The word "futurism" first appeared in the title of the manifesto of the Italian poet Filippo Tommaso Marinetti, published on February 20, 1909 in the Parisian newspaper Le Figaro. A year later, manifestos of the Futurists appeared in painting (U. Boccioni, C. Carra, L. Russolo, J. Balla, J. Severini) and music (B. Pratella). They derived the name of their current from the Latin word futurum - “future”. Attempts to create art directed towards the future were combined in their manifestos and poems with a denial of the art of the past. In Italy, honoring the monuments ancient rome, the Middle Ages, the Renaissance, it sounded especially defiant. Futurists in their works abandoned the feelings that determined the ethics of the people of the past - pity, rejection of violence, respect for other people. Many Italian futurists sang technique, denying the influence of emotion, supported the military aspirations of their country, and some subsequently Mussolini's fascism.

In all this, the negative essence of Italian futurism was manifested, although some of its artistic achievements were included in the fund of world art. For example, the desire for a synthesis of the arts (especially the mutual influence of literature and painting), the search for new means of poetic expression, attempts to create an unusual type of book that would affect the reader not only with its content, but also with its external form.

In Russia, futurism at first manifested itself in painting, and only then - in poetry. Artistic searches of the brothers D. and N. Burlyukov, M. F. Larionov, N. S. Goncharova, A. Exter, N. Kulbina, M. V. Matyushin and others in 1908–1940. were, as it were, the artistic prehistory of Russian futurism.

Its very history must begin in 1910, when two collections came out of print: a rather moderate “Impressionist Studio” (D. and N. Burliuks, V. V. Khlebnikov, and also not at all futurists - A. Gidoni, N. N. Evreinov and others) and already anticipating the actual futuristic editions of the “Ten of Judges”, printed on the reverse side of the wallpaper. The participants in the second collection - the Burliuk brothers, V. V. Khlebnikov, V. V. Kamensky, E. Guro - formed the main core of future cubo-futurists. The prefix "cubo" comes from the cubism they promoted in painting; sometimes members of this group called themselves "Gileans", and Khlebnikov coined the name "Budetlyane" for them. Later, V. V. Mayakovsky, A. E. Kruchenykh and B. K. Livshits joined the Cubo-Futurists.

Meanwhile, ego-futurists (from Latin ego - I) arose in St. Petersburg. This trend was headed by Igor Severyanin. His first pamphlets, including The Prologue of Egofuturism (1911), did not arouse much interest among readers until a small group of poets arose who united around I. Severyanin - K. K. Olimpov, I. V. Ignatiev, V I. Gnedov, GV Ivanov, Graal-Aprilsky and others. They founded the publishing house "Petersburg Herald", which published a newspaper of the same name (only two issues were published) and almanacs under expressive titles: "Kry's Zasakhare", "Nebokops", "Glass Chains", "Eagles Over the Abyss", etc. Their poems, for all their extravagance and rather timid attempts to create their own words, they usually did not differ so sharply from conventional poetry. It is no coincidence that the first large collection of poems by Severyanin was called words from the textbook poem by F. I. Tyutchev - “The Thundering Cup”, and the preface to it was written by the symbolist poet F. K. Sologub. In fact, Severyanin remained the only one of the ego-futurists who entered the history of Russian poetry. His poems, for all their pretentiousness, and often vulgarity, were nevertheless distinguished by their peculiar melodiousness, sonority and lightness.

There were also two groups of futurists: in 1913-1914. "Mezzanine of Poetry" (it included V. G. Shershenevich, R. Ivnev, S. M. Tretyakov, B. A. Lavrenev, Khrisanf) and in 1914-1916. "Centrifuge" (S. P. Bobrov, N. N. Aseev, B. L. Pasternak, K. A. Bolshakov, Bozhidar).

Each of these futuristic groups, as a rule, considered itself to be the spokesman for "true" futurism and carried on fierce polemics with other groups, but from time to time members of different groups approached each other. So, at the end of 1913 and the beginning of 1914, Severyanin performed together with Mayakovsky, Kamensky and D. Burliuk; Aseev, Pasternak and Shershenevich participated in the publications of Cubo-Futurists; Bolshakov moved from group to group, having visited the Mezzanine of Poetry, the Centrifuge, and the Cubo-Futurists.

However, speaking of futurists, we most often mean the activities of cubo-futurists. After the appearance of the almanac "A Slap in the Face of Public Taste" (December 1912) with the manifesto of the same name, after numerous disputes about paintings and poems about the Cubo-Futurists, they argued. This was caused primarily by the talent of the poets who considered themselves to be in this group - Mayakovsky, Khlebnikov, Kamensky, to a somewhat lesser extent - D. and N. Burlyukov, Guro, Livshits. Appearing in collections under deliberately defiant titles (“Dead Moon”, “Wood of the Woods”, “Gag”, “Roaring Parnassus”, “Three of the Treasury”, etc.), their poems were first perceived by readers as attempts to tease the tastes and habits of the bourgeois. But upon careful reading, something else was also revealed: behind the anti-aesthetic, there was hatred for fake, unreal beauty; behind the rudeness of expressions - the desire to give language to the "languageless street"; behind unusual word formations - attempts to create a "single mortal conversation"; Behind the incomprehensible pictures reproduced in books are new principles for seeing the world. Finally, in the works of the Futurists, that sharp sociality began to appear, which was especially sharply expressed in the poetry of Mayakovsky, and then in other authors.

It is worth noting that Russian Cubo-Futurism and Italian Futurism were far from homogeneous. During the arrival of F. T. Marinetti in Russia (January-February 1914), Livshits and Khlebnikov sharply opposed him. The irreconcilability of the two futurisms was especially exposed with the onset of the First World War. The Italian futurists welcomed it, while the Russians, especially Mayakovsky and Khlebnikov, angrily condemned it. The war generally sharpened the social vision of Cubo-Futurists. During these years, Mayakovsky published his satirical "hymns" in the journal "New Satyricon", Kamensky and D. Burliuk moderated the innovative ambitions. Khlebnikov, who found himself in the army, wrote a number of anti-war poems. In 1915, M. Gorky already says that “there is no Russian futurism. There is simply Igor Severyanin, Mayakovsky, D. Burliuk, V. Kamensky.” During these years, he often sees Mayakovsky, gets acquainted with Burliuk, includes Mayakovsky in the list of permanent collaborators of his journal "Chronicle", in the publishing house "Parus" led by him, Mayakovsky's book "Simple as a lowing" is published.

The revolution was hailed by most futurists as a step towards the future they aspired to, but the renewal of the old group proved impossible. The most politically active part of the pre-revolutionary futurists entered the LEF (Left Front of the Arts, headed by Mayakovsky) organized in 1922 and, consequently, into Soviet literature.

With all its internal contradictions, futurism played a certain role in the formation of the principles of creativity of such major Russian poets as Mayakovsky, Khlebnikov, Pasternak, Aseev.

Futurism is an avant-garde, heterogeneous literary movement of the 1910-20s. Russian futurism is an independent phenomenon in line with the pan-European revolution in art, its connection with Italian futurism is assessed differently. The starting point of this direction, which grew out of "symbolism" and " impressionism”, there was a revolution in the field of form, especially in the field of literary language.

Russian futurism as a trend in literature

The most important group in 1910 was formed cubo-futurists, this included V. Khlebnikov, David and Nikolai Burliuk and A. Kruchenykh. They strove first of all for the autonomy and liberation of the word, while the form and sound of the “word as such” meant more to them than its content. Hence the experiments on the creation of an abstruse language (“abstruse”). Other experiments concerned syntax (for example, David Burliuk's rejection of prepositions), the creation of neologisms, the system of versification and rhyme. The provocative aspect of Futurism came to light in the manifesto of 1912 A slap in the face of public taste with his rejection of all previous literature.

The Cubo-Futurists welcomed the October Revolution, seeing it as an opportunity to implement their radical ideas about art. In this connection K. Chukovsky wrote in 1922 about three trends observed in them: firstly, urbanism, with an emphasis on the techno-industrial, secondly, the desire for primary sources, the rejection of culture, and thirdly, anarchism, almost unconscious, insisting on the destruction of all laws and values, which seems to Chukovsky to be a typical Russian phenomenon.

The group stood out ego-futurists who adopted the name of futurism; it was founded in 1911 by Igor Severyanin in St. Petersburg, in 1912-14 the group was headed by Ivan Ignatiev. Proceeding from egoism as the driving force of life, egofuturism advocated individualism and demanded the abolition of moral and ethical restrictions in art. Some members of this short-lived group united later under the name of the Imagists (R. Ivnev and V. Shershenevich).

Closer to the ideas of cubo-futurists was group "Centrifuge", which existed in Moscow from 1914 to 1922 and advocated primarily for the renewal of poetic means - metaphor and figurative language in general. These included S. Bobrov, B. Pasternak, N. Aseev; according to the literary critic Markov, "of all the other futuristic groups, this one, perhaps, most widely and deeply represented futurism."

Along with the three main ones, there were many other areas of futurism, respectively, interconnected; for example, G. Petnikov and N. Aseev with their Kharkov publishing house Liren, who worked together with Khlebnikov, or the Moscow group Mezzanine of Poetry, close to ego-futurism, which existed for 4 months in 1913.

Despite the positive attitude of the futurists, especially Mayakovsky, to the revolution, the Soviet regime reacted negatively to futurism, as well as to the LEF group that arose from it and the Leningrad association that experienced its influence. Oberiu. The attitudes that guided the “orthodox”-communist literary societies “ October"and RAPP in the fight against these opponents of bourgeois culture and revolutionaries in art, who followed an independent path, did not change later until the very collapse of the USSR: futurism was considered a bourgeois trend and decadent.

The time of birth of Russian futurism is considered to be 1910, when the first futuristic collection "The Garden of Judges" was published (its authors were D. Burliuk, V. Khlebnikov and V. Kamensky). Together with V. Mayakovsky and A. Kruchenykh, these poets soon formed the most influential group in the new trend. cubo-futurists: "kubo" - from the cubism promoted by them in painting, "futurum" - the future. There was also another name for this futuristic group - "Gilea" (this was the name in ancient Greek for that part of the Tauride province where the Burliuk family lived in the 1910s and where the poets of the new association came in 1911). The poet V. Khlebnikov gave the group another name - Budtlyane; according to V. Mayakovsky, "the people of the future are the people who will be. We are on the eve."

In December 1912, a collection of Cubo-Futurists "A Slap in the Face of Public Taste" was published. This collection opened with a program article signed by D. Burliuk, A. Kruchenykh, V. Mayakovsky, V. Khlebnikov). The position of the group was chosen destructive and scandalous. "Only we are the face of our Time," they asserted.

But the Cubo-Futurists were not the only literary futurist group:

• in St. Petersburg in 1911, ego-futurists led by I. Severyanin announced their appearance; the group included K. Olimpov, I. Ignatiev, V. Gnedov, G. Ivanov.
• in 1913-1914 the "Mezzanine of Poetry" group consisted of V. Shershenevich, R. Ivnev, S. Tretyakov, B. Lavrenev, Khrisanf.
• during 1914-1916 there was a futuristic group "Centrifuga", which included S. Bobrov, N. Aseev, B. Pasternak, K. Bolshakov, Bozhidar.

The existence of each of the futuristic groups was short-lived: they appeared before the First World War and disintegrated in the first war years. Each of these groups, as a rule, considered itself to be the spokesman for the ideas of "true" Futurism and led a fierce polemic with other groups.

Speaking of futurists, most often they mean the most famous of them - cubo-futurists: Vladimir Mayakovsky, Velimir Khlebnikov, Alexei Kruchenykh, Vasily Kamensky and others. A clear idea of ​​their literary program is given by quotations from their collections ("Judges' Garden P", "A Slap in the Face of Public Taste", etc.): "Painters-beetlyans love to use parts of bodies, cuts, and betolyans-speech-makers like chopped words, half-words and their bizarre cunning combinations (abstruse language)"; "We loosened the syntax ... We began to give content to words according to their descriptive and phonic characteristics"; "We understand vowels as time and space (the nature of aspiration), consonants - paint, sound, smell"; "We have crushed rhymes. Khlebnikov advanced the poetic meter of the living colloquial word. We stopped looking for meter in textbooks..."; "We consider the word to be the creator of the myth: the word, dying, gives birth to a myth, and vice versa."

The Futurists announced the arrival of an artist with a new view of the world, a herald of the new world, and A. Kruchenykh in the article "Declaration of the word as such" (1913) stated: "The artist saw the world in a new way and, like Adam, gives everything his names. The lily is beautiful, but the word lily is ugly, captured and “raped”. Therefore, I call the lily euy - the original purity is restored.

The aesthetic, literary principles of the Futurists, as well as the titles of their collections ("Slap in the Face of Public Taste", "Dead Moon", "Exhausted Toad Milkers", "Tango with Cows") shocked contemporaries, caused indignation and all kinds of reproaches. Futurism as a phenomenon went beyond the scope of literature itself: it was embodied in the very behavior of the participants in the movement. Necessary condition its existence became an atmosphere of literary scandal. Provocatively designed public performance futurists: the beginning and end of performances were marked by gong strikes, K. Malevich appeared with a wooden spoon in his buttonhole, V. Mayakovsky - in a "female", according to then criteria, yellow jacket, A. Kruchenykh wore a sofa cushion on a cord around his neck, etc. . In reality, not everything that the Futurists surprised the public with should be taken seriously. V. Mayakovsky himself soon, with the outbreak of the war, admitted: "... we had many tricks just to shock the bourgeois ... futurism for us, young poets, is the red cape of a bullfighter ..."

The general basis of the movement was a spontaneous feeling of "the inevitability of the collapse of the old" (V. Mayakovsky) and the desire to realize and express through art the coming world upheaval and the birth of a new man. But the goal was set not only to realize and express the change of eras - art itself had to become an active transformative force capable of transforming the world.

Unlike their Symbolist predecessors, the Futurists strove to make literary art, the literary word, democratic, mass (poetry had to break out of the dungeon of the book and resound in the square); sought to give in art modern, adequate to the new dynamic time means of self-expression. V. Khlebnikov even tried to offer humanity a new universal language. In terms of the scope of life-creating claims, the Futurists surpassed the Symbolists. The word was objectified by the Futurists, that is, it became valuable in itself, self-sufficient (not reflecting, but replacing objects and phenomena, itself becoming an object); it could be crushed, reshaped, create new combinations of morphemes and sounds.

The experiments of the futurists (primarily V. Khlebnikov, V. Mayakovsky, A. Kruchenykh) in the field of verse and poetic words were curious. So, at one time, A. Kruchenykh's "poem" "Dyr - bul - schyl ..." received scandalous fame:

A. Kruchenykh himself claimed: "... there is more Russian national in this five-line poem than in all of Pushkin's poetry." Should we take this statement seriously? Is there anything in this "poem" other than the desire to shock the public? Since we cannot talk about the content side of this work (there are simply no grounds for this), then the whole point here, obviously, lies in the sound shell - the sound (phonosemantics) of the invented Twisted "words". Otherwise, is the sound shell, the clothing of the word meaningful? How to relate to the "abstruse language" ("zaumi") of the futurists?

According to the research of A.P. Zhuravlev and other scientists, information is carried not only by words (their lexical meanings), but also by sounds, the sound shell of a word. For example, sounds have color correspondences: [a] - bright red; [o] - bright light yellow or white; [and] - light blue; [e] - light yellow-green; [y] - dark blue-green; [s] - dull dark brown or black. Sounds also have emotional correspondences: [d] - dark, cold, sad; [r] - rough, etc.

Based on the emotional and color characteristics of the sounds included in the "poem" by A. Kruchenykh, it can be "interpreted" with a certain amount of imagination as an image of a thunderstorm (possibly accompanying a change in historical formations). According to one of the proposed versions 1 of the reading of this "poem", the words "holes", "bul", "schyl" are associated with something black, cold, sad, rude, heavy, awesome. Perhaps they are depicting a pre-stormy state of nature: "holes", "slits" - a dark black sky; "bul" - dark blue-green vegetation on the ground; the word "Ubeshchur" is associated with dark, slow, scary, dull, with glimpses of a light yellow-green color. Perhaps these are light yellow-green flashes on a dark blue-green field. The word "skoom" is something cold, evil, quiet, dark, powerful and arrogant. It looks like a dark blue cloud surface. All this can be perceived as a preface, as a premonition of thunderstorm events, as if clouds are crawling across the sky; And here is the turn - a bright flash lit up the sky: "You - so - boo." "You" - active, big, cheerful, loud and majestic; "so" - flash; cold, light, light and large; "boo" - rough, cold, similar to a blow. Perhaps it is a bright white flash on a dark blue background. "R - l - ez" - the first sounds repeat the sounds of the first line, but only briefly and expressively, as if darkness enveloped the sky after the flash. "Ez" - something majestic, bright, fast, ringing and optimistic. It looks like reflections of lightning flashes on the ground.

A direction in art, the name of which is derived from the Italian word "futuro" ("future"). Originated in Italy (the first manifesto of the writer F.-T.Marinetti was published in 1909). Futurism covers a wide variety of areas artistic creativity: literature, painting, music, sculpture, architecture, photography, theater, design, cinema and dance. The basis of futuristic aesthetics was the search for a new language of art, corresponding to the changing realities of the surrounding world: the emergence new technology, accelerated rhythms of life, urbanism. Recreation of "dynamic sensations" by means of painting is the central postulate of futuristic aesthetics. For the futurists, movement, and not necessarily connected with the world of technology, was a symbol of the creative energy of life, manifested in the most different forms and in different areas. In the dynamics of the new industrial and urban reality, they saw, first of all, a mythologized image of their "religion of life". Most often, the Italian program served as the starting point for the birth of local "futurisms". The influence of the new direction in various European countries was sometimes not expressed in a certain style followed by the artists, but Italian futurism only set the general rhythm for local avant-garde associations, infected them with the energy of daring innovation and denial. Or, on the contrary, the specific formal experiments of the futurists became the starting point for artistic searches, far from the ideology and philosophy inherent in the Italian movement.

Russia became one of those countries where the impulses of the Italian movement were enthusiastically received and at the same time constantly challenged and refuted. Russian artists and writers created their own version of Futurism, sometimes directly based on the Italian one, but often radically diverging from it. According to D.D. Burliuk, Russian artists and writers began to use the very word “futurism” from 1911: “In 1911, the flag “futurists” was thrown out (Burliuk 1994, p. 63). I.M. Zdanevich points out the same year as a starting point for the history of Russian futurism. However, most often for self-naming (and this corresponded to the spirit of romantic nationalism of futuristic aesthetics), they preferred to avoid the foreign word "futurism", replacing it with Russian equivalents - "future" or "budetlyane".

Easter at the Futurists. "Blue Journal". 1915. No. 12

N.S. Goncharova. Cyclist. 1913. Oil on canvas. 79×105. timing

O.V. Rozanova. City. 1913. Oil on canvas. 71.4x55.6. NGHM

Futurism in Russia did not achieve the comprehensiveness that distinguished the Italian movement - in architecture, music, photography, design, sculpture, dance, there was no consistent implementation of futurism. The appeal of the bytolyans to cinema and theater remained episodic. In Russian culture, futurism first of all became the mythology and ideology of creating the art of the future, transforming life and the person himself. Various artistic and literary groups turned out to be associated with this program, and its elements can be noted in the work of various artists. Russian futurism never possessed the solidity and programmatic unity of the Italian movement. It is generally accepted that initially futuristic aesthetics takes shape in literature. The association "Gilea" and the group of "ego-futurists" (Igor Severyanin, K.K. Olimpov, I.V. Ignatiev, V.I. Gnedov and others) became the most original interpreters of literary futurism. It is difficult to name a grouping with a consistent futuristic program among painters. Closest to the Futurists was the group of M.F. Larionov "Donkey Tail" and some members of the St. Petersburg "Union of Youth".

The most intense in the history of Russian futurism, undoubtedly, were 1912-1913 and several pre-war months of 1914. The first lithographic books by the buddlyans, which provided one of the most original versions of the implementation of the futuristic concept in Russian art, were published in 1912. Theatrical performances(the opera "Victory over the Sun" and the tragedy "Vladimir Mayakovsky"), the publication of the main manifestos, the creation of futuristic make-up and the first futuristic film - all these events are concentrated within one 1913. At the same time, the Larionov group published probably the most daring and paradoxical futuristic manifesto "Luchists and future ones. It affirmed: a return to national traditions, an orientation towards the culture of the East, and at the same time sounded an enthusiastic hymn to all manifestations of international modern life. In the same year, Larionov’s notes and interviews appeared in a number of newspapers and magazines, outlining his radical and fantastic projects for a futuristic theater in which “the scenery is in motion and follows the artist, the audience lies in the middle of the hall in the first act and is in a grid, under ceiling - in the second "(On the project of a futuristic theater in Moscow // Theater in cartoons. 1913. No. 1. P. 14). Finally, in 1913, with the participation of Larionov and N.S. Goncharova, the first and only futuristic film Drama in Cabaret No. 13 was staged. In 1913, the Futurist poets (D. Burlyuk, V. V. Mayakovsky, V. V. Kamensky) began touring the cities of Russia, giving lectures on the new movement. Very often, their lectures turned into real theatrical performances and were accompanied by numerous newspaper publications about futurism.

One of the features of Russian futurism is a deep and almost never disappeared connection with neo-primitivist and sometimes expressionist aesthetics. It was the connection with neo-primitivism that colored Russian futurism in such strange and unacceptable "archaic" tones for Italian futurists. The neo-primitivist roots of Russian futurism can also be associated with such a non-futuristic characteristic of the aesthetics of the Budutlyans as a wary and sometimes hostile attitude towards the new machine, mechanical reality. Russian futurists designed a natural version of the new culture, based on the logic of a living organism, not a machine. The Italian myth of a supernatural, superhuman culture remained alien to the natives.

Futurism has never had a monopoly on avant-garde art in Russian painting and has never taken a leading position. In painting, Futurism remained only a brief episode (1912-1914). During this period, the main body of futuristic paintings was created, such as The Grinder by K.S. ) Goncharova, “Walk. Venus on the Boulevard” by Larionov (1913, Center Pompidou), “Factory and Bridge” (1913. MoMA) and “Fire in the City” (1913. SOHM) by O.V. Rozanova, “Italian Still Life” by L.S. Popova (1914 . Tretyakov Gallery), "Allegorical depiction of the war of 1812" by A.V. Lentulov (1912. Private collection), "Turn of the car" by M.V. Le-Dantyu (1913–1914. OOMII), and others. Of course, even after 1914, works appear in Russian art in which traces of the influence of futuristic aesthetics are clearly visible - by K.M. ), D.D. Burlyuk (“Japanese cleaning fish”. 1922. Collection of Anatoly Bekkerman, New York).

Very often, Russian artists take from Futurism only external means of conveying movement, they perceive Futurism as a formal exercise. Based on the combination of futuristic and cubist aesthetics in Russian painting, a special version of "dynamic cubism", or cubo-futurism, has developed. Unlike the Italians, who got acquainted with cubism after creating their own futuristic program, for Russian artists it was cubism that became the basis on which futuristic techniques were superimposed. The direct assimilation of a number of “classical” ways of conveying the movement of Italian Futurism became for Russian painters rather a kind of springboard for the formation of their own concepts, or, in the words of D.V.

Although a small range of works can be attributed to futuristic painting in Russian art, next to them there is a wide layer of borderline works, in one way or another connected with futurism and blurring the rigid boundaries of this phenomenon in Russian painting. Cubo-futuristic works, pictorial alogism, or individual works of artists who are generally completely alien to futuristic aesthetics (P.N. Filonov, Girl with a Flower. 1913; Rebirth of an Intellectual, 1913. Both - the Russian Museum) fall into the circle of such “borderline” works. . Since 1915, for Russian artists, futurism no longer represents an actual trend in painting. The concept of non-objective art, associated mainly with the names of V.E. Tatlin and Malevich, determines the main trends in the development of art in the second half of the 1910s and early 1920s.

The history of Russian futurism is associated not so much with discoveries in the field of pictorial language, but with various types socio-cultural activities. Numerous public debates and lectures on the new art, arranged by painters and writers, the famous tour of the Futurists in the cities of Russia, the sensational performances of the Budetlyanin theater, the publication of poetry collections, theoretical manifestos and declarations - all this futuristic activity determined the atmosphere of artistic life in the 1910s. For the aesthetics of futurism, the effect, the "explosion", an instant flash of emotions were important. And not only as a propaganda ploy to attract the attention of the public. Love for stunning, for the demonstrative theatricality of behavior, style of speech or texts embodied the special properties of a modern, futuristic worldview, in which a quick change of impressions, instantaneous flash events took the place of the measured rhythms of the past. Futurists introduce concepts and strategies borrowed from politicians and the military into the world of art. First of all, this is the concept of an “enemy” (according to Marinetti, “an eternal enemy that should have been invented if it did not exist”), which has become one of the central ones for futuristic aesthetics. It is the futurists who begin to call their performances before the public battles, supporting (and sometimes deliberately provoking) confrontation with the public and the artistic establishment.

The revolutionary time gave a second wind to futuristic mythology about the art of the future, which transforms life and the person himself. The birth of a new man, the invasion of the "old" old world young forces - "barbarians" capable of infusing fresh blood into a tired culture - all these myths of the futurist movement were in demand in revolutionary times. By this time, the former futuristic associations had already ceased to exist, futuristic aesthetics had lost its leading position in the avant-garde movement. Only the mythology and ideology of futurism turned out to be in demand. During these years, futurism was not so much a direction in art with a specific aesthetic program as a generalized name for a variety of currents of the so-called "left" art. Moreover, the political content in this interpretation clearly prevailed over the aesthetic. In 1918-1919, under the influence of revolutionary events, the radicalization of futuristic aesthetics takes place. Futurism is now interpreted as an art corresponding to the deep spirit of the revolution. And most often not so much a specific revolution as a mythologized Revolution, embodying a spontaneous creative power and a new cosmology.

The most significant declarations of this period - the "Manifesto of the Futurist Flying Federation" and "Decree No. 1 on the Democratization of Art" - appeared in 1918 in the first issue of the Futurist Newspaper. These declarations outlined the most important trends of the revolutionary stage in the futurist movement: the creation of new mass forms of art that exists outside the walls of museums and galleries, directly invading the life of city streets; the concept of artistic activity as a tool for the creation of life and a means of revolutionary transformation of human consciousness and psyche.

In the first post-revolutionary years, Tiflis became a new center of futuristic activity, where the development of not politicized mythology, but the most radical aesthetic concepts of futurism (mainly poetic), continued. Due to various circumstances, A.E. Kruchenykh (“the father of Moscow futurism”, as he was called in Tiflis newspapers), the Zdanevich brothers, the poet I.G. Terentyev, who became the main inspirers of Tiflis futuristic associations, ended up here. This stage in the history of Russian futurism is associated primarily with the activities of the "Syndicate of Futurists" (Kruchenykh, I.M. and K.M. Zdanevichi, N.A. Chernyavsky, Lado Gudiashvili, S.V. Valishevsky, Kara-Darvish) and the group "Forty-one" (Kruchenykh, Terentyev, I.M. Zdanevich, Chernyavsky). Kruchyonykh in those years, in his hectographic books, created the most radical forms of abstruse poetry, in which the futuristic aesthetics of the moment, speed and explosion were combined with ecstatic mysticism and the discoveries of non-objectivity.

In addition to literary or pictorial, futurism initially existed as an ideology, as a special strategy for establishing the new in art, a special strategy for the existence of art in modern world as a philosophy of a new culture. It is impossible to associate it with one group or another, with a certain circle of artists or writers. This futurism is not so much a trend in art as the energy of modern life that cannot be rigorously defined, directed towards the creative transformation of the world and dictating the rhythm of a new worldview. “Futurism,” I. Zdanevich emphasized, “is a common phenomenon for all peoples carrying a new, mechanical culture ... it belongs not only to art as such, but (it) is a spiritual movement, a special religion that embraces our entire great life” (I. Zdanevich, "On Futurism", Lecture // Art History, 1998, No. 1, p.558). It was this facet of futurism that turned out to be extremely important in the history of Russian avant-garde culture - futurism as a “spiritual trend” became the prologue to many discoveries of the Russian avant-garde.

TOPIC: Futurism as a literary movement.

Lesson Objectives: to acquaint with the history of the emergence of futurism; develop the skills of analyzing a poetic work; to instill a sense of beauty;

Equipment:

excerpts from the manifestos of A.E. Kruchenykh, V.V. Khlebnikov

“The word as such” (1913), D.D. Burlyuk, A.E. Kruchenykh, V.V. , T. Munk "Scream", K. Malevich "Black Square", romances by A. Vertinsky.

During the classes

Organizing time.

Updating of basic knowledge

Continuing the conversation about the concept silver Age”, we must remember that it is primarily associated with a number of modernist trends in literature and art.

List the most significant of them.

Symbolism - the purpose of art is an intuitive comprehension of the world through symbols. Symbolists believed in the saving mission of beauty, goodness, truth.

Acmeism - arose in opposition to symbolism. Rejected the symbolic image of reality. Interested in the real, not the other world.

Futurism - representatives declared the classics as something obsolete and not corresponding to modernity.

Despite controversy and disagreement, representatives of all movements relied on a common basis. They strove for a spiritual restructuring of the world and agreed that art had a special role to play in the moral transformation of man.

3. Motivation of educational activity

The task of today's lesson, based on the topic, is as follows: to identify distinctive features futurism as a literary trend, dwell on the origins of Russian futurism and get an overview of the life and literary activities of the most famous representatives of this trend.

4. Work on the topic of the lesson

Futurism (lat. futurum - future) - one of the art directions of the early 20th century. This is an avant-garde trend in European and Russian art, which denied the artistic and moral heritage, preached the destruction of the forms and conventions of art in order to merge it with an accelerated life process.

Symbolism became the aesthetic premise of futurism. Based on its principles, the Futurists placed man at the center of the world, sang not "mystery", but "benefit", rejecting the innuendo, nebulousness, mysticism inherent in symbolism.

For the first time, the term "futurism" was introduced by the writer Filippo Marinetti, who published the "Manifesto on Futurism" in the Parisian newspaper Le Figaro on February 20, 1909. This trend has spread in France, England, Austria, Poland, Czechoslovakia, Germany. True, Russian futurists denied any connection with Italian futurism. The desire to change everything and "throw everything traditional off the ship of modernity" made architects turn on, although, of course, it was more difficult for architects than for artists and poets. An ideal place for the embodiment of the ideas of the futurists is a space where earthly physical and ethical laws do not apply. In architecture, Antonio Sant'Elia (1880-1916) is considered a futurist. In 1912, in Milan, he organized a group of artists called New Aspirations. In 1914, he came up with fantastic projects of the "city of the future", which seemed to him a giant agglomeration of multi-storey and terraced buildings made of steel and concrete with extended elevator towers, as well as streets and overpasses located at different levels, moving stairs.

Ideologically, futurism is close to Protestantism in art. The social roots of the artistic aggressiveness of the futurists are an anarchist rebellion against existing social conditions and a willingness to go all the way in destroying the existing order. After the revolution and later, the political influence of futurism on events in Russia and the world was considered. In 1922, A. M. Efros wrote: "Futurism has become the official art new Russia... Leftist statehood corresponds to leftist art... Futurism is an artistic form of communism. A communist in art cannot but be a futurist." But no matter how politicians and aesthetes, supporters of traditional art, treat the futurists, one thing is indisputable: futurism had a huge impact on the development of avant-garde art of the 20th century.

Manifesto “A slap in the face of public taste”

Reading our New First Unexpected.
Only we are the face of our Time, The horn of time blows us in verbal art.
The past is tight. The Academy and Pushkin are more incomprehensible than hieroglyphs.
Throw Pushkin, Dostoevsky, Tolstoy and so on. From the steamboat of modern times.
Whoever does not forget his first love will not recognize his last.
Who, gullible, will turn last love to the perfumery fornication of Balmont? Does it reflect the courageous soul of today?
Who, cowardly, is afraid to steal paper armor from Bryusov's black tailcoat? Or are they the dawn of unknown beauties?
Wash your hands that have touched the filthy slime of the books written by those innumerable Leonid Andreevs.
To all these Maxims Gorky Kuprins, Bloks, Sologubs, Remezovs, Averchenkos, Chernys, Kuzmins, Bunins and so on. And so on. All you need is a cottage on the river. Such an award is given by fate to tailors.
From the height of skyscrapers we look at their insignificance!

We command to honor the rights of poets:

To increase the dictionary in its volume with arbitrary and derivative words (Verbalism).

To an irresistible hatred for the language that existed before them.

With horror, remove from your proud forehead from bath brooms the Wreath of penny glory you made.

To stand on a block of the word “we” in the midst of a sea of ​​whistling and indignation.

And if, for the time being, the dirty stigmas of your “common sense” and “good taste” remain in our lines, nevertheless, for the first time, the Lightning Lightnings of the new Coming Beauty of the Self-valuable (self-sufficient) Word are already trembling on them.

Moscow. 1912. December. Genetically, literary futurism is associated with the avant-garde art groups of the 1910s: Jack of Diamonds, Donkey Tail, Union of Youth. In one way or another, the Futurist poets combined literary practice with painting: the Burliuk brothers, A. Kruchenykh, and V. Mayakovsky were artists. And vice versa, K. Malevich and V. Kandinsky, who achieved world fame as artists, participated in futuristic almanacs and as "talkers". As aesthetic program Futurism put forward the dream of the birth of a super-art capable of transforming the world. Therefore, the artist V. Tatlin designs wings for a person, and K. Malevich develops projects for satellite cities plying in the earth's orbit.

In formal-stylistic terms, the poetics of futurism is the poetics of "shift", the canon of "shifted construction". To understand this, one should turn to cubo-futuristic painting. The pictorial traditions of the past were based on one or another compositional starting point. The European "direct perspective" ends with the so-called vanishing point; a different principle - the principle of "reverse perspective" - ​​was used by the creators of Byzantine icons, Persian miniatures, Japanese engravings; here the role of the compositional support is played by the "point of departure". Cubo-futurist artists fundamentally refuse any "points": a depicted or imaginary object can be represented simultaneously from the side, from behind, from above, etc. For example, the Italian artist Umberto Boccioni uses the concept of "simultaneous" for his paintings (French simultane simultaneous / Latin simul at the same time). It reflected the desire to show several actions happening at the same time. The subject of the image of futurist artists is technology ("Rational Man" by the Italian artist N. Dulgeroff), they try to convey movement, speed by means of painting ("Dynamism of a cyclist" by U. Boccioni and "Airplane over the city" by N. Goncharova). An example of futuristic painting are also paintings by M.F. Larionov, V.V. Kandinsky, K.S. Malevich, as well as paintings by the classic of cubism P. Picasso.

Kazimir Malevich came up with the name of his style: Suprematism (lat. supremus - the highest). A combination of multi-colored planes, geometric shapes: rectangles, triangles, rhombuses - create either a feeling of stillness or an illusion of movement (paintings "Suprem" and "Dynamic Suprematism"). Parts of objects and figures are often shifted, skewed, displaced, which helps to convey the chaos of heterogeneous sensations that a big city brings down on a person, modern speeds. Just as painters liked to use parts of objects and bodies, futurists-poets used chopped words, half-words in their bizarre combinations, combinations, sometimes achieving a strong artistic impression (V. Khlebnikov).

Examination of reproductions of paintings by Pablo Picasso "Guernica" and T. Munch "Scream".

Issues for discussion

1. Whom and why did the futurists reject?

2. What was the hatred for the language that existed before the futurists?

3. How do you understand the meaning of the “self-made word”?

4. To whom and for what was this “slap in the face”?

teacher's word : Russian futurists had four main groups:

– cubo-futurists or “Gilea” (V. Khdebnikov, D. Burlyuk, V. Mayakovsky, A. Kruchenykh)
- ego-futurists (I. Severyanin)
– “Mezzanine of poetry” (Shershenevich, Ivnev)
– “Centrifuge” (B. Pasternak, N. Aseev)

Manifesto of A. Kruchenykh, V. Khlebnikov “The Word as such”

To write tight and read tight more uncomfortable than oiled boots or a truck in the living room (a lot of knots, ligaments and loops, and patches, a splintery surface is very rough) ... Writers before us had a completely different instrumentation, for example:

An angel flew across the midnight sky
And he sang a quiet song...

Like pictures painted with jelly and milk, these verses do not satisfy us ... A healthy person will upset the stomach with such food. We give an example of a different sound and phrase:

Hole, bul, schyl
shelter
skoom
you with boo
r l zz.

(By the way, there is more Russian national in this five-verse line than in all of Pushkin's poetry). Painters will not like to use parts of the body, cuts, and speech-makers will cut words, half-words, and their bizarre combinations ... This achieves the greatest expressiveness, and this is what distinguishes the language of rapid modernity, which destroyed the former frozen language ... Mediocrity and students love to work (the industrious bear Bryusov, Tolstoy, Gogol, Turgenev, who rewrote and polished his novels 5 times ...) Speech creators should write on their books:

WHEN READ, RIP!

Do you accept or reject this manifesto?

What is positive about it?

Find words that can anger a person who loves literature?

- Try to understand the meaning of these formations and explain their origin.

MOGATYR

LGAVDA.

BUDRETSY.

BUDETLYANES.

Tvoryanin.

An experiment with the word is carried out by V. Khlebnikov in the poem "The Spell of Laughter." It was on his poems that the Futurists based their theories. This poem is a vivid example of the breaking of poetic forms. (View video)

Determine the nature of the experiment. What wording technique is used by the poet? What are the roots of the verse? (he drew attention to the root of the word and, with the help of various suffixes and prefixes, began to form new words that resemble ancient Slavic ones. The verse goes back to the folklore tradition and resembles a pagan conspiracy.)

Reading a poem by V. Khlebnikov.

Issues for discussion:

1. What ideas of the manifesto were embodied in this poem?

2. What role does word creation play in it?

3. What role do new words play in creating an image?

teacher's word : From the first steps, futurism entertained only the short-sighted. Conscious he disturbed as a clear destruction of the classics. E. Balmont and N. Gumilyov were the most furious against futurism, but V. Bryusov saw in it the search for new forms that broke the former.

Igor Severyanin is an important figure in the poetry of ego-futurists. He was called "cute", noted the false prettiness. Enthusiasm foreign words. He also broke the usual forms, but in his own way.

Reading a poem by I. Severyanin “In the brilliant darkness”.

Issues for discussion:

1. Highlight new words

2. How does the lyrical hero oppose himself to other people?

3. What meaning did the poet put into the comparison “brilliant”?

teacher's word : Northerner was very popular. When he read his poems, which he called "poets", women threw flowers at him. He himself later wrote: “An eternal holiday, a sunsetless celebration. Flowers, fame, women in love. And money - golden rain.

Reading the poem "Kenzel"

Issues for discussion:

1. What is this poem about?

2. Highlight the new words of the Severyanin

3. Write artistic comparisons.

teacher's word : Severyanin's poetry is very musical. The repetition of sounds, musicality, the play of color are also characteristic of the song creativity of A. Vertinsky.

Listening to romance

Issues for discussion:

Does Vertinsky's song echo Severyanin's poems?

How do you see these similarities? various works art?

Most often, Russian futurism is associated with the work of V. Mayakovsky. This is the poet of the city.

Reading the poem “Could you?”

A special subject line is created in the poem: a dish of jelly - the ocean, fish scales - the call of the lips, a drainpipe - a flute. These visual images arise by association.

How to understand: "smeared the map of everyday life, splashing paint from a glass"?

The image of a new city overcoming the gravity of the earth can be found not only in poetry, but also in M.V. Matyushin's opera “Victory over the Sun”. The “music of noises” is presented here: the rumble of a working factory, the clatter of cars.

teacher's word . Literary futurism is associated with avant-garde art groups of the 10s of the 20th century - “Jack of Diamonds”, “Donkey's Tail”. Almost all Futurist poets were artists. Following the artists, poets experiment, but only on the word. The poetics of the futurists is the poetics of a “shifted construction”, the search for new spatial relationships leads to the creation of the avant-garde movement proper - Suprimatism. Malevich's "Black Square" is a look into the future. This picture can be compared with the feeling of a person in front of whom is a black tunnel. Perhaps this is a prophecy of the trials that came for Russia after the relatively calm 1913?

Reading a poem by V. Mayakovsky “Night”

Issues for discussion:

What role does color play in a poem?

With the help of what artistic means is movement, dynamics, swiftness conveyed?

Give examples of new words and images.

Issues for discussion:

What lines from Mayakovsky's poem can be projected by the presented paintings?

How do you think this poem revolted the audience?

Remember the manifesto signed by Mayakovsky. Who was given a “slap in the face” by this poem?

Teacher's word. Russian futurism had many faces. It manifested itself in various ways in literature, painting, and music. But the work of the futurists is wider than manifestos. The Futurists lived for the future, with their innovations they enriched the twentieth century, the poetry of our time.

Summing up the lesson.

Homework: formulate the main features of futurism as a literary movement