall into the copper of the sermon.

V. Mayakovsky

It turned out in Almanaci "took. Baraban Futurists ": Mayakovsky, Pasternak, Khlebnikov, Aseev, O. Lubric, V.Sklovsky. Petersburg, December 1915

Pipe Martian

PEOPLE!
The brain of people and the Donyn jumps on three legs (three axes of the place)! We glue, cultivating the brain of mankind, like a pahar, this puppy fourth leg, is the axis of time.
Chrome puppy! You will no longer scold the rumor to us with your bad lare.
The people of the past are not smarter, believing that the sails of the state can only be built for the axes of space. We, dressed in the cloak only victories, proceed to the construction young Union With a sail near the time axis, warning in advance that our size is greater than heesta, but the task of the brave, majestic and the suction.
We, harsh carpenters, throw themselves again and our names into the bubbling boilers of excellent tasks.
We believe in yourself and with indignation repel the vicious whisper of the people of the past, dreaming of falling on us on the foot. After all, we are Bosy. But we are beautiful in the steady betrayal of our past, barely only entered into the age of victory, and in the steady rabies of the next hammer over ground ball, already begin to tremble from our hide.
Black Sails Time, Shackle!

Victor Khlebnikov, Maria Sinyakova, Boxhar, Grigory Pennikov, Nikolay Aseev

Scroll. Kharkov, April 1916. All text belongs to Khlebnikov.After all, we are Bosa. - concession censorship. That's right - "After all, we are gods."

Futurist Brees

Old building held on three whales.
Slavery political, slavery social, solvent spiritual.
The February Revolution destroyed the slavery political. Black feathers of the double-headed eagle is removed the road to Tobolsk. The bomb of the social revolution threw october for capital. Four on the horizon loomed fatty bales of runaway breeders. And only it is worth a non-heeked third whale - r a b c t o d y x a.
He still erupts the fountain of the plungy of water - referred to - with t a r o e and c k u s s t in about.
Theaters still put: "Jewish" and other "kings" (writings of r about m and ox), still monuments of generals, princes - royal mistresses and queen lovers with hard, dirty feet are on the throats of young streets. In petty bears, called highly exhibitions traded clean masses of Barsroom daughters and Daches in Rococo style and other Louis.
And finally, we are not our hymns on the bright holidays, and the gray-haired marcelasu borrowed from the French.
Pretty.
We are proletaria art - calling the proletarians factories and lands to the third bloodless, but cruel revolution, the revolution of the Spirit.
We demand to recognize:
I. O T D E L E N E N E I S C U C C T C A O T S T S U D A R S T A.
Destruction of the patronage of privileges and control in the field of art. Down with diplomas, ranks, official posts and ranks.
II. Transfer of all material products of art: theaters, chapel, exhibition premises and buildings of the Academy and Art Schools - to the hands of the artists themselves for the equal use of them all the people of art.
III. Universal art education for we believe that the foundations of the coming free art can only come out of the depths of democratic Russia, until now only the alkalie bread of art.
IV. Immediate, along with food, the requisition of all under prior of lying aesthetic reserves for just and uniform use of all Russia.
Long live the third revolution, the revolution of the Spirit!

D. Burluk, V. Kamensky, V. Mayakovsky
Dan in Moscow 1918, March.

Futurist newspaper. M., March 15, 1918. In April of the same year, the residence of Futurists - "Poets" in Nastasinsky Lane D.1 (next to the "Anarchy House", anarchist headquarters) - closed. David Burluk in 1919 emigrated to the USA through Far East. Mayakovsky shot himself in 1930.

Literary manifestes Software statements about the aesthetic principles of the literary direction, flow, schools. The term literary manifestos entered the use of the 19th century; It is conditional, very wide, applies to a number of phenomena - from deployed declarations to aesthetic treatises, articles, prefaces, program poems. Often the aesthetic performances of writers and critics (O. Balzak, V.Guhugu, E. Zoli, etc.) acquire the nature of literary manifestos, having a serious impact on the historical and literary process; At the same time, some broadcast declarations, clothed in the form of literary manifestos (especially in the modernist groups of the 20th century), are short-term. Often, literary manifestos and the actual content of the literary school do not coincide. In general, literary manifestos are the result of a lively social life reflecting intense ideological and artistic searches and the process of forming new literature.

The emergence of the first literary manifests

The appearance of the first literary manifestos in the Renaissance Epoch defined the growing national self-consciousness, strengthening the public role of art, the development of the idea of \u200b\u200bhumanism and freedom. Treatise "Protection and the glorification of French" (1549) Poet Zh. Tyu Bella summarized the aesthetic position of "Pleiads"; It proclaimed the requirement to create a humanistic national culture, renewal of the poetic language. The theoretical bases of Baroque were laid in the work of E.Tesuro "Aristotle Pipe" (1655) and in the Treaty of Spanish Prosaika B.Grasian "Ostromity" (1642). One of the most important literary manifesms of classicism is the poem N. Balo "Poetic Art" (1674). The basics of classicism were also formulated in other works of French writers: J. Shaplen ("Opinion of the French Academy about the tragicomedy" LED ", 1637), F.D'obinyaka (" Practice of the theater ", 1657), P. Kornelel (" Correspondence about three Unities - actions, time, places ", 1660) J.B. Molhera (" Criticism of the School of Wives ", 1663), J.Rasina (Preface to Tragedies" Andromach "," Briton "," Brenika ", 1668-71) . In England, the ideas of classicism at its early stage are found in the works of F. Sidney ("Protection of Poetry", 1580;), J.Dadena ("Experience of Dramatic Poetry, 1668), J. Milton (" On Tom of Dramatic Poetry, which is called tragedy, "1671; Preface to the tragedy" Samonbornets ", 1671). For Italy, the works of Y.Skaliger ("Poetics", 1561), L.Kastelotlo "Poetics" of Aristotle, outlined in the national language and interpreted, "1570), Ttasso (" reasoning about heroic poem ", 1594). For Germany, the work of M. Sopitsa "Book about German poetry" (1624). The English version of the Enlightenment is justified in such works close to literary manifests, like Pamflet D.Defo "Purebred Englishman" (1701), Satiren J. Sviphta "Battle of Books" (1697). Treatise A.Pup "Experience about criticism (1711) became the manifesto of the English educational classicism. Among the manifests of the Epoch of Enlightenment - the "paradox on the actor" (1773-78), D.Didro, formulated the principles of the new genre - "Serious Comedy" (see); Treatise of the city of Laocoon (1766), which contained the first scientific concept of literature as art; "Letters about the aesthetic education of a person" (1795) F.shiller is a software work of the educational German literature of the late 18th century, and first of all, Weimar classicism.

The first manifesites of romanticism were the works of F. Shvelegel, especially his "critical fragments" (1797); They contained the refusal to the tradition of enlightening with its rationalism and faith in the possibility of harmony of personal and public, proclaimed unlimited freedom of creativity and gap with the regulativity of classic aesthetics. Similar ideas were developed in the program documents of other German romantics: Novalis "Fragments" (unfinished), A.V.Shleglev "Reading about dramatic art and literature" (1809-11), F.D. Shleiermachera "Speech about religion" (1799) . They were discussed in the works of G.Gene (preface to the second edition of "Books", 1827; afterword to "Romance" (1851), an article "Romance" (1820). In England, Wordsworth and S. Kolridge speak with their literary manifests. - Preface to the second edition of the "lyrical ballad" (1800), in which they insist in contemplation, the "wise passivity" of poetry, its proximity to folk art, language and life in its patriarchal forms. In the controversy with the "Lake School" there was an active romantic theory . One of the first literary manifestos was the didactic poem J. Baron "British poets and Scottish observers" (1809). In the treatise P. B. Shelli "Protection of poetry" (1822) poetry was characterized as a powerful weapon of peace transformation on the principles of good, justice and beauty. In France, the manifesto of romanticism was the preface to the Drama "Cromwell" (1827) V.Guhugo, which theoretically justified the local flavor, grotesque and contrast in order to relief opposition "good" and " A, "and also announced the war classicism and all court-aristocratic arts.

The formation of realism was accompanied by the appearance of theoretical works in the 1820-40th. The beginning put Pamflet Standal "Rasin and Shakespeare" (1823-25), pointed against the epigions of classicism and defended the principles of "romantic", i.e. contemporary art. These ideas Standal develops in other speeches, in particular, in the review "Walter Scott and Princess Klevskaya" (1830) writes about the highest task of literature: to capture the "Movement of the Human Heart". The need to "penetrate the soul of heroes" insists the standal in a letter to Balzak (1840). The preface (1842) of Balzak to his "human comedy" became an exploited manifesto of realism. Relying on the achievements of modern science, Balzac characterizes society as a complex, historically established organism; The work of the writer lays the work of the "historian", chronic, analytics of human passions and characters, the connoisseurs of "morals" and various classes, the creator of a diverse human typology. Principal judgments about psychological analysis in the realistic art of Balzac expressed in the reviews on the "Parm Resident" (1839) of Standal, in the "Etude about Mr. Baile" (1838). Extremely significant preface of Moopassana to his novel "Pierre and Jean" (1887-88), in which he wrote: "Realist, if he is an artist, will strive not to show us a banal photo of life, but to give us Its reproduction is more complete, more exciting, more surprising than the reality itself. " The narrower concept of realism contains literary manifestes of the 1850-60 -60 championship (a collection of theoretical works and articles "Realism", 1857) and his follower L.E.Dyuranti (the series of articles in the magazine "Realism", 1856-57), which limited the role Creative fantasy, refused to typing, for the factory copying seen. Brothers E. and Zh. Barley in the preface to the novel "Germini Laserta" (1865) proclaimed "New Realism", based on sketches with "Nature", strict observation and fixation of objective facts; At the same time, they lost the Balzakovsky latitude and depth of social analysis, preceding the aesthetics of naturalism with his cult of "objectivity" and "scientific relations". The large social resonance had theoretical speeches of Zola: the preface to the second edition of the novel "Teresa Raken" (1867), the collection "Experimental Roman" (1880), in which the principles of naturalism and the "scientific novel" were formulated.

The Manifesto of Verityism, close to Naturalism in the US literature, was the book of H. Roschend "Werewood of idols" (1894), in which the principles of thorough and accurate reproduction of life with all its dark sides were substantiated, which was pointed against the protective "decency tradition." Problems of public significance of verbal art were delivered in the "Letter of the Russian" (1883) U.Uitman, the book of F. Norris "Responsibility of the Romanist" (1903), in the preface of E. Sincler to the Anthology of the "Jreat of Justice" (1915). The end of 19 - the beginning of the 20th century was noted by the emergence of a variety of literary manifestos, formulating the concepts and principles of declare new features and schools. The preface of S. Konta de Lily to the "antique poems" (1852) was for Parnassians (see ") a kind of prologue in the development of the concept of" pure art ", free from any public harness. Poems P. Carllen "Poetic Art" (1874) and a collection of A. Rembo "Illiance" (1872-73, especially Sonnet "Publications", 1872) proclaimed with their literary manifestes symbols (see). In the article "Symbolism" (1886), the program document of this movement, Jean Seaias (1856-1910) writes that symbolistic poetry is trying to "dress the idea of \u200b\u200btangible formula." In the art of symbolism "Pictures of nature, actions of people, all concrete phenomena ... - tangible shells who are able to identify their hidden relationship with primary ideas." Collection of poems "unanimous life" (1908) Zh.Men It is considered to be a manifesto of unanimism.

Theoretical works of Tzetzara "Seven Dadist manifestos" (1924) were made by the manifesites of Dadaism. The author of the two "manifests of surrealism" (1924,1930) was A. Breton, who determined his method as "a pure mental automatism, through which we intend to express verbally, in writing or any otherwise actual functioning of thought." L.Lononier in the "Manifesto Populist Roman" (1929) argued that the current novel, thusing the initial scientist scientist, "urged to depict ordinary people, the most ordinary people who make up the mass of society; They also have enough vital drama "(see). In his novels, populists, distant from politics, saw in ordinary people, only the object of compassion in the poor.

The manifesites of German expressionism were the articles of his leaders of L. Rubiner ("Man in the Center", 1917), F. Pfefert, and others, who printed in the "Sturm" and "stock magazines". In Italy, the birth of futurism was marked by the appearance of high-profile declarations, among which "First Manifesto Futurism" (1909), "Technical Manifesto Futuristic Literature" (1912), "Futurist's Political Program" (1913), who belonged to Peru of Proc. for Art School F. Maryetti. The nature of the manifestos determining the philosophy and the modernism methodology acquired the theoretical works of TS. Eliota "Tradition and Creative Individuality (1919)," Holy Forest "(1920).

In the face of sharp social shocks, especially in the first half of the 20th century, when the writers themselves demanded an uncompromising answer to the question of which way of good and evil they are located, literary manifestos are often filled with not only artistic, but also relevant political content. This is characteristic of the writers of the left, radical orientation. The work of A. Barbus "Light from the abyss" (1920) became the Manifesto of the Club Group, she condemned the imperialist war and called for the "revolutionary struggle in the minds." A peculiar manifests were the performances of the Western Humanists (S.Цveign, A.Shweizer, B.Rassell). R.Rollan, the author of the article "Above the fight" (1915) and the Declaration of Independence of the Spirit "(1919), identified his position of refusal from revolutionary violence in the Clutter group; She began to call "Rollandism." The transition to active anti-fascist positions was reflected in the Roland program "Farewell to the past" (1931), which reflected the mood of many writers in the early 1930s.

In the early years, which followed the crisis of 1929, shook the economy of the West, some writers (especially in the United States) made energetic manifestos and declarations, stating their commitment to the ideals of socialism (Triaz, U.Freck, J.Dos Passos, M. Kauli and etc.). Critic-communist M.Gold formulated the development vector in the article-manifesto entitled "Go left" (1930). Soon, however, their revolutionary dust, which had a largely emotional basis, cooled: F.D. Designs with his reformist "new course" managed to rectify the economic situation in the country, while in Russia there were stunning news about the "Big Terror" and other crimes of Stalinism. Software acquired in the 1930s speeches of writers in connection with the increasing threat of fascism, and then the World War II began. The anti-fascist writers were the speech of E. Heheinguway, who returned from Spain, at the second Congress of the American Writers League: "Writer and War" (June 1937). In the conditions of the Nazi occupation of France, the Manifesto of the National Front of Writers, written by the hero and the martyr resistance to Jacques Dekur (September 1942). In the Manifesto "Full Publishing House" (1942), written by Pierre de Laskür, she was proclaimed determination to resist the censored oppression introduced by the occupiers. In the program article "For the engaged literature" (1945), J.P.Sartre spoke out against those who do not accept socially significant art.

The theoretical substantiation also received new artistic flows after World War II. The aesthetic-philosophical manifesto of the literature of the absurdity was the treatise A.Komyu "Myth about Sisif" (1942), expressed by the existentialistic philosophy of meaninglessness of being. The literary manifests of the "New Roman" were the program texts N. Sarrot ("Era of Suspicions", 1956), A. Working, 1956; "Nature, Humanism, Tragedy", 1958), M. Bututor (" Roman as a quest ", 1955), who rejected the" harminess "of verbal art, claiming his self-profit. Tom Wolfe (USA), theorist and the practice of "new journalism", developed the problem of "artistic fact", allowing to capture the "hot history" means of the novel, which received theoretical substantiation in the introductory part of its "anthology of new journalism" (1973 peculiar manifest of postmodernism and literature "Black humor" was an essay of J. Bart (USA) "Literature of exhaustion" (1967). The nature of literary manifestos acquired and some speeches of writers - the laureates of the Nobel Prize, while presenting them award. S. Luyuis in his speech "Fear of Americans in front of literature" ( 1930) He made a champion of the art of life truth free from the "Victorian fearness" U.Folkner in speech under the presentation of the Nobel Prize (1950) declared commitment to the "School of Humanism" as an artist of the word, contrary to the fashionable pessimistic trends that the refused "accept the end of a person". Nobel speeches and Nobel lectures of P.Bak (Lecture "Chinese Romance", 1938), Russell (lection I "What motives of human behavior affect politics?", 1950); Speech A.Komyu (1957), M.Sholokhova (1965), A. Solzhenitsyn (1970), I. Berrovsky (1987).

Literary manifests of Russian classicism

The authors of the literary manifesites of Russian classicism were made by V.K.T. Diakovsky ("On the ancient, middle and new poems by Russian", 1755), M.V. Lomonosov ("Russian grammar", 1757; "Quick Guide to Eloquence", 1748), " About the benefits of church and Russian books, "1757), A.P.Surokovok (" Epistole about poem ", 1748). N.M. Karamzin ("a few words about Russian literature", 1797; "Letters of the Russian traveler", 1791-95) formulated the program principles of Russian sentimentalism. The principal meaning for Russian romanticism is the article by V.A. Zhukovsky "On the moral benefits of poetry" (1809), which has substantiated the concepts of "sensitivity", "dreaminess". The foundations of the Decembrist aesthetics are formulated in Article V.K.Kühehelbecker "On the direction of our poetry, especially lyrical, in the last decade" (1824), orienting on the creation of a national, animated civilian literature. At close positions, K.F. Yelelev (article "Several thoughts about poetry", 1825), calling for the "ideals" of high feelings, thoughts and eternal truths in the literature. In the software works V.G. Belinsky ("look at Russian literature of 1847"), N.G. Chernyshevsky ("aesthetic attitudes of art and reality", 1855; "Essays of the Gogolian period of Russian literature", 1855-56), N. A. Dobrolubova ("When will the real day come?", "Light of Light in the Dark Kingdom", both 1860) justified the importance of a genuine school,
"Gogol Direction" for the development of literature of life truth. The program performances associated with the activities of the symbolists are very numerous: "On the reasons for decline and the new currents of modern Russian literature" (1893) DS Memerzhkovsky, "Klyuchi" (1904) V.Ya. Buryusova, "Elementary words about symbolic poetry "(1904) K. D. Balmonta," symbolism as a world-upony "(1903) A. Bel," Two elements in modern symbolism "(1908)," Covenants of symbolism "(1910)," Thoughts about symbolism "(1912) Vyach .I.Ivanova, "On the current state of Russian symbolism" (1910) A.A. Block. Literary manifestes of acmeysts - "On the beautiful clarity" (1910) M.A. Kuzmina, "Heritage of Symbolism and Akmeism" (1913) N.S. Gumilev, "Some currents in modern Russian literature" (1913) S.M. Rodetsky; Futurists- "Word as such" (1913) A.Krucheny, "Society to public taste" (1912), etc. In the 1910-20th literary manifestes were almost a mandatory element of the activities of numerous literary groups and organizations, sought to declare their positions , such as RAPP, LEF, "Forge", "Pass", "Seraponons Brothers", IMAZHINISTS, Literary Center for Constructivistists, and others. Rappa in the magazine "At the post", Hazing the Sectance, put forward the slogans of "Suddening of Poetry", announced the call "Drummers in the literature. " The participants of the "Forge" in their first declaration of 1921, seeking to move away from Rappov Orthodox, proclaimed "complete freedom in choosing creative methods."

Literary Manifests of Socialist Realism

In the literary manifestes of socialist realism, the performance of M. Gorky was announced at the first All-Union Congress of Writers, on which he, in particular, said: "Socialist realism claims being as an act." The charter of the Union of Writers was also directed. In connection with the liquidation in the early 1930s of all literary groups and the "unification" of writers, within the framework of the Unified Union, with the leadership role of the CPSU, the functions of the literary manifests of socialist realism began to carry out party regulations on literature, articles and speeches in central printing, as well as secret instructions and solutions. They were a directive character, indicated "hazards" ("cosmopolitanism", "formalism", "discharge", "weariness", "objectivism"), put the next tasks as "loyal assistants of the Party".

Symbolism - formed in France in 1880-1890, peak at the turn of 19-20 centuries. Server eyelid.

The symbolists were interested in classical mythology, ancient esoteric teachings and their modern modifications - theosophy, anthroposophy. In an effort to speak on the "new" language, the symbolists appealed to the archaic images of the myths and folklore.

Symbolists expressed the rejection of bourgeoisity, longing for spiritual freedom, the tragic premonition of world socio-historical shifts.

Live reality symbolism contracted the world of visions and dreams.

Symbolism addresses the Sphere of Spirit. Art is considered as a means of spiritual knowledge and transformation of the world. The moment of insight arising during the creative act is the only thing that can raise the veil over the illusory world of ordinary things.

The symbolist artists denied realism and believed that painting should recreate the life of every soul full of experiences, unclear, vague sentiment, delicate feelings, mumbling impressions, should transmit thoughts, ideas and feelings, and not just fix objects of the visible world. But they wrote not distracted plots, but real events, real people, real world phenomena, but in the metaphorical and leading manner. Among the plots, the scenes of the evangelical history were dominated, the semi-imny-historical events of the Middle Ages, the antique mythology. The chases of their paintings were the topics of life and death, sin, love and suffering, expectations, chaos and space, good and evil, beautiful and ugly. Characteristic features: Multivality of the image, the game of metaphors and associations.

Generally accepted Forerships of the Russian symbolism - F. Tyutchev, A.Fet, Vl.Solovyev. The thought is spent there is a lie has become the slogan of Russian symbolists. The poet of night knowledge of the soul, the abyss and chaos, Tyutchev turned out to be close to Russian symbolism with his aspiration to the irrational, inexpressible, unconscious.

Another predecessor of symbolists - A.FET, (in 1892, D.Mergekovsky reads a lecture on the reasons for decline and new currents in modern Russian literature, V. Brasus is preparing a collection of Russian symbolists). A.Fet spoke of inexpressibility, "immaintity" of human thoughts and feelings, the dream feta was "poetry without words" The symbolists learned the musicality, the associativity lyrics Feta, its persistent character: the poet should not be portrayed, and putting the mood, not "convey" the image, And "open a lumen in eternity" K. Balmont studied in feta mastering the music of the word, and A.Blok found the feta fette revelations in lyrics, mystical ecstasy.

On the maintenance of Russian symbolism (especially for the younger generation of symbolists), the philosophy of VLSolovyev was noticeably affected. The source of inspiration for symbolists served as the image of Saint Sophia, the suspension of Solovyov.Saint Sofia Solovyov - At the same time, the Old Testament wisdom and the Platonic idea of \u200b\u200bwisdom, the eternal femininity and the world soul, "Virgo Rainbow Gate" and a immensant wife - a subtle invisible spiritual beginning, permeating the world. The cult of Sofia with great trepacy was perceived by A. Block, A. Boya. A. Block called Sofia an excellent lady, M.Voloshin saw her embodiment in the legendary queen Taih. Alias \u200b\u200bA. Bail (B.Bugaeva) assumed an initiation of eternal femininity. The "Young Basvolists" was consonant with Solovyov votability, the concern to the invisible, "unspecified" as a true source of being. The poem of Solovyov is a cute friend perceived as the motto of "young-minded", as the arch of their idealistic moods.

Symbolism in Russia absorbed two streams - "senior symbols" (I. Annensky, V. Brysov, K. Balmont, Z.Gippiius, D. Mezhkovsky, N. Minsky, F. Sologub (F.Thetynnikov) and "Young Bunish" (and . White (B.Bugaev), A. Block, Vyach.Ivanov, S.Solovyev, Ellis (L. Kobylinsky). The symbolists were close to M.Voloshin, M.Kuzmin, A. Dobrobrubov, I. Konievsky.

In the introduction of symbolists were: the magazine "Libra" (out. From 1903 with the support of the S. Polyakov entrepreneur), the Publishing House "Scorpio", the magazine "Golden Fleece" (ed. From 1905 to 1910 with the support of N. Ryabushsky's patron), Publishing House "ORY "(1907-1910)," Musaghet "(1910-1920)," Grief "(1903-1913)," Sirin "(1913-1914)," Roshovnik "(1906-1917, founded by L. Indreev), Magazine Apollo "(1909-1917, ed. And the founder of S. Makovsky).

Periodization:

1-890g, decadence, individualistic-decadent phase. Orientation to modern. Magazine "World of Arts". Representatives - Hippius, Brucery, Yalmont, Sologub, Meriazhkovsky - Releases Collection Symbols and writes a lecture on the reasons for decline and new currents in modern literature. For theoretics of symbolism reflections on the collapse of rationalism and faith - two pillars of European civilization, Merezhkovsky complemented the judgments about the decline of modern Literature refused by "Ancient, Eternal, Never Umous Idealism" and preferent with Naturalism of Zol .. Detected three main elements of new art: mystical content, symbols and expansion of artistic impressionability.

2-1900E, flourishing. Magazines "Scales, Golden Fleece, New Path, Questions of Life, Apolon. Representatives. Ivanov, White, Block, Annensky, Solovyov, Voloshin. Manifesto "

V. Bruryova Symbolism has become a way to comprehend reality - "key of secrets." In the article, the keys of secrets (1903) he wrote: "The art is the comprehension of the world by other, inexplicable paths. The art is that we are in other areas call revelation. "

3-1910g, crisis. Vyach. Ivanov. New modernist groups appear.

As the literary flow, the Russian symbolism is drawn up in 1892, when D. Mezhkovsky issues a collection of symbols and writes a lecture on the reasons for decline and new currents in modern literature. In 1893 V. Brysov and A.Mitropol (Lang) prepare a collection of Russian symbols, in which V. Bryusov speaks of the person who has not yet exist in Russia in Russia - symbolism. Such a hoax was answered by the creative ambitions of Bruces to become not just an outstanding poet, but the founder of a whole literary school. Brucers saw his task as a "leader" in "Create poetry, alien to life, to embody the buildings that could not give life." Life is only "material", a slow and sluggish process of existence, which the poet symbolist should be transformed into "trepid without end." Everything in life is only a means for bright-singers, - formulated Bryus the principle of self-smiled, towering over the simple terrestrial existence of poetry. Bryusov became a master, teacher, headed by a new movement. D.Mergekovsky was admitted to the role of the ideologist "senior symbols".

D.Mergekovsky outlined his theory in the report, and then in the book about the reasons for the decline and new currents of modern Russian literature. "Wherever we go, no matter how much we hiding for the dam of scientific criticism, we feel the intimacy of the mystery, the proximity of the ocean," wrote Merezhkovsky. General for theoretics symbolism reflections on the collapse of rationalism and the faith - two pillars of European civilization, Merezhkovsky complemented by judgments about the decline of modern literature, who abandoned the "ancient, eternal, never as well as idealism" and preference to Naturalism of Zola. Associate literature can only rush to unknown, beyond, to "shrines that are not". Giving an objective assessment of the state of literary cases in Russia and Europe, Merezhkovsky called the premises of the victory of new literary flows: thematic "worniness" of realistic literature, its deviation from the "ideal", non-compliance with minority. The symbol, in the interpretation of Merezhkovsky, is poured out of the depths of the artist's spirit.

In the manifestations of "senior symbols", the main aspects of the new course were formulated: the priority of spiritual idealistic values \u200b\u200b(D. Mezhkovsky), the medium, "spontaneous" character of creativity (K. Balmont), art as the most reliable form of knowledge (V. Bruzov). In accordance with these provisions, the development of creativity of the older generation of symbols in Russia was going on.