Talking about historical period under the spring name “thaw”, it is impossible to remain silent about the unusually romantic atmosphere of that time. It is not so much historians or newfangled TV series that help us recreate it fifty years later and feel it, but rather the literature of the 60s, as if it had absorbed the moist air of the thaw into its light lines. Spiritual uplift, inspired by hopes for quick changes, was embodied in the poetry of the sixties: Andrei Voznesensky, Robert Rozhdestvensky, Evgeny Yevtushenko and others.
Sixties- these are young representatives of the creative intelligentsia of the USSR in the 60s. A galaxy of poets formed during the “thaw”. Voznesensky, Rozhdestvensky and Yevtushenko, the leaders of that poetic circle, developed a vigorous creative activity, gathering entire halls and stadiums (since such an opportunity arose due to the mitigation political regime). They were united by sincere and strong emotional outburst, aimed at cleansing from the vices of the past, gaining the present and bringing a bright future closer.
- Evgeniy Yevtushenko(years of life: 1933-2017) – one of the most famous authors. For his contribution to literature he was nominated for Nobel Prize, but didn't receive it. His most famous work is “ Bratsk hydroelectric power station", where he first mentioned the phrase that became the slogan Soviet poetry: “A poet in Russia is more than a poet.” At home he was active in public life and supported perestroika, but in 1991 he emigrated to the United States with his family.
Andrey Voznesensky(years of life: 1933-2010) - not only a poet, but also an artist, architect and publicist. Known for writing the lyrics to the legendary song “Million Red roses"and the libretto of the country's first rock opera "Juno and Avos". The composition “I will never forget you” belongs to his pen. Unique ability Voznesensky - to create works of high artistic value, and at the same time popular among the people and understandable to them. He visited abroad many times, but lived, worked and died in his homeland.
Robert Rozhdestvensky(years of life: 1932-1994) – a poet who also became famous as a translator. IN Soviet time persecution fell upon him for his independence of judgment, so he was forced to flee to Kyrgyzstan and earn his living by translating texts of poets from other republics. He wrote many pop songs, for example, the soundtrack to the film “New Adventures of the Elusive.” From poetic works the most famous are “Letter from a Woman”, “It All Starts with Love”, “Please Be Easier”, etc.
Bulat Okudzhava(years of life: 1924-1997) - popular bard, singer, composer and screenwriter. He became especially famous for his original songs, for example, “On Tverskoy Boulevard", "Song about Lyonka Korolev", "Song about the blue ball", etc. I wrote often musical compositions for films. He traveled abroad and gained honor abroad. Actively engaged social activities, advocating for democratic values.
Yuri Vizbor(years of life: 1934-1984) - famous performer of art songs and creator of a new genre - “Report Songs”. He also became famous as an actor, journalist, prose writer and artist. He wrote more than 300 poems set to music. Especially famous are “Let’s fill our hearts with music”, “If I get sick”, “Lady”, etc. Many of his creations were used in films.
Bella Akhmadulina(years of life: 1937-2010) - poetess who became famous in the genre lyric poem. Her skill was greatly appreciated in cinema. For example, her work “On My Street Which Year” was performed in “The Irony of Fate.” Her work is characterized by a classical sound and an appeal to the roots. Her style of painting is often compared to impressionism.
Yunna Moritz(years of life: 1937 – present time) – in Soviet times, the author was practically unknown, since Moritz’s poems were banned due to oppositional sentiment. She was also expelled from the literary institute. But her work found a reader in samizdat. She described it as "pure lyricism of resistance." Many of her poems are set to music.
Alexander Galich(years of life: 1918-1977) – screenwriter, playwright, author and performer of his own songs. His creative views also did not coincide with those officially approved, so many of his works were distributed underground, but gained genuine popular love. He was expelled from the country and died abroad from an accident. He always spoke negatively about the Soviet regime.
Novella Matveeva(years of life: 1934-2016) - poetess, translator, playwright and literary critic. She often performed at concerts and festivals, but most of her works were published after her death. She performed not only her own works, but also songs based on her husband’s poems.
Yuliy Kim– (years of life: 1936 – present) - dissident poet, bard, screenwriter and composer. Known for his oppositional and bold for his time songs “Gentlemen and Ladies”, “Lawyer’s Waltz”, etc. The play-composition “Moscow Kitchens” is of particular significance. Kim sarcastically criticized society and power in the USSR. After perestroika, he wrote many librettos for musicals, including “Count Orlov”, “Notre Dame de Paris”, “Monte Cristo”, “Anna Karenina” and others.
Short poems by poets of the sixties
Many poets of the Thaw period have works that are not voluminous at all. For example, a lyrical poem about love by Andrei Voznesensky:
In the human body
Ninety percent water
Like, probably, in Paganini,
Ninety percent love.
Even if - as an exception -
The crowd will trample you
In human
Destination —
Ninety percent good.
Ninety percent of music
Even if she's in trouble
So in me
Despite the trash
Ninety percent of you.
Yevgeny Yevtushenko can also boast of brevity as the sister of talent:
View temporality humanely.
There is no need to cast a shadow on everything that is not eternal.
There is a temporaryness of a week's deception
Potemkin hasty villages.
But they also put up temporary dormitories,
until more houses are built...
After a quiet death, you will tell them
thank you for their honest timing.
If you would like to learn more about one of the short poems of that period and get into its mood and message, then you should pay attention to.
Features of creativity
Emotional intensity civil lyrics sixties - main feature this cultural phenomenon. Direct, responsive and lively poems sounded like drops. The poets responded to the difficult fate of the country and the troubles of the whole world sincerely and regardless of ideological expediency. They transformed the traditional stagnant Soviet pathos into a progressive and honest voice of a generation. If they were compassionate, then hysterically and desperately; if they were happy, then simply and easily. Voznesensky probably said everything about the poets of the sixties in his poem “Goya”:
I am the throat
A hanged woman whose body is like a bell
beat over the bare square...
The work of the sixties is rightfully considered one of the brightest pages of Russian literary history.
The Sixties as a cultural phenomenon
The poetry of the Thaw period is a stream fresh air in a country experiencing difficult moral consequences Stalin's terror. However, in one era they creative path is not limited, many of them are still writing. The poets of the 60s did not lag behind the times, although they retained proud name“sixties” or “60 tens” is a shortening of the usual phrase that has become fashionable.
Of course, what creative movement can it do without confrontation? The sixties fought against the “forces of the night” - dark and abstract centers of evil and injustice. They stood guard over primordial ideals October revolution and communism, although they have lost direct connection with them due to time. However, characteristic symbols have been resurrected in poetry: budenovka, red banner, line revolutionary song etc. It was they who denoted freedom, moral purity and selflessness, like the pectoral cross in Orthodoxy, for example. Utopian ideology truly replaced religion and permeated the poetry of the Thaw period.
Main topics
People were sensitive to the “crime of the cult of personality,” which was made public in 1956, when Nikita Khrushchev came to power and condemned Stalin’s repressions, rehabilitating and freeing many victims of the unjust sentence. The poets expressed not only general confusion and indignation at the “distortion” of a wonderful idea, but also the socialist pathos of the people who had returned to the true path. Many believed that the thaw was fundamentally new stage in the development of the USSR, and soon the promised freedom, equality and brotherhood will come. The worldview of the emerging creative intelligentsia, still very young people, coincided with these sentiments. Youthful delight, maximalism, romantic ideals and unshakable faith in them - these are the incentives for their honest and sometimes even naive creativity. Therefore, the poems of the sixties poets are still loved by readers.
The 1960s gave their idyllic paintings an openly rhetorical form, decorating them with transparent allegories. Thoughts and feelings, so close to the society of that time, were often expressed in direct recitation, but the most secret dreams and beliefs only subconsciously appeared between the lines. The thirst for fresh inspiration, novelty, and change was felt in the poetics of tropes.
What contributed to the decline of the movement?
The work of the sixties poets dates back to the 60s of the 20th century, and this is the era internal contradictions. Communism was somehow combined with individualism, artistic taste was intertwined with kitschy philistinism, physicists were friends with lyricists, the city with the countryside, democracy with technocracy, etc. Even the sixties themselves and their destinies were different, and this, paradoxically, united them. Such harmony of the Garden of Eden on earth could not last long, so by the 70s the utopia of the Thaw began to collapse. The unity of public and personal naturally turned into confrontation, the personal came into conflict with the state, and romantic freethinkers lost their platforms for speeches: the mercy of the authorities was replaced by anger. The influence of poets on the mood in society was no longer considered beneficial or even permissible, if only because the creators were sensitive to the “cooling” that replaced the thaw, and could not hide it in their poetry.
The poems of the poets of the sixties were aimed at a youth audience, and when their generation matured and realized how naive this revolutionary pathos was in the country of a victorious bureaucracy, it ceased both to create and perceive enthusiastic hopes for final victory heat.
One could speak enthusiastically about the poems of the sixties during the thaw, but after, when it clearly “got colder,” people needed other poetry that reflected decline rather than rise. The dependence on the era is also indicated by the “name” of the poets. cultural phenomenon like a reflection historical changes, could not distort and retouch these same changes.
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The sixties are a galaxy of writers who made their mark in the late 1850s-60s: N.V. Uspensky (1837-89), N.G. Pomyalovsky (1835-63), F.M. Reshetnikov (1841-75), V.A. Sleptsov (1836-78), A.I. Levitov (1835-77) and others. Most of them belonged to the class of commoners; they came from among the small provincial clergy, and, as a rule, graduated from the seminary. The path to literature for this generation was opened by the magazine strategy of N.A. Nekrasov, carried out by him in Sovremennik, as well as the literary criticism of N.A. Dobrolyubov and N.G. Chernyshevsky: the latter’s article “Isn’t this the beginning of change?” (1861), in which it was given high mark stories by Uspensky, served as a kind of manifesto for the literature of the sixties.
A significant role in the popularization and approval of the creativity of the writers of the sixties was played by the critics of D.I. Pisarev, M.E. Saltykov-Shchedrin, P.N. Tkachev, who, not without reason, saw in the young writers exponents of “liberation” ideas close to them. Following the collection “Stories” (1861) by Uspensky, a number of works followed, which secured the work of representatives of this generation the reputation of a new literary phenomenon. Their work was dominated by the genres of the cycle of essays and short stories: “Essays on the Bursa” (1862-63) by Pomyalovsky; “Steppe Sketches” (1865-66), “Moscow Holes and Slums” (1866), “The Woe of Villages, Roads and Cities” (1869) by Levitov; “Vladimirka and Klyazma” (1861) and “Letters about Ostashkov” (1862-63) by Sleptsov - and a short story: “Podlipovtsy” (1864), “Miners” (1866-68) by Reshetnikov; “Bourgeois Happiness” (1860) and “Molotov” (1861) by Pomyalovsky, “ Hard time"(1865) Sleptsova.
The central theme of the creativity of the sixties
The central theme of the sixties' creativity was the life of common people, peasants, and the lower classes of the urban world. The image of the people they created shocked contemporaries with its unheard-of ruthlessness and naturalism. The lower classes of society were portrayed as creatures incapable of understanding the simplest laws and civil social institutions. This vision was due not only life experience commoners, who in childhood and youth were faced with the cruelty of life, an unsightly way of life, but also with the ideology of radical revolutionaries, which they accepted and sought to reflect in their works: it was based on the idea of man as a biological being, whose life is regulated primarily physiological needs. As a result, the people of the sixties become an absolute slave of the existing social order. This pessimism made the works of the sixties not entirely acceptable not only to hostile critics, but also to those ideologists who initially inspired and highly extolled their work.
Another the most important topic in the works of the sixties became hard way people from diverse backgrounds to knowledge, his self-affirmation in society. Faced with an alien noble environment that has taken a central position in culture, the commoner feels his inferiority, lack of education and upbringing. The hero of the sixties chooses a compromise, like Molotov in Pomyalovsky’s dilogy, who decides to adapt, winning, at the cost of a kind of mimicry, internal space to realize his personal needs. Only in Sleptsov’s “Difficult Time” is a commoner depicted, self-confident, easily winning the spiritual and moral duel of an aristocrat-landowner.
The creative path of the sixties
The creative path of the sixties ended in a spiritual dead end: they created a tragic image of a man who rejected God and idols, but was unable to find other spiritual supports and therefore ended his life in the emptiness of despair.
The sixties is also a designation of generation Soviet people 1960s In literature, this designation is both more specific and more vague: the sixties are participants in the literary struggle, especially on the pages of “thick magazines,” and exponents of new ideas, even a new sense of life, that arose during the post-Stalin “thaw.” As an ironic counterpart to more persistent, recurring trends Russian history, the paraterm “Sixties” contains a reference to the “sixties” of the 19th century. Despite the fact that people started talking about the sixties rather retrospectively and distancing themselves in later decades, sometimes one-sidedly and not always fairly, the phenomenon of the sixties, as is usually the case, is deeper and more meaningful than what this word is often denoted. First of all, the sixties are not only and not even so much a generation or certain figures, writers, critics, but an elusive, although quite definite socio-cultural atmosphere, the “end-to-end mentality” of the era: this is also more common between the USSR and the West - both in spite of and thanks to the one built in 1961 Berlin Wall- problematic-atmospheric constellation (orderliness) of time and language.
The sixties are actually people different generations , different views and worldviews, different cultural worlds. The sixties were the poets E.A. Evtushenko, A.A. Voznesensky, but also a participant in the Patriotic War and the son of a repressed communist, the poet and bard B.Sh. Okudzhava, whose “commissars in dusty helmets” set the tone for the romantic memory and romantic progressivism of the sixties. This is also the largest Soviet philosopher M.K. Mamardashvili (1930-90), who in the 1960s criticized J.P. Sartre and K. Jaspers from the standpoint of “cultural” (official-unofficial) Marxism; A.G. Bitov as the author of “Lessons of Armenia” (1967-69), “Pushkin House” (1971, published in 1978); author of the memoirs “People, Years, Life” (1961-65) I.G. Erenburg and the new figure of A.I. Solzhenitsyn with obvious features of anti-Sovietism; this is E. Neizvestny, who tried to convince N.S. Khrushchev of the compatibility of new art with Soviet power, but also Ven. Erofeev with his prose poem “Moscow - Cockerels” (1969), a Rabelaisian-Kafkaesque waste of the Soviet consciousness in general. In the social and literary life of the 1960s, which was not yet completely divided, as later, into official and unofficial samizdat (although literary fate A. Sinyavsky and Y. Daniel, convicted in 1966, like the works of Solzhenitsyn, which circulated in the lists, was a convincing harbinger of such a division), the concept of “Sixties” is especially associated with the activities of the “New World”, edited by A.T. Tvardovsky: the magazine conducted the line outlined, essentially, in Khrushchev’s report at the XXII Congress of the CPSU; but the bill presented Soviet reality Soviet power, was too great: it was incompatible not only with the “Leninist norms of party life,” as it was called in official language, but, in in a certain sense, and with the literary, aesthetic and socio-political beliefs of the sixties, who grotesquely reproduced - in a seemingly inverted Soviet situation 20th century - views revolutionary democrats and the sixties of the previous century. Sixties in public consciousness, in literature, art and lifestyle, historically exhausted themselves at the turn of the 1990s, along with the collapse of totalitarianism and communism.
The term “sixties” was first used by Stanislav Rassadin in an article of the same name, which was published in December 1960 in the magazine “Yunost”.
The people of the sixties are part of the intelligentsia that appeared during the “thaw” period, which came after the 20th Congress of the CPSU, where Stalin’s “cult of personality” was debunked. At this time, the internal political course of the state was much more liberal and free compared to previous times, which could not but affect cultural sphere society.
Poetry of the sixties
Poetry played a key role in the culture of society at that time. The hope for change caused a strong spiritual upsurge, which inspired the sixties to write their poems.
Poetry became not only popular, for the first time since Silver Age she became one of the the most important aspects social life countries.
Crowds of thousands came to listen to the poets speak; their collections immediately flew off the shelves, and the writers themselves became a kind of expression of creative freedom.
Representatives
The most famous poets At that time there were Robert Rozhdestvensky, Evgeny Yevtushenko, Andrei Voznesensky, Bella Akhmadulina.
Robert Ivanovich Rozhdestvensky (1932-1994) wrote thirty poetry collections throughout his life. Many of his poems were set to music. He also received recognition as a translator. Expressing opposing ideas Soviet ideology, he was persecuted and was forced to move to Kyrgyzstan, where he began to earn money by translating poetry, the authors of which were from the southern republics.
Evgeny Aleksandrovich Yevtushenko (1932-2017) wrote more than sixty collections. Most big success This author had a poem “Bratsk Hydroelectric Power Station”, in the lines of which an expression appeared that received the status of a motto: “A poet in Russia is more than a poet.” He also acted in films and on stage. After the collapse of the USSR, he moved with his entire family to the USA.
Andrei Andreevich Voznesensky (1933-2010) was an avant-garde poet who could write in all styles: from traditional to the most progressive. He wrote more than forty lyrical collections and poems. The text of the well-known song “A Million Scarlet Roses” belongs to him.
Bella Akhatovna Akhmadulina (1937-2010) - wrote more than thirty collections.
Songwriters, or as they were also called “bards,” became a special phenomenon during the “thaw,” and the genre began to be called “author’s song.” These included those poets who performed their own works to music. Key personalities in this movement there were Bulat Okudzhava, Vladimir Vysotsky, Alexander Galich, Yuri Vizbor.
Features of creativity
The poems of the sixties stood out for their spontaneity and responsiveness. Ideology had minimal influence on themes and their disclosure. People instantly fell in love with their poems because they were honest: something that was sorely lacking at that time.
Main topics
People were greatly hurt by the fact that perfect image state and its leaders was violated due to Nikita Khrushchev’s announcement of the “crime of the cult of personality” at the 20th Congress of the CPSU and publicity Stalin's repressions. But at the same time they rejoiced at the rehabilitation and release of many victims unfair sentences. The poets expressed not only the disappointment and confusion that every citizen of the USSR experienced, but also the strong joy of the people who admitted their mistakes and returned to true path to communism. As contemporaries of that period say, there was a taste of freedom and impending changes in the air that would lead the country to equality, freedom and fraternity.
The younger generation of intelligentsia became infected with this idea. The desire for freedom, delight, youthful maximalism, ideas about ideals, faith in a wonderful future found their place in their poems, which resonated with the desires of readers.
The Sixties as a cultural phenomenon
Poems of the 1960s became a kind of stream of fresh air in the country. Awareness of Stalin's repressions, moral feelings, the desire for freedom, the desire for change - all these are the reasons that poetry has become an outlet.
The people of the sixties did not abandon the ideas of communism; they maintained deep faith in the ideals of the October Revolution. That is why symbols of that time appeared so often in their poems: the red banner, speeches, Budenovka, cavalry army, lines of revolutionary songs.
The poets who became famous in that decade did not stop writing and published their works until their death or are still releasing them.
Plan
Introduction
1 1930s
2 War
3 XX Congress
4 Prose
5 Poetry
6 Author's song
7 “Physicists” and “lyricists”
8 Hikers
9 Cinema and theater
10 Painting
11 Stagnation
12 Religion
13 Perestroika
14 History of the term
15 Representatives
Bibliography
Introduction
Sixties - subculture Soviet intelligentsia, mainly affecting the generation born approximately between 1925 and 1945. Historical context The views of the “sixties” were shaped by the years of Stalinism, the Great Patriotic War and the “Thaw” era.
Most of the “sixties” came from the intelligentsia or party environment that formed in the 1920s. Their parents, as a rule, were convinced Bolsheviks, often participants Civil War. Belief in communist ideals was self-evident for most of the “sixties”; their parents dedicated their lives to the fight for these ideals.
However, even in childhood they had to go through an ideological crisis, since it was this environment that suffered most from the so-called Stalinist “purges”. Some of the “sixties” had parents who were imprisoned or shot. Usually this did not cause a radical revision of views - however, it forced more reflection and led to hidden opposition to the regime.
The Great Patriotic War had a huge influence on the worldview of the sixties. In 1941, the older part of the generation was 16 years old - and many volunteered for the front. Most of them, in particular, almost the entire Moscow militia, died that same year. But for those who survived, the war became the most important experience in their lives. Colliding with life and death, with the mass real people And real life countries, not camouflaged by propaganda, demanded the formation own opinion. In addition, the atmosphere at the forefront, in the situation real danger, was incomparably freer than in peaceful life. Finally, the existential experience at the front forced us to have a completely different attitude towards social conventions. Former tenth-graders and first-year students returned from the front as completely different, critical and self-confident people.
3. XX Congress
However, they were disappointed. Contrary to the mass expectations of the intelligentsia that after the war there would be liberalization and humanization of the system, the Stalinist regime became even tougher and more uncompromising. A wave of obscurantism in the spirit of the Middle Ages swept across the country: the fight against “formalism,” cybernetics, genetics, killer doctors, cosmopolitanism, etc. Anti-Western propaganda intensified. In the meantime, most of the front-line soldiers of the sixties returned to their student benches, greatly influencing their younger comrades.
The defining events in the life of the generation were the death of Stalin and N. S. Khrushchev’s report at the 20th Congress of the CPSU (1956), exposing Stalin’s crimes. For the majority of the “sixties,” the 20th Congress was a catharsis that resolved a long-term ideological crisis that reconciled them with the life of the country. Liberalization that followed the 20th Congress public life, known as the “Thaw” era, became the context active work"sixties".
The sixties actively supported a “return to Leninist norms”, hence the apologetics of V. Lenin (poems by A. Voznesensky and E. Yevtushenko, plays by M. Shatrov, prose by E. Yakovlev) as an opponent of Stalin and the romanticization of the Civil War (B. Okudzhava, Y. Trifonov , A. Mitta).
The people of the sixties are staunch internationalists and supporters of a world without borders. It is no coincidence that the cult figures for the sixties were revolutionaries in politics and art - V. Mayakovsky, Vs. Meyerhold, B. Brecht, E. Che Guevara, F. Castro, as well as writers E. Hemingway and E. M. Remarque.
The “sixties” expressed themselves most noticeably in literature. The magazine played a huge role in this. New world", from 1958 to 1970, edited by Alexander Tvardovsky. The magazine, which staunchly professed liberal views, became the main mouthpiece of the “sixties” and was incredibly popular among them. It's hard to name printed edition, which had a comparable influence on the minds of a generation. Tvardovsky, taking advantage of his authority, consistently published literature and criticism free from socialist realist attitudes. First of all, these were honest, “trench” works about the war, mostly by young authors - the so-called “lieutenant’s prose”: “In the Trenches of Stalingrad” by Viktor Nekrasov, “An Inch of Earth” by Grigory Baklanov, “Battalions Ask for Fire” by Yuri Bondarev, “ It doesn’t hurt the dead” by Vasil Bykov and others. The publication of I. Ehrenburg’s memoirs had enormous educational significance. But, obviously, the main event was the publication in 1962 of Alexander Solzhenitsyn’s story “One Day in the Life of Ivan Denisovich” - the first work about Stalin's camps. This publication became almost as much of a turning point and cathartic event as the 20th Congress itself.
Kataev’s “Youth” was extremely popular among young people.
On the other hand, modernist poetry began to play an important role among the “sixties”. Poetry readings for the first time in national history Crowds of young people began to gather. As the famous human rights activist Lyudmila Alekseeva wrote:
The passion for poetry has become a sign of the times. People were sick with poetry back then, neither before nor later poetry and in general, not particularly interested in literature. All over Moscow, in institutions and offices, typewriters were loaded to the limit: everyone who could, retyped for themselves and for friends - poems, poems, poems... It was created youth environment, the password of which was knowledge of the poems of Pasternak, Mandelstam, Gumilyov. In 1958, a monument to Vladimir Mayakovsky was inaugurated in Moscow. After the official opening ceremony, at which the planned poets performed, began to read poems from the public, mostly young people. Participants of that memorable meeting began to gather at the monument regularly until readings were prohibited. The ban lasted for some time, but then the readings resumed. Meetings at the Mayakovsky monument during 1958-1961. increasingly acquired a political overtones. The last of them took place in the fall of 1961, when several of the most active participants in the meetings were arrested on charges of anti-Soviet agitation and propaganda.
The organizers of the readings “at Mayak” were future dissidents Vladimir Bukovsky, Yuri Galanskov and Eduard Kuznetsov.
But the tradition of oral poetry did not end there. It continued with evenings at the Polytechnic Museum. Mostly young poets performed there too: Evgeny Yevtushenko, Andrei Voznesensky, Bella Akhmadulina, Robert Rozhdestvensky, Bulat Okudzhava.
Filming from the famous readings at the Polytechnic was included in one of the main “sixties” films - “Ilyich's Outpost” by Marlen Khutsiev, and the listed poets became incredibly popular for several years.
Later, the public’s love switched to poets of a new genre generated by the culture of the “sixties”: the art song. His father was Bulat Okudzhava, who in the late 50s began performing his songs with a guitar - first at parties or just on the boulevard. His songs differed sharply from those broadcast on the radio - primarily in their personal, even private, mood. In general, Okudzhava’s songs are perhaps the most adequate expression of the worldview of the “sixties”. Soon other authors appeared - Alexander Galich, Yuliy Kim, Novella Matveeva, Yuri Vizbor, who became classics of the genre. Audio samizdat appeared, spreading the voices of bards throughout the country - radio, television and recording were then closed to them.
7. “Physicists” and “lyricists”
The “sixties” consisted of two interrelated but different subcultures, jokingly called “physicists” and “lyricists” - representatives of the scientific, technical and humanitarian intelligentsia. In particular, A. Einstein and L. Landau were cult figures whose photos decorated the apartments of people far from physics. Naturally, the “physicists” showed less of themselves in art, but the ideological system that arose among them was no less (and perhaps more) important in Soviet culture 60s and 70s. Romanticization inherent in the culture of “physicists” scientific knowledge And scientific and technological progress had a huge influence on the development of science and the entire Soviet life. In art, the views of “physicists” were not often manifested - the clearest example is the prose of the Strugatsky brothers.
“Physicists” (although their personal views could be completely independent) were much more loved by the state than “lyricists” - since they were needed defense industry. This is reflected in Slutsky’s famous line: “Something physicists are held in high esteem, something lyricists are in the fold.” Apparently, this is partly due to the fact that by the 70s the aesthetics of the “physicists” were adopted by Soviet officialdom - the “sci-fi” style became the architectural and design norm of the late USSR.
8. Hikers
In the late 60s, when public life in the country was stifled, a new subculture arose among the “physicists” - hiking tourists. It was based on the romanticization of the taiga (northern, high-mountain) life of geologists and other field workers. The simplicity, roughness and freedom of their life were the antithesis of the boring nonsense of the “correct” existence of an urban intellectual. In addition, the image of Siberia evoked associations with the culture of prisoners, thieves' freedom, and, in general, the underbelly of official life. The expression of these sentiments was the film by Kira Muratova “ Short meetings"(1967) with Vladimir Vysotsky in leading role. Millions of intellectuals began to spend their holidays on long-distance hikes, the storm jacket became common intellectual clothing, the central practice of this subculture was collective singing around the fire with a guitar - as a result, the art song turned into a mass genre. The personification and favorite author of this subculture was the bard Yuri Vizbor. However, its heyday fell not on the “sixties”, but on the next generation.
Objective of the project:
To introduce students to the work of poets of the Thaw period
Project objectives:
Introduce the poets of the “sixties”, their life and creative path. See if their works are contemporary today. Show the role of poetry of the “Thaw” period in the public life of the country
Project description:
« Mysterious passion"-the last novel by Vasily Aksenov.
His heroes-idols of the sixties (sixties): Robert Rozhdestvensky, Vladimir Vysotsky, Andrei Voznesensky, Andrei Tarkovsky, Evgeny Yevtushenko, Rimma Kazakova, Bulat Okudzhava, Bella Akhmadulina and others...
We want to introduce you to the work of the poet of the sixties and their life. (Ani Sargsyan “Thaw”)
Who are they? These children of war. Children of the camps.
They knew how to look at this world and be surprised. They resisted power or succumbed to it, loved, betrayed. What did they believe in, what did they breathe?
If you imagine that you could travel back in time, then the following would be written on the ticket to the sixties: words - Love, Friendship, Decency, Freedom.
Aksenov called the thirst for creativity, which cannot be killed by any regime, a mysterious passion. They created. - Great poets of the 20th century.
The passion for poetry has become a sign of the times. Poems were a passion for people then who, neither before nor later, were interested in literature.
Everyone who could re-read Pasternak, Mandelstam, Gumilyov.
A youth environment was created whose password was knowledge of the poems of Pasternak and Gumilyov.
In 1958, a monument to V. Mayakovsky was unveiled in Moscow, young people gathered at the monument and read poetry.
The tradition was continued with poetry evenings at the Luzhniki Polytechnic. Young poets A. Voznesensky, E. Yevtushenko and others performed there...
He wanted to remake the world
So that everyone is happy,
And I was hanging by a thread,
After all, he was a paper soldier.
Bulat Shalvovich Okudzhava - Russian Soviet poet. Born in Moscow on May 9, 1924. Member of the Great Patriotic War. He volunteered to go to the front from behind a school desk. Bulat Okudzhava was engaged in original song. In an author's song, the main thing is the text. “For me, an author’s song is, first of all, poetry,” said Okudzhava. He called his poems “city songs.” And these songs were, of course, about Moscow. Two inseparable images - Bulat and Arbat. B. Okudzhava’s favorite place in Moscow. In many songs, Bulat Okudzhava sings about one of the most beloved streets in Moscow.
Song “Ah Arbat, my Arbat”
The poet's creative heritage is truly enormous. His works have been translated into many languages. Okudzhava was a worthy master of his craft.
What can be said in general about the work of B. Okudzhava? The author’s motto is to create not for the needs of the public, but to show the world around us in all its colors.
Bulat Okudzhava - became an entire era. He became brightest star lyric theater, which will never be forgotten.
Okudzhava’s songs are heard in films and plays (Song of the Cavalry Guard)
His poems teach us to believe in the power of love, in the fragility and at the same time the strength of our world.
The fact that a delicate balance depends only on us, on our aspirations, honesty, kindness.
And trying to understand Bulat Okudzhava, perhaps for the first time we will think about the meaning of the word wisdom.
And then - out of tears, out of darkness.
From the poor ignorance of the past.
My friends have beautiful features
They will appear and disappear again.
Bella Akhatovna Akhmadulina is one of the brightest poets of the sixties. Born April 10, 1937. In Aksyonov’s novel, Bella Akhmadulina is called “Ahho!” - so her last name simply turns into an exclamation of delight.
“As she breathes, so she writes,” B. Okudzhava said about Bella Akhmadulina. “This is a rare quality, it speaks of the authenticity of combustion.
B. Akhmadulina is a delightful woman of her age, diverse and interesting.
In the 60s, people came to listen to poetry, thinking that poets would answer the questions that tormented them faster and more intelligibly. Questions about love, about friendship, about life.
She was called the “courageous flower.” Her reading style was mesmerizing. One of the main themes of B. Akhmadulina is friendship. She considered friendship one of the main strong human qualities.
Any youth is theft.
And this is the magic of life:
Nothing in it goes away
But it just goes...
Evgeny Aleksandrovich Yevtushenko was born on June 18, 1932, his name has long been firmly established in Russian poetry. It has spread widely in our very lives, among people of different generations and different professions.
But the point is not only in outstanding poetic talent, but also in that innate fake sense of citizenship, which is inseparable from the sense of time.
Yevtushenko studied form from V. Mayakovsky, which was reflected in his poetry. Evgeny Yevtushenko is the poet of Time, sensitively capturing all its influences. In his poems he paints a portrait of a young contemporary. Yevtushenko’s works have been translated into more than 70 languages, they have been published in many countries around the world, and total number names cannot be accurately counted.
Sincerity and straightforwardness are also noted love lyrics poet. Songs based on the poet’s poems are heard in films (Song “Irony of Fate”)
But why then, having filled the Luzhniki Stadium,
Do we reach for poetry like we reach for herbs for scurvy?
And our souls blossom joyfully and timidly...
Andrei Voznesensky was called lucky. From the age of 14 he was recognized as Pasternak. Pasternak dissuaded him from entering the Literary Institute, saying: “They won’t teach you anything there, they’ll only spoil you.” Voznesensky enters the Architectural School. He is interested in painting, brilliantly defends his thesis and gives up everything.
The poetic element wins. His poems are translated into foreign languages, he performs in the largest audiences not only in Russia, but also in Paris and New York. The two main themes of Voznesensky's poetry are Russia and love.
Poems by A. Voznesensky are heard from the theater stage. Yuri Lyubimov staged the play “-----” at the Taganka Theater. Later became a cult.
Poems are heard from the theater stage performed by actors V. Vysotsky and V. Zolotukhina.
Voznesensky is fascinated by the element of the theater. Mark Zakharov’s proposal for a joint project is marked by the appearance in Russia of the first rock opera “Juno and Avos”. This real story touches his contemporaries. Songs from this performance are still heard today (Song “You Wake Me Up at Dawn”)
Once a friend of Voznesensky wrote: “I am afraid to write about Voznesensky, because the poet says for us what we are not able to say. He is the Guardian Angel of our time, in which both he and we are young.”
Friends - Bella Akhmadulina, Andrey Voznesensky, Evgeny Yevtushenko..... it was all one company. They met very often. They simply did not part. It seemed that there would be no end to the friendship.
No, it wasn’t fame, ambition or money that united them, they were united by the feeling that their changing country needed them, that their peers needed them…. The future smiled on them. It seemed that only joy awaited ahead..... It was all one flight. It was wonderful. They were simply interested in living, loving, and making friends.
Song "How Young We Were"
Activities within the project:
Project scope:
15 people participated in the project. Grades 9-10 (auditorium) and teachers
Resources spent:
2 weeks to prepare
Results achieved:
School students got acquainted with poetry, music and the life of Soviet society in the sixties