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Vladimir Vladimirovich Mayakovsky (/ˌmɑ ːjəˈkɔːfski, -ˈkɒf-

 /;[1] Russian:  ; July 19 [O.S. July

7] 1893 – April 14, 1930) was a Russian and Soviet poet, playwright, artist

and stage and film actor.[2] He is among the foremost representatives of

early-20th century Russian Futurism. 

He was born the last of three children in Baghdati, Kutaisi Governorate, 

former Russian Empire, in country Georgia (Georgia) where his father

worked as a forest ranger. His father was of  Ukrainian

Cossack descent[3] and his mother was of  Kuban Cossacks descent. Although

Mayakovsky spoke Georgian at school and with friends, his family spoke

primarily Russian at home. At the age of 14 Mayakovsky took part

in socialist demonstrations at the town of  Kutaisi, where he attended the

local grammar school. After the sudden and premature death of his father in

1906, the family — Mayakovsky, his mother, and his two sisters — moved

to Moscow, where he attended School No. 5.

In Moscow, Mayakovsky developed a passion for Marxist literature and took

part in numerous activities of the Russian Social Democratic Labour Party; he

was to later become an RSDLP (Bolshevik) member. In 1908, he was

dismissed from the grammar school because his mother was no longer able

to afford the tuition fees.

Around this time, Mayakovsky was imprisoned on three occasions forsubversive political activities but, being underage, he avoided deportation.

During a period of solitary confinement in Butyrka prison in 1909, he began

to write poetry, but his poems were confiscated. On his release from prison,

he continued working within the socialist movement, and in 1911 he joined

the Moscow Art School where he became acquainted with members of the

Russian Futurist movement. He became a leading spokesman for the

group Gileas (Ге), and a close friend of  David Burliuk, whom he saw as

his mentor.

Literary life[edit]

The 1912 Futurist publication A Slap in the Face of Public Taste (Пщён

бщетенну уу)[4] contained Mayakovsky's first published

poems: Night  (Нь) and Morning(Ут). Because of their political activities,

Burlyuk and Mayakovsky were expelled from the Moscow Art School in 1914.

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 Image from Mayakovsky's Как делать стихи ("How to Make Poems").

His work continued in the Futurist vein until 1914. His artistic development

then shifted increasingly in the direction of narrative and it was this work,

published during the period immediately preceding the Russian Revolution, 

which was to establish his reputation as a poet in Russia and abroad.

 A Cloud in Trousers (1915)[5] was Mayakovsky's first major poem of

appreciable length and it depicted the heated subjects of love, revolution,

religion and art, written from the vantage point of a spurned lover. The

language of the work was the language of the streets, and Mayakovsky went

to considerable lengths to debunk idealistic and romanticised notions of

poetry and poets.

Your thoughts,

dreaming on a softened brain,

like an over-fed lackey on a greasy

settee,

with my heart's bloody tatters I'll

mock again;

impudent and caustic, I'll jeer to

superfluity.

Of Grandfatherly gentleness I'm

devoid,

there's not a single grey hair in my

soul!

Thundering the world with the

might of my voice,

I go by – handsome,

twenty-two-year-old.

шу ыь 

етющую н згенн згу, 

ыжеш е н

зенн ушете, 

буу знть б енны

ец ут: 

ыт зъзеюь, нхьны

е. 

У ен уше н нг ег

, 

те нежнт нет не! 

г щью г, 

у – ы, 

цтухетн. 

(From the prologue of A Cloud in Trousers.)

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 Vladimir Mayakovsky and Lilya Brik. 

In the summer of 1915, Mayakovsky fell in love with a married woman, Lilya

Brik, and it is to her that the poem "The Backbone Flute" (1916) was

dedicated; she was the wife of his publisher, Osip Brik. The love affair, as

well as his impressions of  World War I and socialism, strongly influenced his

works of these years. The poem "War and the World" (1916) addressed the

horrors of World War I and "Man" (1917) is a poem dealing with the anguish

of love.

Photo, 1917 (sign: "Futurist Vladimir Mayakovsky ")

Mayakovsky (centre) with friends including Lilya Brik, Eisenstein (third from

left) and Boris Pasternak (second from left).

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Mayakovsky was rejected as a volunteer at the beginning of World War I,

and during 1915-1917 worked at the Petrograd Military Automobile School as

a draftsman. At the onset of the Russian Revolution, Mayakovsky was

in Smolny, Petrograd. There he witnessed the October Revolution. He started

reciting poems such as "Left March! For the Red Marines: 1918" (Леы

ш (т), 1918) at naval theatres, with sailors as an audience. 

His satirical play Mystery-Bouffe was staged in 1918, and again, more

successfully, in 1921. In 1918, Mayakovsky wrote and starred in three silent

films made at Neptun studio in St. Petersburg. The only surviving film of

Mayakovsky's is The Young Lady and the Hooligan, based on the long tale La

maestrina degli operai  (The Workers' Young Schoolmistress) published in

1895 by Edmondo De Amicis, author of the unforgettable Heart , and directed

by Evgeni Slavinsky. The other two films, It Cannot Be Bought for

Money  and Shackled by Film were directed by Nikandr Turkin and arepresumed lost.[6] 

Mayakovsky's home in Moscow

After moving back to Moscow, Mayakovsky worked for the Russian State

Telegraph Agency (ROSTA) creating — both graphic and text — 

satirical Agitprop posters. In 1919, he published his first collection of

poems Collected Works 1909-1919 (е ненне

). In the cultural climate of the early Soviet Union, his popularity

grew rapidly. From 1922 to 1928, Mayakovsky was a prominent member of

the Left Art Front and went on to define his work as 'Communist futurism'

(фут). He edited, along with Sergei Tretyakov and Osip Brik, the journal LEF. 

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 Agitprop poster by Mayakovsky

As one of the few Soviet writers who were allowed to travel freely, his

voyages to Latvia, Britain, Germany, the United States, Mexico and Cuba

influenced works like My Discovery of America (е тыте Ае,

1925). He also travelled extensively throughout the Soviet Union.

On a lecture tour in the United States, Mayakovsky met Elli Jones, who later

gave birth to his daughter, an event which Mayakovsky only came to know in

1929, when the couple met clandestinely in the south of France, as the

relationship was kept secret. In the late 1920s, Mayakovsky fell in love with

Tatiana Yakovleva and to her he dedicated the poem "A Letter to Tatiana

Yakovleva" (Пь Ттьне Яе, 1928). 

Mayakovsky's influence is not limited to Soviet poetry. While for years he

was considered the Soviet poet par excellence, he also changed the

perceptions of poetry in wider 20th century culture. His political activism as

a propagandistic agitator was rarely understood and often looked upon

unfavourably by contemporaries, even close friends like Boris Pasternak. 

Near the end of the 1920s, Mayakovsky became increasingly disillusioned

with the course the Soviet Union was taking under Joseph Stalin: his satirical

plays The Bedbug (Кп, 1929) and The Bathhouse(Бн, 1930), which deal

with the Soviet philistinism and bureaucracy, illustrate this development.On the evening of April 14, 1930, Mayakovsky shot himself. This is disputed

by his daughter, Yelena Vladimirovna Mayakovskaya, a professor of

Philosophy and Women's Studies at Lehman College in New York City.

The unfinished poem[7] in his suicide note read, in part:

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 And so they say-

"the incident dissolved"

the love boat smashed up

on the dreary routine.

I'm through with lifeand [we] should absolve

from mutual hurts, afflictions and spleen.

Mayakovsky was interred at the Moscow Novodevichy Cemetery. 

Legacy[edit] 

Mayakovsky's grave at Novodevichy

In 1930, his birthplace of Baghdati in Georgia was renamed Mayakovsky in

his honour. After his death, Mayakovsky was attacked in the Soviet press as

a "formalist" and a "fellow traveller" (ппут) (as opposed to officially

recognised "proletarian poets", such as Demyan Bedny). When, in

1935, Lilya Brik wrote to Stalin to complain about the attacks, Stalin wrote a

comment on Brik's letter:

"Comrade Yezhov, please take charge of Brik's letter. Mayakovsky is still the

best and the most talented poet of our Soviet epoch. Indifference to his

cultural heritage is a crime. Brik's complaints are, in my opinion,

 justified..."[8] 

These words became a cliché and officially canonized Mayakovsky but,

as Boris Pasternak noted,[9] they "dealt him the second death" in some

circles.

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Yevgeny Yevtushenko once said, "As a poet, I wanted to mix something from

Mayakovsky and Yesenin."[10] Mayakovsky was the most influential futurist

in Lithuania and his poetry helped to form the Four Winds movement

there.[11] He was also an influence on the writer Valentin Kataev.Andrey

Voznesensky called Mayakovsky a teacher and favorite poet[12] and dedicated

a poem to him entitled Маяковский в Париже(Mayakovsky in Paris).[13] In

1967 the Taganka Theater staged the poetical performance Послушайте!,based on Mayakovsky's works. The role of the poet was played by Vladimir

Vysotsky, who also was inspired by Mayakovsky's poetry.[14] 

In 1938 the Mayakovskaya Metro Station was opened to the public. In 1974

the Russian State Museum of Mayakovsky was opened in the center of

Moscow in the building where Mayakovsky resided from 1919 to 1930.[15] 

Frank O'Hara wrote a poem named after him, "Mayakovsky", in which the

speaker is standing in a bathtub, a probable reference to his play The

Bathhouse.

In 1986 English singer and songwriter Billy Bragg recorded the album Talking

with the Taxman about Poetry , named after a namesake Mayakovsky's

poem.

In 2007 Craig Volk's stage bio-drama Mayakovsky Takes the Stage (based on

his screenplay At the Top of My Voice) won the PEN-USA Literary Award for

Best Stage Drama.[16] 

References[edit] 

1.  Jump up^ "Mayakovsky". Random House Webster's Unabridged

Dictionary . 

2.  Jump up^ Sensitive Skin, Mayakovsky - New Translations 

3.  Jump up^  . .

пннх еенн [Mayakovsky, Vladimir Vladimirovich.

Vladimir Mayakovsky in the memoirs of contemporaries](SHTML) (in

Russian). Lib.ru. Retrieved 7 April 2010.

4.  Jump up^ "A Slap in the Face of Public Taste". Futurism. The Niuean

Pop Cultural Archive. Retrieved 7 April 2010.

5.  Jump up^ "A Cloud in Trousers (Part 1) by Vladimir Mayakovsky". 

vmlinux.org. Retrieved 7 April 2010.

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6.  Jump up^ Petrić, Vlada. Constructivism in Film: The Man With the

Movie Camera:A Cinematic Analysis. Cambridge University Press.

1987. Page 32. ISBN 0-521-32174-3

7.  Jump up^ Belyayeva Dina. "B. -Любн

збь быт... En" [V. Mayakovsky - The Love Boat smashed upon the dreary routine ... En].  poetic translations (in Russian and

English). Stihi.ru - national server of modern poetry. Retrieved 7

April 2010.

8.  Jump up^ Katanyan, Vasily (1998) Memoirs. p. 112

9.  Jump up^ [1][dead link ] 

10.  Jump up^ Петьтеь, пжут (2008-04-23). Еген

Етушен: "К пэт хте енть г Еенн" |

Куьту - Агуенты Фты [Yevgeny Yevtushenko: "As a poet, I

would like to connect Mayakovsky and Esenin»] (in Russian). Aif.ru.Retrieved 2012-07-13.

11.  Jump up^ "tekstai". Tekstai.lt. Retrieved 2012-07-13.

12.  Jump up^ Огне: К Н Бы Стшн! [Spark: How It

was terrible!] (in Russian). Ogoniok.com. Retrieved 2012-07-13.

13.  Jump up^ Ане знеен.

Пже [Andrei Voznesensky. Mayakovsky in Paris] (in Russian).

Ruthenia.ru. Retrieved 2012-07-13.

14.  Jump up^ Тет н Тгне: ыц уге [Taganka

Theater: Vysotsky and other] (in Russian). Taganka.theatre.ru.Retrieved 2012-07-13.

15.  Jump up^ "Museum". mayakovsky.info.

16.  Jump up^ PEN Center USA Literary Awards Winners

Bibliography[edit] 

  Aizlewood, Robin. Verse form and meaning in the poetry of Vladimir

Maiakovsky: Tragediia, Oblako v shtanakh, Fleita-pozvonochnik,

Chelovek, Liubliu, Pro eto (Modern Humanities Research Association,London, 1989).

  Brown, E. J. Mayakovsky: a poet in the revolution (Princeton Univ. Press,

1973).

  Charters, Ann & Samuel. I love : the story of Vladimir Mayakovsky and Lili

Brik  (Farrar Straus Giroux, NY, 1979).

8/9/2019 Maja Kovski

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  Humesky, Assya. Majakovskiy and his neologisms (Rausen Publishers, NY,

1964).

  Jangfeldt, Bengt. Majakovsky and futurism 1917-1921 (Almqvist & Wiksell

International, Stockholm, 1976).

  Lavrin, Janko. From Pushkin to Mayakovsky, a study in the evolution of aliterature. (Sylvan Press, London, 1948).

  Mayakovsky, Vladimir (Patricia Blake ed., trans. Max Hayward and George

Reavey). The bedbug and selected poetry. (Meridian Books, Cleveland,

1960).

  Mayakovsky, Vladimir. Mayakovsky: Plays. Trans. Guy Daniels.

(Northwestern University Press, Evanston, Il, 1995). ISBN 0-8101-1339-

2. 

  Mayakovsky, Vladimir. For the voice (The British Library, London, 2000).

  Mayakovsky, Vladimir (ed. Bengt Jangfeldt, trans. Julian Graffy). Love isthe heart of everything : correspondence between Vladimir Mayakovsky

and Lili Brik 1915-1930 (Polygon Books, Edinburgh, 1986).

  Mayakovsky, Vladimir (comp. and trans. Herbert Marshall). Mayakovsky

and his poetry  (Current Book House, Bombay, 1955).

  Mayakovsky, Vladimir. Selected works in three volumes (Raduga,

Moscow, 1985).

  Mayakovsky, Vladimir. Selected poetry. (Foreign Languages, Moscow,

1975).

  Mayakovsky, Vladimir (ed. Bengt Jangfeldt and Nils Ake Nilsson). VladimirMajakovsky: Memoirs and essays (Almqvist & Wiksell Int., Stockholm

1975).

  Mayakovsky, Vladimir. Satira ('Khudozh. lit.,' Moscow, 1969).

  Mikhailov, Aleksandr Alekseevich. Maiakovskii  (Mol. gvardiia, Moscow,

1988).

  Novatorskoe iskusstvo Vladimira Maiakovskogo (trans. Alex

Miller). Vladimir Mayakovsky: Innovator  (Progress Publishers, Moscow,

1976).

  Noyes, George R. Masterpieces of the Russian drama (Dover Pub., NY,

1960).

  Nyka-Niliūnas, Alfonsas. Keturi vėjai ir keturvėjinikai  (The Four Winds

literary movement and its members), Aidai , 1949, No. 24. (Lithuanian) 

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  Rougle, Charles. Three Russians consider America : America in the works

of Maksim Gorkij, Aleksandr Blok, and Vladimir Majakovsky  (Almqvist &

Wiksell International, Stockholm, 1976).

  Shklovskii, Viktor Borisovich. (ed. and trans. Lily Feiler). Mayakovsky and

his circle (Dodd, Mead, NY, 1972).  Stapanian, Juliette. Mayakovsky's cubo-futurist vision (Rice University

Press, 1986).

  Terras, Victor. Vladimir Mayakovsky  (Twayne, Boston, 1983).

  Vallejo, César (trans. Richard Schaaf) The Mayakovsky case (Curbstone

Press, Willimantic, CT, 1982).

  Volk, Craig, "Mayakovsky Takes The Stage" (full-length stage drama),

2006 and "At The Top Of My Voice" (feature-length screenplay), 2002.

  Wachtel, Michael. The development of Russian verse : meter and its

meanings (Cambridge University Press, 1998).

Vladimir Vladimirovič Majakovski (rus. 

, Bagdadi pokraj Kutaisa, 19. srpnja 1893. -Moskva, 14.

travnja 1930.), ruski književnik, jedan od začetnika ruskog futurizma. 

Polazio je slikarsku školu, bio zatvoren zbog socijalističke agitacije,

oduševljeno prihvatio Oktobarsku revoluciju i stavio u njenu službu svoj

pjesnički i slikarski talent. Pjesnički rad počeo je kao futurist, stojeći ujednona čelu toga pokreta. Nastojao je stvoriti novu poeziju koja bi odgovarala

urbanom, a zatim i revolucionarnom razdoblju povijesti Rusije i čovječanstva.

Uvodi u poeziju vulgarizme, žargonske riječi, namjerno grube antiestetizme,

stvara vlastite kovanice, služi se vrlo često igrom riječi, dotada nepoznatim

metaforama, a posebno voli hiperbole.

Razbija tradicionalnu ritmičku strukturu stiha i stvara novi, u grafičkom slogu

"stepenasti " stih, koji posebno pogoduje stavu retoričkog pjesnika što se

izravno obraća velikom auditoriju. Smisao takve poezije odvodi ga izravno na

revolucionarnu tribinu, miting. Eksperimentalnu liriku slijede velike lirske

poeme monološkog tipa "Oblak u hlačama", "Flauta-k ralješnica", "Rat isvijet", "Čovjek".Stavljajući poeziju svjesno u službu revolucije

piše agitacijske pjesme ("Lijevi marš" ) te scensko djelo na temu revolucije s

biblijskim motivima "Misterij Buffo" .

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Svojim djelom izvršio velik utjecaj na razvitak sovjetske poezije, a djelovao

 je i na pjesnike izvan SSSR-a (Aragon, Becher, Vapcarov i dr.)

Završio je život samoubojstvom. 

ј (Бгт пе Кутј, 19.

 ју 1893. - , 14. п 1930.), је б уњжен. 

Пш је у у шу, б зтен збг цјте

гтцје, ушељен пхт Отбу еуцју т у

њену ужбу ј пен тент. Пен пе је

футут, тјећ ујен н еу тг пет. Нтј је

т ну пезју ј б г убн зт

еуцнн збљу тје Рује  ент. У у

пезју угзе, жгне е, нен губе нтететзе,т тте нце, уж е ет г е, т

непзнт етф, пебн хпебе. 

Рзбј тцнну ту тутуу тх т н, у

гф гу "степенасти" тх, ј пебн пгује ту

етг пен ј е етн бћ е утјуу.

С те пезје  г етн н еуцнну тбну,

тнг. Епеентну у ее ее е пее ншг

тп"Облак у панталонама“, „Рат и свет“, „Човек“. Стљјућ пезју

ен у ужбу еуцје пше гтцје пее ("Леви марш" ),цен е н теу еуцје ббј т "МистеријаБуфо" .

Сј е зш је е утцј н зј јете пезје,

е је н пене зн СССР (Агн, Бехе, пц .) 

Зш је жт убт. 

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Volim

Brodovi i -

oni u luke se slise.

Vozovi - na stanicu teraju i oni.

A mene ka tebi nesto tim vise -

 jer volim -

vuce i goni.

Puskinov vitez u podrum se skriva,

cicija u svome novcu da uziva.

Tako ti se vracam

 ja, draga, predano

Moje je to srce,

s divljenjem ga gledam.

i garsa sebe spira, brije se i mije.

Tako i ja,

tebi vracajuci se,

zar

ne odlazim kuci,

zar nije?!

Konacnoj se vracamo meti.

Smrtne zemaljsko narucju veze

Tako

tek sto rastanemo se ja i ti,

nepokolebljivo ti

tezim.

IZ SVEG GLASA

Vec prodje jedan.I sigurno si legla.

Ko srebrna oka Mlecni put noc studi.

Ne zuri mi se.I munja-telegram

nema zbog cega da plasi te i budi.Kao sto kazu,incident je resen.

Ljubavna barka o stvarnost se zdrobi.

Mi smo precistili,i sto da se drese

uzajamne boli,uvrede i kobi.

Pogledaj samo kakav je mir nad svetom.

Noc zvezdanim sjajem nebesa skor osu.

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U taj cas odustajes da protumacis sve to

istoriji,vekovima i kosmosu.

Majakovski

Mene vise prepoznati ne moze:

 ja sam zgrcenagomila

zila.

Sta takva gomila pozeleti moze?

A mnogo hoce takva gomila.

Jer vise nije vazno

ni to sto sam od bronze,

ni to sto srce moje -

od gvozdja hladnog -

bije.

Nocu i covek svoj zvek

u nesto zensko, meko,

zeli da sakrije.

I ja sam,

ogroman.

na prozoru savijen,

rastapam staklo celom od celika.

da li je to ljubav ili nije?

I kakva je -

mala ili velika?Odakle velika u takvom telu:

mora da je to malena,

neka krotka ljubav, sto se u stranu baca

od automobilskih sirena

i voli zveket praporaca.

Godine 1893. na današnji dan rođen  je Vladimir Vladimirovič Majakovski, ruskiknjiževnik. Pošao je u slikarsku školu, bio zatvoren zbog socijalističke agitacije,oduševljeno prihvatio Oktobarsku revoluciju i stavio u njenu službu svoj pesnički i

slikarski talenat. Pesnički rad počeo je kao futurista, stojeći ujedno na čelu toga pokreta.Nastojao je da stvori novu poeziju koja bi odgovarala urbanom a zatim i

revolucionarnom razdoblju istorije Rusije i čovečanstva. Uveo je u poeziju vulgarizme,

žargonske reči, namerno grube antiestetizme, stvarao vlastite kovanice, služio se vrločesto igrom reči, dotada nepoznatim metaforama, a posebno voleo hiperbole. Razbio jetradicionalnu ritmičku strukturu stiha i stvara novi, u grafičkom slogu "stepenasti" stih,koji posebno pogoduje stavu retoričkog pesnika koji se direktno obraća velikom

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auditorijumu. Smisao takve poezije odvodi ga direktno na revolucionarnu tribinu, miting.

Eksperimentalnu liriku slede velike lirske poeme monološkog tipa "Oblak upantalonama", "Rat i svet", "Čovek". Stavljajući poeziju svesno u službu revolucije pišeagitacijske pesme ("Levi marš"), scensko delo na temu revolucije s biblijskim motivima"Misterija Bufo". Svojim delom izvršio je veliki uticaj na razvoj sovjetske poezije, adelovao je i na pesnike izvan SSSR (Aragon, Beher, Vapcarov i dr.) Završio je životsamoubistvom.(Bagdadij, 19. 07. 1893 - Moskva, 14. 04. 1930)

Sugestivna moć pozorišnih formi*  

O sugestivnoj moći pozorišta može se govoriti s različitih stanovišta. Mi ćemo našeizlaganje usredsrediti na onaj aspekat te moći koji povezujemo sa subverzivnimdejstvom pozorišta smatrajući ga inherentnim prirodi ove umetnosti. Jer sve namere dase od pozorišta načini škola dobrog vladanja, institucija koja respektuje i slavi vladajući

poredak (u najširem smislu ovog pojma), uglavnom su propadale. To se mnogo boljepostizalo parateatarskim formama, onim "masovnim spektaklima" čiju su sumornu,frustrirajuću estetiku do savršenstva doveli totalitarni sistemi. Čak i forme takozvanogpropagandnog pozorišta koriste se energijom pobune, ali samo u kratkom razdoblju kojerazdvaja rušenje jednog autoriteta od ustoličenja novog.  Početnu potporu našoj tezi nalazimo u Aristotelovoj  Poetici , u pojmu katarze, pre svega,koji je unesen u teorijsku spekulaciju kao moralni korektiv saznanju da tragička radnjacrpe svoju snagu iz sagrešenja, prekoračenja, remećenja ravnoteže u utvrđenomodnosu snaga.Činjenica da je Frojd u antičkoj tragediji video psihološke sličnosti sa prazločinom, a uparicidu i incestu dve potisnute želje Edipovog kompleksa, druga je jaka potpora našem

uverenju da sugestivna moć pozorišta počiva na ambivalenciji odnosa prema autoritetu ida se priroda jednoga društva najbolje sagledava u tome kako ono sankcioniše "tragičnukrivicu" pobune.Naše će dalje izlaganje biti samo grupisanje primera koji, kako nam se čini, idu u prilognašoj tvrdnji. 

*

Dve osnovne dramske vrste - tragedija i komedija - ne samo da nastaju istovremeno(što svedoči o posebnoj logici njihove međuzavisnosti), već obe počivaju na istomeksplozivnom odnosu, na odnosu vladanja i potčinjenosti, i na istim figurama koje

doslovno ili metaforično predstavljaju taj odnos, na ocu i sinu; obe imaju isti uzroksukoba - vlast i/ili ljubavni predmet, i istu perspektivu raspleta - paricid i incest. Jedinasuštinska razlika među ovim žanrovima (sve ostale su konvencionalne i promenljive)počiva na razlici u pristupu krivici. Osećanje krivice koje u tragediji pritiska sina, ukomediji je pomereno na oca - otac je kriv.1  Međutim, ma kako psihološki tumačili ovu inverziju, bilo bi pogrešno, čini nam se, akobismo time automatski pridavali komediji veću subverzivnu moć i na socijalnom planu. Uoba slučaja autoritet je predstavljen kao eminentno represivan, pa prema tome u oba

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slučaja daje pravo na pobunu. Ovo je prvi shvatio Ruso. Mnogo pre Frojda on će govoriti o paricidu i incestu, "timzločinima kojih se priroda grozi", kao o osnovnim dramskim situacijama, kao što ćeuočiti inverziju tragičkog koda kod Molijera. No ti su zločini za njega samo krajnjakonsekvencija onoga što on naziva "izvrtanjem prirodnih odnosa" koji počivaju na

"poštovanja dostojnim pravima očeva nad njihovom decom, muževa nadženama, gospodara nad slugama". Negativan uticajpozorišta na ljudsku prirodu njega u prvom redu plaši jerpredstavlja opasnost po autoritet oličen u ocu porodice,republikanskim ustanovama i domovini. Komedija itragedi ja nisu za njega lice i naličje stvari, već su obeslika poremećenog reda koji počiva na pokornosti. 

 Ako bismo Rusoovu osudu pozorišta ( Leure ŕ M. D'Alembert , 1758), uz sve njene specifičnosti, ipak moglida vežemo za tradiciju antipozorišnih spisa, u čemu 

prednjače Sveti Oci, njegova razmišljanja o potrebigrađanskih praznika, kao zameni za pozorište, apsolutnasu novina, i poslužiće kao inspiracija ne samo Mirabouza njegovu besedu o javnim svetkovinama, iz 1791,

već i Keržencevu i Lunačarskom kada dvadesetih godina budu pravili svoje programe"narodnih proslava". Praznici, onakvi kakvim ih zamišlja Ruso, treba da izbegnu opasnudvosmislenost i uznemirujuću neizvesnost dramskih događaja. Njihova je svrha daproblematičnu individualnu volju i hirovito individualno biće svladaju i korisno upotrebepod okriljem opšte volje (volonté générale) i za opšte dobro. U smrtno ozbiljnimtotalitarnim sistemima, ova će estetika praznika dostići svoj najviši domet u organizacijivojnih parada i posmrtnih svečanosti! 

*

Jedan od najboljih primera kako se od rušenja autoriteta može napraviti zabava zanarod koji uživa u pravu da se nekažnjeno ruga, jeste  Dan strašnog suda za kraljeve(Le jugement dernier des rois), "proročanstvo u jednom činu", od Silvena Marešala(Sylvain Marechal), izvedeno u Pozorištu Republike (Théâtre de la République), 18.oktobra 1793, dva dana posle pogubljenja Marije Antoanete. Ovaj "uzorni revolucionarnikomad", "zamišljen da posluži kao moćno oružje revolucionarne propagande", kako ćereći izvesni Danijel Amiš2  (Daniel Hamiche) u svojoj levičarskoj brzopletosti, 1973, ovaj

 je komad dakle jedan laički moralitet, republikanska bajka, okrutna kao i sve bajke u

kojima po pravilu nema ni sažaljenja ni saosećanja. On je u infantilizovanoj publici budioradost zbog savladanog straha i osvetničku veselost - u tome treba videti osnovnerazloge njegovog velikog uspeha u vreme Terora.3  Ovim će komadom Marešal, poredostalog, zadužiti propagandnu mašineriju serijom epiteta za slikanje neprijatelja, koji segotovo nepromenjeni susreću i u zvaničnim političkim govorima. Evo samo nekoliko njih:"krunisana čudovišta", "šačica strašljivih razbojnika", "krunisani pokvarenjaci", "divljezveri", "gnusna skupina političkih ubojica", "koljači", "neprijatelji ljudskog roda", "odvratnabića", "bedni tirani", "ljudožderi", "društveni otpaci". Sve ovo podseća na ritualna

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verbalna ruženja, dok je ceo prizor dalek odjek scene "ruganja Hristu", koja niu misterijama nije bila lišena ambivalentnosti. (Komična figura kralja u rimskom mimubila je figura lažnog kralja, i pre je služila za podsmeh kraljevstvu kao snu siromaha,nego samom kraljevskom autoritetu.) Po Marešalovom će se modelu upostrevolucionarnoj Rusiji pisati na desetine "narodnih komada", među koje spada

i Misterija bufo Majakovskog.

*

U ovom kontekstu nije nezanimljiva činjenica da u vremenima restauracije uspevajusentimentalne vrste koje služe nečem što bismo mogli nazvati kolektivnimdekulpabilizovanjem za "greh pobune". Jedna postrevolucionarna vrsta - melodrama, utumačenju An Ibersfeld,4  imala je za cilj da izbriše sećanje na "oceubistvo nadoceubistvima - smrt Kralja".Centralnom figurom melodrame postaje otac porodice, pravljen po modelu ocaiz parabole o bludnom sinu: on razume, prašta i štiti, dok melodramski patos najčešće

počiva na siročetu, na detetu lišenom očinske zaštite. U odnosu na revolucionarnedogađaje uspostavlja se ono što se u psihologiji naziva "naknadna poslušnost". 

*

 Amblematična figura kralja Ibija (koga u komadu svi oslovljavaju sa Oče Ibi) otkrivainfantilnu dimenziju volje za moć i histeričnu samovolju koja iz toga proizlazi, grotesknunesrazmeru između ozbiljnosti vladarske funkcije i beznačajnosti onih koji je oličavaju.Žari je parodirajući nimalo bezazlen pompijerizam istorijskih komada XIX veka postavio

 jednu zagonetku koja je u osnovi cele surove istorije XX veka, i koju nismo ni do danasodgonetnuli.

Kada je šezdesetih godina  Kralj Ibi  počeo da se izvodi u beogradskom pozorištu Atelje212, izazvao je u publici radost verovatno blisku onoj što su je osećali francuski sankilotiposmatrajući infantilnost, kukavičluk, gramzivost i glupost "krunisanih glava" izMarešalovog komada.  Ibi   je ostao na repertoaru dvadeset godina crpeći popularnost izsnage svog komičkog ritma, ali i analogije između Oca i Majke Ibi i našeg "vladarskogpara". (Bilo bi zanimljivo videti kako ta analogija funkcioniše danas.) Sigurno je sa istim osećanjem zavereničkog zajedništva sovjetska publika gledalasedamdesetih godina Hamleta sa Visockim u naslovnoj ulozi. Dvorski komploti,uhođenja, mutne erotske veze, ludilo kao način da se preživi, osvetnički instinkti - sve jeto ovu predstavu činilo subverzivnom u očima vlasti, a u publici budilo osećanje da isama učestvuje u nekoj vrsti zaver e.Poslednje veliko razdoblje pozorišta, kada je ovo sabiralo u sebi ogromnu energijupobune, bile su upravo te šezdesete i rane sedamdesete godine. Pozorište je tada bilo urukama pobunjenih sinova koji su za svoj program mogli da uzmu i onu čuvenu Artoov urečenicu iz pisma Upravniku Francuske komedije: "Mi odbijamo da i dalje podržavamokult vašeg krvoločnog Korneja koji žrtvuje sinove u čast očeva i koji daje prednost nekimpatriotskim motivima nad uzvišenim zahtevima srca".5  

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*

Na kraju kratak osvrt na sudbinu pozorišta u Jugoslaviji.  Za nekoliko godina svoje populističke vladavine, Milošević je od naroda napraviofrustriranu i agresivnu gomilu, čija je energija nezadovoljstva, gomilana decenijama,

vešto kontrolisana i upravljana u željenom pravcu. Najpre su to bili Miloševićevinajneposredniji politički konkurenti, zatim su došle na red druge nacije, da bi na krajuušla u opticaj teza o "planetarnoj zaveri". Ova gradacija u snazi odabranog neprijateljapojačavala je strah i osećanje bespomoćnosti i jačala privrženost onome koji senametnuo kao zaštitnik. Pozorište je pratilo sve faze njegovog političkog uspona,odigravši jednu od najsramnijih uloga u svojoj istoriji. Gradeći brižljivo privid  subverzije,poigravajući se starim zabranama, ono je zapravo opsluživalo vlast i stvaralo prostor zanove tabue; umesto otrežnjenja doprinelo je novoj indoktrinaciji. Za ilustraciju dovoljna jesamo sumarna klasifikacija dominantnih pozorišnih tema: - Kriminalizacija komunizma, njegovih ideja i vođa da bi se što ubedljivije stvorila iluzija oraskidu s prethodnom politikom.

- Rehabilitacija narodnih vođa (mahom kolaboranata), gonjenih od komunističkogrežima. - Rehabilitacija dinastije, kulta pravoslavlja, svetaca i obreda, kulta krvi i tla.- Elaboracija argumenata za nacionalne rasprave i svađe, veliki bazar razloga zanacionalne mržnje. 

 A kad je posao obavljen, kad su iscrpljeni svi oblici glorifikovanja i ruganja, došla je nared zabava, umirivanje kolektivne nečiste savesti. U Beogradu bez ikakvog stidafunkcioniše ogromna mašinerija zabave (vodvilji, Meterlinkova  Plava ptica, klasičnibaleti i opere čija oprema uveliko premaša materijalne mogućnosti zemlje): "muzikasvira, zastavnik pocupkuje" (kako bi rekao Gogolj).6  Masa uz čiju je pomoć Milošević došao na vlast, nema više nikakve vlasti. Ona jevraćena u položaj deteta, u njoj se sistematski neguje osećanje zavisnosti,bespomoćnosti i uverenje da Država (a Milošević - to je država) ima neograničeno pravopresuđivanja i kažnjavanja. 

Mirjana Miočinović 

(Pročitano na skupu koji je u organizaciji  Evropske fondacije za psihoanalizu, održan19. i 20. juna 1993. u Strazburu. Okvirna tema ovih studijskih dana glasila je Aktuelnost»psihologije mase«, imajući za polazište Frojdovu studiju Massenpsychologie und Ich- Analyse, iz 1921.)

*  Iz: Književna reč  br. 422, Beograd, 10. septembar 1993.

1  Prve teorijske spekulacije o ovoj inverziji izneo je Ludwig Jekels u jednom kratkom, alivrlo instruktivnom eseju O psihologiji  komedije ( Zur Psychologie der Komödie, Imago,XII, 1926), da bi Šarl Moron (Charles Mauron) na njemu zasnovao svoju obimnustudiju Psihokritika komičkog žanra ( Psychocritique du genre comique, 1964). (Videti uknjizi Moderna teorija drame, Nolit, 1981. Priredila M. M.)

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2  Daniel Hamiche, Le theatre et la Révolution, col. 10/18, Paris 1973.3  Marešal smešta sve onovremene krunisana glave, pridružujući im papu, na "lavomupola prekriveno ostrvo", u nameri da ih tu prevaspita radom, ili, što je sigurnije, uništiradom (on tako mitologiji ostrva, koja se do tada kretala između dveju krajnosti, Kitere iLemnosa, pridodaje ostrvce iz budućeg velikog arhipelaga). No logika kratkog komada

primorava ga da s njima što pre svrši. Samo što su kročili na ostrvo, gde su  ih vezanelancima doveli evropski sankiloti, imajući tek toliko vremena da im se narugaju, a zatimsrećno isplove: "Počinje erupcija vulkana: on baca na scenu kamenje, užarenu lavu...itd. Čuje se eksplozija: vatra sa svih strana zahvata kraljeve, oni padaju i nestaju u utrobizemlje. KRAJ".4   Anne Ubersfeld, Les bons et le méchant, Revue des sciences humaines, 1976, 2.5   A. Artaud, A l' administrateur de la Comedie Francaise (Śuvres completes, t. III). 6  Ova rečenica iz  Revizora ušla je u jezik (videti Šklovskog,  Konjički skok, 1923) i koristise da bi se ismejale zaludne i pompezne proslave.

 Mystery-Bouffe From Wikipedia, the free encyclopedia

Mystery-Bouffe  (Russian: Мистерия-Буфф; Misteriya-Buff) isa socialist dramatic play written by Vladimir Mayakovsky in 1918/1921. Mayakovskystated in a preface to the 1921 edition that "in the future, all persons performing,presenting, reading or publishing Mystery-Bouffe should change the content, making itcontemporary, immediate, up-to-the-minute."

[1] 

Contents

[hide] 

  1 Plot

  2 First version

  3 Second version

  4 Later versions

  5 Characters

  6 Settings of the Acts

  7 See also

  8 References

  9 External links

Plot[edit] 

This article needs a plot summary. Please add

one. (January 2013) 

First version[edit] 

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The play was written for the anniversary of the 1917 revolution, and was accepted by theCentral Bureau to be part of the festivities. The title is likely a reference to the operabuffa/opéra bouffe, comic opera genres popular at the time. This original version wasdirected and produced by Vsevolod Meyerhold, and the art was done by KazimirMalevich. The premiere was in the Theatre of Musical Drama on November 7, 1918.

Mayakovsky himself played the role of the "simple man", as well as some bit rolesincluding Methuselah and one of the demons. This version of the play lasted threeseasons.

Second version[edit] 

 After two years, Mayakovsky reworked the text of his play. This second versionpremiered in the First Theatre of the RSFSR on May 1, 1921. A printed edition of thesecond version was released in June of that year. This version of the play lasted about100 shows.

Later versions[edit] 

Mystery-Bouffe

Directed by David Cherkasskiy  

Written by Vladimir Mayakovsky (Play)

Robert Vikkers[2]

 (Script)

Music by G. Firtich

Production

company

Kievnauchfilm studio[3]

 

Release dates 1969

Running time 60 min.

Country Ukraine

 A 60-minute animated film adaptation of the play was made in 1969, directed by DavidCherkasskiy. It was the first animated feature to be made in Ukraine. The Sovietgovernment banned screenings outside of the Ukrainian SSR.[4] 

In 2007, after several decades of the play not being seen anywhere, the Moscow A.R.T.O. theatre put on an updated version of the play which was dubbed "Mystery-

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1) A Soldier of the Red Army

2) A Lamplighter

3) A Truckdriver

4) A Miner

5) A Carpenter

6) A Farmhand

7) A Servant (Female)

8) A Blacksmith

9) A Baker

10) A Laundress

11) A Seamstress

12) A Locomotive Engineer

13) An Eskimo Fisherman

14) An Eskimo Hunter

2. A Compromiser

3. An Intellectual

4. The Lady with the Hatboxes

5. Devils:

1) Beelzebub

2) Master-of-ceremonies Devil

3) First Messenger

4) Second Messenger

5) Guard

6) 20 of the Clean with Horns and Tails

6. Saints:

1) Methuselah

2) Jean-Jacques Rousseau

3) Leo Tolstoy

4) Gabriel

5) First Angel

6) Second Angel

7) Angels.

7. Jehovah

8. Actors of the Promised Land:

1) A Hammer

2) A Sickle

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3) Machines

4) Trains

5) Automobiles

6) A Carpenter's Plane

7) Tongs

8) A Needle

9) A Saw

10) Bread

11) Salt

12) Sugar

13) Fabrics

14) A Boot

15) A Board and Lever

9. The Man of the Future

Settings of the Acts[edit] 

1. - The entire universe.

2. - The Ark.

3. - Hell.

4. - Paradise.

5. - Lord of chaos.

6. - The promised land.

Мистерия-Буфф (Буфф, вероятно, от bouffe/buffa — комическая опера) — 

социально-бытовая драматическая пьеса Владимира Маяковского 1918/1921 года. 

Режиссёр-постановщик  — Всеволод Мейерхольд, художник  — Казимир Малевич. 

Содержание 

[убрать] 

  1 Первый вариант 

  2 Второй вариант   3 Постановки 

  4 Роли (согласно второй редакции) 

  5 Места действий 

  6 Источник  

  7 Экранизации 

  8 Примечания 

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  9 Ссылки 

Первый вариант[править | править вики-текст] 

Написана к первой годовщине Октябрьской революции и была включенаЦентральным бюро по организации празднеств в честь годовщины революции вчисло праздничных мероприятий. 

Премьера спектакля — в помещении театра музыкальной драмы 7 ноября 1918

года. 

Маяковский сыграл в спектакле роль «Человека просто», и кроме того, заменяянекоторых исполнителей, роль Мафусаила и одного из чертей. 

25 ОКТЯБРЯ, 18-й ГОД Окончил мистерию. Читал. Говорят много. ПоставилМейерхольд с К. Малевичем. Ревели вокруг страшно. Особеннокоммунистичествующая интеллигенция. Андреева чего-чего не делала. Чтоб

мешать. Три раза поставили — потом расколотили. И пошли «Макбеты». 

 Автобиография Владимира Маяковского «Я сам» 

Второй вариант[править | править вики-текст] 

Через два года Маяковский переработал текст пьесы. Премьера второговарианта спектакля в Театре РСФСР 1-м состоялась 1 мая 1921 года. 

Мистерия-буфф была поставлена в цирке для делегатов III конгрессаКоминтерна (в переводе на немецкий язык , выполненном Р. Райт). Режиссёр-

постановщик  —  А. Грановский. Отличиями этого спектакля стали написанныезаново пролог, эпилог и сцена во втором действии. 

Самостоятельное издание второго варианта пьесы вышло в июне 1921 года. 

21-й ГОД Пробиваясь сквозь все волокиты, ненависти,канцелярщины и тупости — ставлю второй вариант мистерии. Идетв I РСФСР — в режиссуре Мейерхольда с художниками Лавинским,Храковским, Киселевым и в цирке на немецком языке для IIIконгресса Коминтерна. Ставит Грановский с Альтманом иРавделем. Прошло около ста раз. 

 Автобиография Владимира Маяковского «Я сам» 

Постановки[править | править вики-текст] 

  1921 — Томск, Студийный рабоче-крестьянский театр (1 редакция) 

  1921 — Тамбов, Первый пролетарский театр-студия (реж.Н. М. Ряжский-Варзин) 

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  1921 — Екатеринбург (реж. Г. В.  Александров) 

  1922 — Иркутск (реж. Н. П. Охлопков) 

  1923 — Москва, Опытная школа эстетического воспитания 

  1923 — Казань, КЭМСТ 

  1923 — Казань, Большой театр 

  1923 — Казань, Второй советский театр 

  1957 — Москва, Театр сатиры (реж. В. Н. Плучек) 

  1967 — Свердловск  

  1967 — Владивосток  

  1967 — Каунас 

It was based on a political play of the same name by the great Russian poet and

playwright Mayakovsky that was first written in 1918 for the anniversary of the

Revolution (Wikipedia article here). Mayakovsky wrote in the preface to the second 1921edition that "in the future, all persons performing, presenting, reading or publishing

Mystery-Bouffe should change the content, making it contemporary, immediate, up-to-

the-minute."

This quote by Petri Liukkonen describes its content fairly well:

In Mystery-Bouffe (1918), a religious mystery play which mocked religion, the poet

described a struggle between two groups, the "Unclean" working class and the "Clean"

upper class. The earth has been destroyed by a flood, the survivors seek refuge at the

North Pole. The "Unclean" defeat the "Clean" and create a workers' paradise on Earth,

where people "will live in warmth / and light, having hade electricity / move in waves."

When Mayakovsky later tried to make a film of the play, the project was rejected by the

Moscow Soviet because of its "incomprehensible language for the broad masses."

Опера буфа (итал opera buffa комична опера) је италијанска врста комичне опере.Развила се у XVIII веку, делимично из интермеца, који су се изводили измеђучинова опере серије. У опери буфи музичке тачке су повезане или говорним

дијалозима или тзв. речитативо секом. Појавила се као изданак ојачалогграђанског сталежа и његовог реалистичког гледања на музичко позориште.Грађанству нису више били потребни митолошки, фантастични и историјскисадржаји који су владали либретима опере серије. Опера буфа износи напозорницу људе, карактере и збивања из свакодневног живота, који често исмевајунездраве друштвене појаве. У опери буфи редовно наступају типизирани ликови. Упочетку у опери буфи учествује мали број извођача, у њој нема хора, а

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оркестарска пратња је скромна. Оперу буфу су изградили композитори напуљскешколе. Међу најстарије заокружене облике убраја се Тријумф части (1718) А.Скарлатија, а најпознатија од раних опера је Служавка господарица (1733) Ђ.Перголезија. У првом раздобљу опере буфе истичу се дела Н. Логрошина и Б.Галупија. С временом продиру у њу елементи опере серије. Аутори таквих каснијих

опера буфа су Н. Пичини, Ђ. Паизјело, Д. Чимароза. Врхунац та врста опередосеже у делу Севиљски берберин  (1816) Ђ. Росинија. 

Russian Futurism was a movement of Russian poets and artists who adopted the

principles of  Filippo Marinetti's "Futurist Manifesto". Russian Futurism may be said to

have been born in December 1912, when the Moscow-based literary group Hylaea

(Russian: Гилея[Gileya]) (initiated in 1910 by David Burlyuk and his brothers at their

estate near  Kherson, and quickly joined by Vasily Kamensky andVelimir Khlebnikov, 

with  Aleksey Kruchenykh and Vladimir Mayakovsky  joining in 1911)[1] issued a manifesto

entitled A Slap in the Face of Public Taste.[2]  Although Hylaea is generally considered to

be the most influential group of Russian Futurism, other groups were formed in St.

Petersburg (Igor Severyanin's Ego-Futurists), Moscow (Tsentrifuga, with Boris

Pasternak among its members), Kiev, Kharkov, andOdessa. 

Like their Italian counterparts, the Russian Futurists were fascinated with the dynamism,

speed, and restlessness of modern machines and urban life. They purposely sought to

arouse controversy and to gain publicity by repudiating the static art of the past. The

likes of Pushkin and Dostoevsky, according to them, should be "heaved overboard from

the steamship of modernity". They acknowledged no authorities whatsoever;

even Filippo Tommaso Marinetti, when he arrived in Russia on a proselytizing visit in

1914, was obstructed by most Russian Futurists, who did not profess to owe himanything.

In contrast to Marinetti's circle, Russian Futurism was primarily a literary rather than a

plastic philosophy. Although many poets (Mayakovsky, Burlyuk) dabbled with painting,

their interests were primarily literary. However, such well-established artists as Mikhail

Larionov, Natalia Goncharova, and Kazimir Malevich found inspiration in the refreshing

imagery of Futurist poems and experimented with versification themselves. The poets

and painters collaborated on such innovative productions as the Futurist opera Victory

Over the Sun, with music by Mikhail Matyushin, texts by Kruchenykh and sets

contributed by Malevich.

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 Natalia Goncharova. Cyclist , 1913. The painting Cyclist  is an example of how Russian

Futurism affected Natalia's later works.

Members of Hylaea elaborated the doctrine of  Cubo-Futurism and assumed the name

of budetlyane (from the Russian wordbudet  'will be'). They found significance in the

shape of letters, in the arrangement of text around the page, in the details of typography.

They considered that there is no substantial difference between words and material

things, hence the poet should arrange words in his poems like the artist arranges colors

and lines on his canvas. Grammar, syntax, and logic were often discarded; many

neologisms and profane words were introduced; onomatopoeia was declared a universal

texture of verse. Khlebnikov, in particular, developed "an incoherent and anarchic blend

of words stripped of their meaning and used for their sound alone",[3] known as zaum. 

With all this emphasis on formal experimentation, some Futurists were not indifferent to

politics. In particular, Mayakovsky's poems, with their lyrical sensibility, appealed to a

broad range of readers. He vehemently opposed the meaningless slaughter of the GreatWar  and hailed the Russian Revolution as the end of that traditional mode of life which

he and other Futurists ridiculed so zealously.

 After the Bolsheviks gained power, Mayakovsky's group—patronized by  Anatoly

Lunacharsky, Lenin's minister of education—aspired to dominate Soviet culture. Their

influence was paramount during the first years after the revolution, until their program—or rather lack thereof —was subjected to scathing criticism by the authorities. By the

time OBERIU attempted to revive some of the Futurist tenets during the late 1920s, the

Futurist movement in Russia had already ended. The most militant Futurist poets either

died (Khlebnikov, Mayakovsky) or preferred to adjust their very individual style to moreconventional requirements and trends ( Aseyev, Pasternak).

The Russian avant-garde was a large, influential wave of  modern art that flourished in

the Russian Empire and Soviet Union, approximately 1890 to 1930—although some

have placed its beginning as early as 1850 and its end as late as 1960. The term covers

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many separate, but inextricably related, art movements that flourished at the time;

namely Suprematism, Constructivism, Russian Futurism, Cubo-

Futurism, Zaum and Neo-primitivism. Given that many avant-garde artists involved were

born or grew up in what is present day Belarus and Ukraine (including Kazimir

Malevich,  Aleksandra Ekster , Vladimir Tatlin, Wassily Kandinsky, David

Burliuk, Alexander Archipenko), some sources also talk about Ukrainian avant-garde. 

The Russian avant-garde reached its creative and popular height in the period between

the Russian Revolution of 1917 and 1932, at which point the ideas of the avant-garde

clashed with the newly emerged state-sponsored direction of  Socialist Realism. Notable

figures from this era include: