great era, which changed the mentality of entire peoples for many decades, also made significant adjustments to the surrounding exterior and interior of a person. Echoes of strict forms, minimally filled space - all this is part of constructivism. Until now, its elements are found in many apartments. Is it possible to call constructivism in the interior in demand in the modern world, how convenient is it and who suits it? In this publication, "Dream House" will try to answer all questions.
Constructivism in the interior
"We are ours, we will build a new world"
This is how one can characterize all those emotions and impulses that moved our ancestors in Russia after the revolution. Everything that somehow reflected tsarist Russia, was considered philistinism. The main task invested in constructivism was not in the beauty of execution, but in functionality. In those years, it gained its popularity in Europe, and it became the basis for the creation of proletarian constructivism. And despite the fact that a few years later, the style of constructivism in interior design and architecture began to be considered bourgeois, objectionable, since Stalinist neoclassicism came into fashion, it has its own life in our modern world. Constructivism also became the progenitor of minimalism and other styles.
To have a clear idea of this direction, let's look at the main features of the constructivism style in the interior, what is characteristic of it and what defines it.
Constructivism: nothing more
In the spirit of constructivism style - the absence of any decor in the interior. As already mentioned above, the task of this style was to show the progress of that time, to focus a person’s attention on the functionality of objects, even if this sometimes went against convenience. It was believed that a person can get used to any environment. To create an interior design, a ruler, a compass and a pencil were enough to outline the main lines of the future interior. Geometric figures: circle, square, rectangle - they set not only the shape of the furniture, but also the space itself. Nothing is contrived, everything is concise and simple.
Constructivism style in the interior
The mood of the interior in the style of constructivism
It is impossible to call the style of constructivism in the interior boring. Rather, it looks like the scenery for a science fiction film. Large bright windows from the ceiling to the floor, or their complete absence, natural lighting - all these are the basic rules of constructivism.
The decoration of the interiors of the period of constructivism is very simple. The walls are smooth, painted in light, clean colors that expand the space. Most often it is white, yellow, metallic. But there may be accents of red, blue or green. Special attention given to lighting. Thanks to the light, you can not only focus on certain areas, but also change the atmosphere of the interior.
Furniture in the style of constructivism
“Here is a chair, they are sitting on it”
Before revolutions and wars, furniture was more like a luxury. It was decorated, made carved, with an unusual ornament, and so on. The constructivists offered a completely new look at furniture. Having discarded all unnecessary, left only the direct purpose. By the way, the simplicity of furniture has also become very convenient in its manufacture. People who lost their homes and familiar comfort during the wars needed ordinary things. And it was profitable for factories to produce products in large quantities. And this became possible only after the products themselves underwent significant changes, that is, they lost absolutely all decorative details. The chair became just a chair, the bed became just a bed. The wardrobe, having got rid of the carved elements of decor, has its continuation in the modern interior. It is easily recognizable by the bareness of the structure, numerous shelves along the wall.
In the manufacture of furniture in the style of constructivism, simple materials are used: plastic, glass, inexpensive types of wood, metal. The upholstery is made of synthetic materials, artificial leather.
Soviet constructivism in the interior
From the past to the present
The modern interior, decorated in the style of constructivism, does not differ much from the style of the 20s of the last century. All the same and severity. Only the ceiling has changed. They began to make it either tensioned or used. The poster was the only decorative element allowed in the interior of constructivism. Modern furniture was updated with lighting, which only added functionality to it.
Here are some modern interior options in the style of constructivism:
- bedroom: instead of a regular bed - a built-in wardrobe with lighting, plasma or liquid crystal;
- kitchen: built-in appliances, spotlights. Nothing superfluous, no napkins, ribbons on the curtains;
- office: built-in furniture, comfortable armchair, multifunctional table, lamp above the table.
Who will be comfortable living in such an interior
The interior of a house or apartment in the style of constructivism does not give complete relaxation, it rather sets you up for work or a desire to engage in self-knowledge and the development of personal qualities. Maybe that's why in our time it is preferred by people with a sharp mind and great intellect.
Another type of people who are suitable for the style of constructivism are experimenters. A big plus of such an experiment is that it does not require significant costs.
Also, elements of constructivism can be used when having a small apartment. These simple tricks will allow you to let air and light into it.
Constructivism in the interior photo
The original approach to constructivism in the interior, which sounds like “the main thing is form and functionality, and the person will adapt” did not work. For many people, it is important to come home, where it is comfortable and cozy. Nevertheless, the principles that were laid down in the interior in the style of constructivism made it possible to develop new trends in design: these are modular systems, and built-in furniture, as well as multifunctional furniture with elements of transformation. And this is just the beginning, and more to come!
The diversity of current interior fantasies causes a desire to turn to simple and elegant forms. Do you want the room to be comfortable, spacious and beautiful? Then pay attention to the style of constructivism in the interior. It was he who became the basis for most functional designs, from high-tech to contemporary. Today we will tell you how to independently decorate a room or apartment in constructive and practical images.
The history of this direction began approximately 100 years ago. At that time, the romantic and pretentious ideas of Art Nouveau dominated the living space, with its floristic delights and nervous lines. Artificially created excesses quite expectedly tired artists, architects, and ordinary inhabitants ceased to seem like a pleasant environment. It became clear that deconstruction leads to chaos. There was a demand for balance of forms, correct geometry, harmony of lines and proportion. For art deco ideologists, the universal solution was the wave, which formed the basis of the style. Western Europe and England gravitated more towards the finished forms of the cube and square. The appearance of a constructive composition that unites all elements of the interior into one whole was a natural completion of artistic searches.
This is how constructivism appeared, with its conciseness, strict geometry and, brought almost to the absolute, functionality. What are ground rules style that will help you design a house or apartment in the spirit of constructivism?
- Design is based on the principle of expediency. Each design element should be conditioned by practical necessity. If you plan to install a sofa, then its dimensions should be calculated based on your needs, and the number of chairs in the dining room or kitchen should exactly match the number of people sitting down to eat. The lamp has a lampshade only because it allows the light to diffuse and not harm the eyes, and the carpet near the bed is only to keep the feet from getting cold.
- Constructivist architecture gravitates toward large, spacious rooms. Extra partitions are removed, and their place is taken by mobile modules that can be installed anywhere, secluded where you want.
- Wall niches are actively arranged and used. They play the role of cabinets or shelving, they arrange rest areas or built-in storage areas.
- Decors and ornaments are not inherent in constructivism. Moreover, especially zealous ideologues and founders of the style declared that patterns and decorations are equated with a crime against practicality dear to their hearts. That is, if you still put the carpet under your feet, then it should be plain, non-staining and in harmony with the main tone of the room. Lampshades should be milky white or translucent, the color of furniture and textiles should be as close to natural as possible.
- In constructivism, all modern materials and technologies are warmly welcomed. Glass, concrete, metal are the favorites of the style. No wonder it was this design that became the ancestor of high-tech interiors. From traditional materials, a place was found for natural fibers and fabrics. Wood, linen, jute, bamboo may well be used to decorate rooms and premises in the style of constructivism.
- The use of modern composite materials in the design is encouraged. For example, you can put porcelain stoneware on the floor, and decorate a wall or niche with artificial stone.
- When choosing furnishings, preference should be given to clear lines, straight planes and geometrically correct designs. Rectangular connections are especially characteristic of constructivism, although rounded lines can also be found in this style, for example, armchairs or lamps.
- One of the recognizable style elements is the backlight. It is used for purely practical purposes to complement the light of a ceiling chandelier or floor lamps. However, this element gives a very special mood to the room. To say that multi-colored lights are needed only to illuminate the space means to prevaricate. Illumination has become a functional decoration of interiors in the style of constructivism. Light decor helps soften the strict nature of the design, give it more warmth and residential comfort.
- The color scheme of constructivism is based on achrome colors. White, black, gray set the tone, which is complemented by a restrained beige-brown gamma of natural origin. Enliven the impression of red, blue, yellow colors. They are used in their pure form, slightly lightening or, on the contrary, deepening. Dirty and complex shades, popular in other modern images, are not used for constructivism, as they violate the concept of purity of lines, colors and proportions.
- The modern reading of constructivism is softer compared to original style. Now in these interiors you can find paintings, glass or stone decorations, however, laconic and simple forms. A variety of finishes is allowed, a combination of materials in one room, wall decoration in different images. There are no strict requirements for the architecture either. Constructivism can also be implemented in an ordinary apartment, with its abundance of partitions. They do not have to be demolished in order to get closer to stylistic authenticity.
- If we talk about historical parallels, then in the history of Russian design, the images of the early Soviet period just carried the features of constructivism. Just look at the posters of the 20s and 30s to get an idea of the striking examples of style.
Constructivism style in the interior of the living room
This room, like a calling card, will say a lot about the mood and character of the house. Therefore, constructivism in the living room is often chosen by collected, purposeful natures. They know exactly what their life should be like. They like simple, concise and practical constructivism. The advantage of this style is that it is suitable for decorating a room of any size and configuration. There is a use for everything, every centimeter of space will serve one single purpose - the creation of a practical and comfortable interior. What needs to be done to decorate the living room in the style of constructivism?
- Decide on the architecture of the room. Before proceeding with the decoration, plan the functional areas, how many there will be. As often as possible, ask yourself the question - why? If a baffle or rack is required for better functionality, don't be shy. In constructivism, the main rule is practical use.
- Do you want to give the room more space and air? Then take advantage of modern developments and materials. Glass panels, sliding acrylic partitions, zoning with the help of vertical structures - all this will help to expand the boundaries of the standard perception of the room without contradicting the basic principles of style.
- After you decide on the features of the constructive space, you need to choose a color solution. For small rooms with complex geometry, light colors are preferable. It is not necessary to choose white or gray. Silver, a shade of greenish glass, beige or milky metallic are well suited. Immediately place light accents by planning the built-in backlight. For a small room, this is a great way to visually expand the space. Multidirectional lamps will look original. For example, ceiling and floor lighting will create a beautiful design that will become a real highlight of the room.
- A wide variety of finishing materials are allowed, regardless of their price. Inexpensive laminate is just as appropriate as natural solid wood parquet, and artificial stone looks no worse than the real one. Walls can be painted, decorated with panels and overlays. The only thing to remember is the unity of the concept. Constructivism means the strict correspondence of each element to the chosen idea.
- The style requires smooth, even textures. Give up loose and rough materials, give preference to well-polished and polished. Take metal as a model, this is the kind of smoothness and unity that finishing should strive for. Moreover, it makes cleaning easier and more economical.
- Furniture choose simple, comfortable forms. Decor, pretentiousness, redundancy are excluded. There should be no cheerful colors or carved legs. Laconic outlines, reliable fastenings, durability and strength - this is what furniture for the living room in the style of constructivism is.
- Rebels can win back by opting for unusual colors for tables, chairs and sofas. They must necessarily be in harmony with the surrounding colors, this is enough. So scarlet semi-armchairs and a charcoal teak sofa could well make up a living room in red and black.
- Try to have as few details as possible on surfaces and planes. Double-glazed windows are not broken by impost, door leaves are not decorated with figured panels, furniture fittings are restrained, concise, ideally built-in. One-piece facades, integrated storage spaces - these are the features of decorating the space of your constructivist living room.
- Often there are disputes about whether it is possible to decorate such interiors with paintings, photographs and other artistic excesses. Modern designers tend to think that the original poster or poster will not violate the ideas of style. If it is integrated, for example, as photo wallpapers, then such a solution looks practical and stylistically correct at all.
Do not be surprised by the fact that there are many who want to apply the basic principles of constructivism in the kitchen. This approach allows you to fill any size room with the necessary functionality, make it comfortable for life. What techniques will help to give the kitchen stylistic authenticity?
- Choose modern finishing materials for decoration. If you like ceramic tiles, then let it be large format, smooth texture, with minimal height differences. It is better to make the seams hidden so that they do not break the unity.
- Pay attention to skinali from the tempered glass. They are great for decorating a work surface or functional niches.
- The kitchen set should be as concise as possible. The lack of decorations, smooth facades, a single workspace, which integrates the sink and hob, the proportionality of parts and restrained colors distinguish the kitchen set of the chosen style. It is better to make handles in the plane of the doors, and make the interior space functional to the maximum. Use the built-in storage modules for this, use the inner surfaces of the doors and drawers.
- The dining area can be equipped with transformable furniture. Folding table, folding chairs, retractable elements are consistent with the overall stylistic concept. If the place allows, then the furniture can be chosen solid, durable, stable. An oak table made of carefully crafted and polished wood, with smooth, rectangular legs and a sliding top, will be a good example of practical design.
- Constructivism has always remained indifferent to futurism, metal elements, modern technologies. Therefore, any household appliances made of glass and metal, new technology will be very appropriate. An induction hob, programmable appliances, touch-sensitive faucets and a single control panel will bring the look of the kitchen closer to the ideal.
- Decors and decorations are not needed here from the word at all. Simple dishes made of high-quality porcelain, ceramics or glass, LED lighting, wall clocks of complex design will enliven the design.
- Textiles should be chosen from natural materials, patterns and prints are undesirable, but the color of the fabric can be very saturated - burgundy, coniferous greens, pearl mother of pearl. Elements of natural, discreet colors look very good. Natural linen, beige, chocolate or silver will perfectly complement any style look.
The style of constructivism in the interior can be used for a bedroom, a children's room, a hall, an office. The last few seasons have presented impressive images of the bathroom, studio and even the loft, made in the features of constructivism. This proves that design is not going to give up its positions, it has internal resources for development in modern conditions. The direction successfully competes with many fashion trends, actively asserting its ideas, attracting new fans with the clarity, conciseness and power of the created images.
Style constructivism- avant-garde style in art, architecture, developed in the 20-30s of the XX century. Translated from French - constructivisme and lat. constructio - construction. The basis of this style is not composition, but construction.
A distinctive feature of constructivism is the severity of lines and shapes, a lot of geometry and the solidity of the overall appearance.
Basis of style
Design is one of the main stages of any design, based on accurate calculations of all components. During the period of the origin of the style, new materials became the basis of the materials used - glass, iron, concrete.
Constructivism in the interior does not tolerate approximate calculations and location of objects. Everything should be thought out in it - the volume, shape, place and purpose of each item. At the same time, there should be nothing superfluous, cluttering up the space - every detail clearly knows its place. Everything is reduced to such simplicity that pieces of furniture, such as a sofa or a bed, become just objects for sitting or sleeping. No frills or luxury.
Constructivism is completely devoid of a touch of romance and mystery. All interior items are compact, with a clear frame and their function.
So, the main style requirements in the interior of an apartment or house are:
- Each piece of furniture should perform some function. “Just a beautiful chair” or an extra chair is not allowed - their number is strictly adjusted to the number of people sitting on them. The lampshade at the lamp should only because it does not allow the light to harm the eyes. And the purpose of the floor lamp in the corner is to illuminate the reader on the couch.
- More often, the design of the premises requires a large space. To separate the premises from each other, mobile modules are used, but blind partitions that divide the space into many small ones are removed. But designers successfully decorate even the smallest apartments in this style.
- The main colors of this trend are white, gray and black, warm shades of beige. Accents in the form of red, blue or yellow are allowed.
- The style of constructivism in the interior does not tolerate decor and patterns, especially on the walls. Also, bright colors are not inherent in it (only accents in the form of primary colors are allowed). So all furniture, carpet and lamps should be plain, close to natural, natural shades.
- It is supposed to use only modern materials and technologies. Concrete, glass, metal, of course, the main finishing materials. But wood, flax, bamboo may well be used, but in small quantities.
- Interior items, including furniture, must have strict, clear lines, straight planes and regular shapes.
- The main advantage of this direction in design is its budget and low cost. There are no extra details in the interior and extra decor that requires additional financial investments.
What colors are used in the style of constructivism
As we have already said, the main colors for decorating the room are beige, white and gray. The main rule of style is monotony. However, bright accents are also allowed along with the main monochrome range: for example, white + gray + red, white + black + yellow, dark gray + green + beige.
Emphasis on the illuminated ceiling and beige tones The style does not involve the use of more than three shades. Moreover, all colors should be “pure”, without admixture of borderline shades.
Lighting
The style implies the main source of light - natural light from the window. Especially appreciated are large French windows to the floor, or panoramic windows. It is desirable to make even interior doors glass so that the light from the window penetrates into other rooms. By the way, curtains in constructivism are prohibited, unless they are completely invisible and light. But the blinds are completely allowed.
Lighting is used to highlight zones and emphasize the simple lines of the interior As for artificial light, the need for each lamp is taken into account in its distribution. Even the chandelier is placed where it is needed most (and it doesn't have to be the center of the room). By the way, all lamps and a chandelier must have the correct geometric shape.
By the way, modern lighting is actively used - it either emphasizes the severity of the lines, or vice versa - softens them.
Finishing
This style is rightly called economical and budget. Finishing materials do not require any large expenses; glass, metal, concrete are acceptable in decoration. Bright details are allowed to be made of plastic. But the tree is rare, especially since its texture is far from the monochromatic shades that are welcome in constructivism. It is allowed to dilute the interior with chrome parts, such as handles, lamp frames or furniture.
As a floor covering, it is allowed to use ceramic tiles and porcelain stoneware, laminate with a not very pronounced texture, polymer coatings.
For walls, it is better to choose paint, or decorative plaster, or wallpaper without a pattern. For the ceiling, choose any finishing materials without texture and pattern: stretch ceiling, painting or wallpapering. 
The conciseness of constructivism requires the use of simple textiles with a hint of nature.
Furniture
Furniture in a constructive interior does not have unnecessary details and decor. Furniture and all interior items have only the simplest function: they sleep, sit, rest on it. Everything. Therefore, simple concise forms, simplicity, compactness and functionality - these are the basic requirements that all furniture must meet. 
During the birth of constructivism as a style, people needed simple things and simple furniture, as the war took a lot from them, including their homes. Therefore, mass production of furniture at that time became possible only after a change appearance products, the rejection of stucco and unnecessary decor. Furniture has become just furniture, not interior decoration.
By the way, in modern constructivism, wall niches are actively used, which perform the function of shelving, cabinets, and built-in storage places.
The most famous poet of the Silver Age Alexander Alexandrovich Blok
Why did I choose this particular poet?
Among the poets of the Silver Age, many gained fame and glory. But of all of them, I remember Alexander Alexandrovich Blok the most. I chose it for several reasons.
Firstly, in his poems there are mysterious and not everyone understandable images, which interested me. What are the poems “Stranger” and “A child crying ...” worth. Secondly, like many of his compatriots, he did not remain indifferent to the period of the revolution, which should also be noted. Thirdly, I was touched by the feeling with which Blok writes about the Motherland. Calling his country a beggar, he still admits that he cannot find a better homeland than Russia.
Blok's work was admired by many poets. And I think they admired not in vain.
Bright moments of creativity in Blok's life.
Blok worked at the turn of two worlds. He turned out to be the last great poet of the old, pre-October Russia, who completed the poetic searches of the entire 19th century with his work, and at the same time, his name opens the first, title page in the history of Russian Soviet poetry.
In the twenty years that separate Blok's first serious poems from The Twelve and Scythians, the content of his poetry and his very creative style have undergone profound changes. Detached from real life, seemingly completely immersed in his vague emotional experiences, with which Blok began his literary path, grew into a truly great national poet, whose work is fanned by the historical, social, worldly storms of his formidable, critical, revolutionary time.
If we compare Blok's youthful lyrics with his mature poems, at first glance it may seem that we have two different poets before us. Here, for example, are verses characteristic of the young Blok, which speak of the experiences of a solitary soul and look like solemn prayers with a darkened meaning:
“I kept them in the limit of John,
The immovable guard, - kept the fire of the lamps.
And here is She, and to Her is my Hosanna-
The crown of labor is above all awards ... "
And here is how deeply and together, simply and clearly, he wrote thirteen years later, reflecting on the fate of his motherland:
“Centuries go by, war rages,
There is a rebellion, the villages are burning,
And you are still the same, my country,
In tear-stained and ancient beauty.
The dramatic changes that took place in Blok's work were dictated by life itself, by the very course of historical reality, which determined the direction of the poet's life and literary path. This path was complex and difficult, full of many and sharp contradictions, but direct and unswerving. Blok himself very correctly and accurately said that this was "a path among revolutions."
In Blok's youthful lyrics ("Poems about the Beautiful Lady"), everything is fanned with an atmosphere of mystical mystery and a miracle taking place. Everything in this lyrics is timid and dark, unsteady and foggy, sometimes elusive: only a hint of a spring song, only a patch of bright sky, some reflections, some clicks... And all these are signs of otherworldly hopes for a universal incomprehensible miracle, for a phenomenon The Eternal Virgin, the Beautiful Lady, in the image of which Blok embodied a certain universal divine principle, which should “save the world” and revive humanity to a new, ideally perfect life:
“I enter dark temples,
I perform a poor ritual.
There I am waiting for the Beautiful Lady
In the flickering of red lamps ... "
This theme of expectation and anticipation of some miraculous change dominated Blok's youthful lyrics. The poet already then felt a vague anxiety, caught her “signs”, even then noticed that the “storm of life” was growing around him, but he was still afraid of this storm and tried to hide from it in the ideal world of his dreams and fantasies, where there are no tears, no torment, no blood, but only music, roses, azure, smiles, fairy tales and dreams.
Even his “earthly”, quite real experiences and impressions, the young Blok tried to reinterpret in the spirit of mystical faith, as something “superreal”. However, the living feeling of a true poet sometimes resisted this and stubbornly grew through the shaky shell of the conventional, mythologized world in which he lived. The concrete-sensual, emotional, direct sensation of life more and more imperiously penetrated Blok's lyrics.
Climb freedom movement in Russia did not go unnoticed for Blok either. In the context of the revolutionary events of 1904-1905, his former indifference to social and political life was replaced by an avid interest in the widely developed folk wrestling for freedom. Revolutionary events were reflected in a number of Blok's works. Crimson reflections lie on his poems about the city, symbolizing the anxiety that is taking possession of him more and more. The crimson-red color, which, in the poet's view, is used to color the outwardly elegant, but inside the rotten world of the "well-fed", is perceived as a symbol of the revolution.
The revolution of 1905 was deeply experienced by Blok and played an enormous, one might say, decisive role in his life and destiny. She brought the poet out of the state of solitude and contemplation in which he had been for a long time, showed him the face of a rapidly changing life, awakened in him a sense of blood connection with the people and a consciousness of social responsibility for his writing.
Mystical visions in mysterious temples are being replaced by real, unvarnished pictures of human grief:
“We met with you in the temple
And lived in a joyful garden,
But with stinking palaces
Let's go to damnation and labor.
We've passed all the gates
And in each window they saw
How hard is the work
On every bent back…”
Blok's attention is increasingly attracted by "new people" rising to the arena of history "from the darkness of the cellars" - people-workers, creators tomorrow. The poet awakens a sense of social activity. He himself seeks civic courage, and angrily denounces those who remain blind and deaf to the demands of life:
“I see: your maidens are blind,
The young men have a fireless look,
Back! Into the mist! In deaf crypts!
You need a whip, not an ax!”
Blok does not spare even himself, because he lacks courage, because, sincerely grieving for the poor and the poor, he both wants and does not dare to “kill”:
“To take revenge on the faint-hearted who lived without fire,
Who so humiliated my people and me!
Who locked the free and the strong in prison,
Who did not believe my fire for a long time.
Who wants to deprive me of a day for money,
Buy dog obedience from me…”
The poet's appeal to the theme of the motherland, its historical path, its future fate was connected for him with the experience of the rise and defeat of the first Russian revolution. In July 1905 it was written beautiful poem"Autumn Will", in which the main tone of all Blok's patriotic lyrics has already sounded:
“Shelter you in the vast expanses,
How to live and cry without you!” -
He exclaimed, turning to Russia. He spoke about his homeland with infinite love, with penetrating tenderness, with aching pain and bright hope.
Wide, multi-coloured, full of life and motion picture native land is composed in Blok's verses. Immense Russian distances, endless roads, full-flowing rivers, gray huts, bonfires in the meadows, violent blizzards and snowstorms, bloody sunsets, fiery round dances and dashing harmonicas, factory chimneys and horns, factories and cities ... Such is Blok's Russia. (1,5- nineteen)
Criticism of works by other poets.
ML. Voloshin:“The poem “The Twelve” is one of the finest artistic expressions of revolutionary reality. Without betraying himself, or his methods, or forms, Blok wrote a deeply real and - surprisingly - lyrically objective thing. They say that Blok is a Bolshevik, that he is on friendly terms with the Bolshevik bosses, but I don’t think that he could be a Bolshevik according to the program, in essence, because what does a poet like Blok care about the frenzied struggle of two human classes so distant to him .. .".(3,1)
V.V. Mayakovsky:“The work of Alexander Blok is a whole poetic era, an era of the recent past.
The most glorious symbolist master Blok had an enormous influence on all modern poetry. Blok honestly and enthusiastically approached our great revolution, but the subtle, graceful words of the symbolist were not able to withstand and lift its heavy, most real, crudest images. In his famous poem “The Twelve”, translated into many languages, Blok overstrained himself. ”(3,1)
E.G. Etkind:“Through the contrast, the ghost of a stranger shines through. This is not just a lady in a black dress with ostrich feathers on her hat.
This poem is about prose and poetry, about the opposition and unity of elements hostile and tragically related to each other, about the transforming power of poetic fantasy, in some highly spiritual sense close to the transforming influence of wine, but, although the poet ends the poem with the words: “You, right, drunken monster. / I know: the truth is in wine”, his intoxication, his “wine” is different than that with which “drunkards with rabbit eyes” intoxicate themselves. (5,1) The strength of this poetic, that is, allegorical, wine is that it through the dead prose of vulgarity allows you to see the poetic essence of the world - the world of a single, holistic "(3,1)
Ivanov-Razumnik:“... The snowstorm of the revolution begins from the very first lines of the poem. And from the very first lines, her black sky and white snow are, as it were, symbols of that duality that takes place in the world, that is happening in every soul.
"Black evening,
White snow.
Wind, wind!
A person does not stand on his feet ... "(4,1)
Black evening, White snow.
The whole poem is in this. And against this background, through a white snowy veil, the poet draws with black clear strokes a picture of “revolutionary Petersburg” at the end of 1917.
And against this background, under the overhanging black sky, under the falling white snow - “twelve people are walking” ... Oh, the poet does not “poeticize” them at all! Against. “A cigarette in the teeth, a cap is crushed, an ace of diamonds should be on the back!” ”(3.1)
G.V. Ivanov:“... In “Poems about Russia” - almost everything is perfect. How, we will be asked, is it not entirely new poems? Where did the blunders and breakdowns that were in Blok's early poems go? Yes, and most of all, the impeccable skill of the poet was reflected precisely in the plan of the book. The choice of verses is made in such a way that we would otherwise hesitate to define it as "the providence of taste."
There are twenty-three poems in the book, and almost every new stage lyrical knowledge of Russia. From the first vague and bitter revelations to the final lines:
“And again we are to you, Russia,
Dobreli from a foreign land. ”(2,1)
How do we remember Blok?
A.A. Blok was truly one of the most famous poets of the Silver Age. Intelligent, wise, sincere, mysterious, revolutionary and at the same time romantic and gentle, he remained in the memory of millions, and possibly more people. His works can take the reader to the vast expanses of the Russian land, and during the period of the revolution, and even immerse him in a mysterious and enigmatic atmosphere. While working on my report, I found out something new about Blok. Previously, I could not even think that such a poet as Blok could live in his invented world of dreams and fantasies. In fact, it was only an illusion, which he lived long and hard. And yet, the turbulent events of that time, changes in society forced the poet to “grow up” and gave impetus to a new, completely different stage of his work.
Is it important for young people of our time to read Blok's works? I'm sure yes. After all, reading his poems, everyone will be able to find some cherished lines for themselves, whether it be a young man in love or a young thinker, learn events from our history, and simply expand their horizons. I would like people not to forget about the work of the great poet, and modern youth showed more interest in his works.
Bibliography.
1.Alexander Alexandrovich Blok Poems and Poems: Proc. allowance for senior school age / A. Stolov, N. Vetlugin, L. Morgunova and others - M .: Publishing house "Literature Artistice", 1978-183p.
2. http://er3ed.qrz.ru/blok-rodina.htm
3. http://lit-helper.com/p_Tvorchestvo_A_A__Bloka_v_kritike_i_literaturovedenii
4. http://stihi-rus.ru/1/Blok/34.htm
5. http://www.loveparadise.ru/poem-111.html
Alexander Blok
By the time of the crisis of Symbolism in 1910, Blok was the only one of the Symbolists who enjoyed wide popularity. Alexander Alexandrovich Blok (1880, St. Petersburg - 1921, Petrograd), a representative of the younger generation of Russian Symbolists, one of the most musical and tragic poets of the 20th century, as well as a playwright and critic, occupies a unique place in the history of Russian literature. The poet passed hard way characteristic of artists of the turn of the century. In 1902, he became close to the circle of St. Petersburg Symbolists, headed by D. Merezhkovsky and Z. Gippius, who in 1903 published his poems in the journal Novy Put. Blok found his first admirers in Moscow, in the circle of "Argonauts", friendship-enmity with A. Bely, the leader of the "Argonauts", continued with Blok all his life.
The prototype of the first symbolist cycle of poems, published under the title "Poems about the Beautiful Lady" (1904), is L. Mendeleeva, who became Blok's wife. "Poems about the Beautiful Lady" revealed the influence of the ideas of Vl. Solovyov. The Beautiful Lady is the Eternal Femininity, the Soul of the World, the Eternal Mystery, the discovery of which will lead to the Truth. The poet's duty is a prayer service, a spiritual ascent necessary for contemplating Her Beauty. In the collection, moods of anxiety, spiritual tension, expectations of a clear “call” and the search for an “answer” and “riddle” are palpable.
I anticipate you. Years pass by
All in the guise of one I foresee You.
The whole horizon is on fire - and unbearably clear,
And silently I wait, yearning and loving.
The whole horizon is on fire, and the appearance is near,
But I'm afraid: you will change your appearance
And daringly arouse suspicion,
Replacing the usual features at the end.
For the basic principles of the structural model of the cycle, groups of images turned out to be essential: “God” and “sky”; "You", "She", "Beautiful Lady"; "nature"; "poet" who are involved in space life and the life of the "city". In subsequent creativity, these images are enriched with new meanings and meanings. The leitmotif of Blok's poetry was the idea of the incarnation of the Eternal Femininity, which has sometimes divine features, sometimes demonic ones, distorted by the ugliness of life itself and the psychology of a contemporary. The poetic myth of Eternal Femininity, created by Blok, has two poles - the cult of the Beautiful Lady and the images of the Stranger (the poem "The Stranger" and the play of the same name) and Katya (the poem "The Twelve"). Through the prism of Eternal Femininity, the poet perceives both his homeland and its fate.
Collections of poems snow mask"(1907), "Earth in the Snow" (1908), "Night Hours" (1911), "Poems about Russia" (1915), cycles of poems "Ante Lucem", "Crossroads", "Bubbles of the Earth", "City" , "Faina", "The Spell by Fire and Darkness", "Free Thoughts" (written in free verse), "Carmen", "Motherland" (1907-1916), "Yamba" reflect Blok's complex path from romantic dualism and mysticism of early poetry to the embodiment of the tragic collisions of Russian history, the stages of overcoming the irrationality and impressionism of the image and turning to social reality, the transition from the personal to the generally significant. Young Blok is a student and follower of romanticism, who independently discovered the possibilities of a symbol for conveying the depths of spiritual life " inner man”, the mature Blok is an original poet with his own theme of Russia and Love, the late Blok is a tragic poet who not only foresees, but also sees an irreparable break in the “connection of times”, leading to a belittling of human freedom and the freedom of the artist.
A lively discussion among the symbolists was caused by the set Vs. Meyerhold at the Komissarzhevskaya Theater Blok's play "Puppet Show" (1906), directed against illusionism and false mysticism. The play was seen as a departure from the precepts of symbolism. A. Bely even challenged Blok to a duel. Blok combined The Puppet Show with two more plays: The King in the Square and The Stranger (both - 1906), creating a dramatic trilogy that reveals the essence of the "masquerade era" and its "tragic guilt" in mixing "plans of being". It was Blok who expressed the contradictory spirit of the Silver Age and determined its dominant color - the color of silver. It appears in the images of the "Snow Mask" and "Faina", in the snowy blizzard of the poem "The Twelve".
In lyrical works, Blok develops the tradition of "pure poetry", dating back to V. Zhukovsky, M. Lermontov, Ya. Polonsky and A. Fet. Urban romance had a certain influence on the musical and verse rhythm of Blok's poetry. The most poignant of the symbolists, lyricist and romantic, Blok also became the most sober realist in his view of modern man:
Born in deaf years
The paths do not remember their own.
We are children terrible years Russia -
Nothing can be forgotten.
Burning years!
Is there madness in you, is there any hope?
From the days of war, from the days of freedom -
There is a bloody glow in the faces.
Block called his first three volumes of lyrics "the trilogy of incarnation." Poems about the pure veneration of the Virgin Mary, the Queen of the Pure, the icon "Unexpected Joy" (the collection of the same name, 1906) coexist with the recreation, following V. Bryusov, of life big city, where people are disunited, and the high is profaned, reduced to its opposite: the Eternally Feminine turns into the image of the Stranger.
Blok is also of interest as a commentator on his own poetry. In the article "Timelessness" (1906), analyzing psychology. and the philosophy of modern man, who has lost the feeling of the holiday of the Nativity of Christ and, as a result, the feeling of a warm hearth, his own home, the author quotes his own poems and plunges them into an unexpected context.
There, in the howling cold of the night,
In the field of stars I found a ring.
Here's a face emerging from lace,
Emerges from the lace face.
Here float her blizzard trills,
The stars are bright, dragging with a train,
And the flying tambourine of the blizzard,
Bells invitingly jangling.
With a slight crack, the fan crumbled,
Unleashing stellar revenge
But in the eyes turned to the north,
To me cold - burning news.
The author writes: “In the drafts of deserted streets, these vagabonds are as if crucified against the walls. Their eyes meet, and each measures the other's gaze with his own and still does not see the bottom, does not see where the impoverished human soul has taken refuge. Only clothes flutter in tatters of snow dust. It seems that these people, like ghosts, will rise with the storm into the black abyss of the sky, as if flying on wings.<…>The face disappears, and again wraps itself in snowy lace, and again appears as a dream of an endless plain.<…>Woe to the one who looks into the glassy, astral gaze. He is doomed to a game of chance, to eternal whirling among the flakes flying away into the darkness. Later in the poem "The Twelve" the same blizzard, sweeping away everything and everyone in its path, will circle the unfortunate Petka the killer, one of the twelve, ready to destroy the last human shelters that keep the warmth of the hearth: "Close the floors, / Today there will be robberies", - and shoot at Christ, who moves "with the gait overwind" with a bloody flag.
From the point of view of the Eternal Soul and the Eternal Feminine, the main theme of Blok's lyrics is being developed - the theme of Russia, the Motherland. In the cycle “On the Kulikovo Field”, the poet speaks of the inseparability of his own path and Russian history:
Oh, my Russia! My wife! To pain
We have a long way to go!
Our path is an arrow of the Tatar ancient will
Pierced us in the chest.
Recreating the decisive moment of Russian history - the battle in 1380 on the Kulikovo field, Blok identifies himself and the Russian warrior:
The heart cannot live in peace,
Suddenly the clouds have gathered.
The armor is heavy, as before the battle.
Now your time has come. – Pray!
In order to reveal the path of Russia, which passes under the sign of her feminine and sacrificial soul - “What kind of sorcerer you want / Give the robbery beauty ...” - Blok synthesizes various levels of being: concrete historical, symbolic and metaphysical. The images of "robber beauty" and "acute melancholy" merged in the poet with a sense of both horror and love:
Russia, impoverished Russia,
I have your gray huts,
Your songs are windy for me
Like the first tears of love!
The Russian soul is many-sided and elusive: "To sin shamelessly, unawakening, / To lose count for nights and days, / And, with a head, from a difficult hop, / To go sideways to God's temple ...". Speaking of a merchant who forgives sins, the poet knows what his “hero” dreams of: “... And on downy feather beds / In a heavy sleep…”:
Yes, and such, my Russia,
You are dearer to me than all the edges.
The poet wants to walk the path to the end, not being afraid of all trials, together with his homeland:
My Russia, my life, shall we toil together?
Tsar, yes Siberia, yes prison!
Oh, is it not time to part, to repent ...
What is your darkness to a free heart?
Blok's poetry was close to his contemporaries, and especially his main leitmotif - the Motherland and the Beautiful Lady, in her many faces and even guises. The poet guessed something deeply hidden in the Russian soul, its fundamental antinomy - freedom, turning into rebellion and robbery, and sublime love, ending in blasphemy. Blok himself said tragic words about Russia at the end of his life:
Russia - Sphinx. Rejoicing and mourning
And covered in black blood
She looks, looks at you
With hate and with love.
Blok expressed his philosophy of creativity and symbolist worldview in the article “On the Current State of Russian Symbolism” (1910), which Bryusov angrily attacked. This article is an example of artistic and symbolist thinking. “You can only be born a Symbolist,” says Blok. And therefore only a symbolist can correctly understand a symbolist. The sun of "naive realism" has already set and "it is impossible to comprehend anything outside of symbolism." To be a real artist, according to Blok, “means to withstand the wind from the worlds of art, completely different from this world, only terribly influencing it; in those worlds there are no causes and effects, time and space, carnal and incorporeal, and these worlds have no number. For Blok, these worlds are not an illusion, but a reality that the artist lives by.
Block distinguishes two stages of symbolism, which are ontologically opposed to each other. Everything is allowed to the Symbolist, he is a completely free creator-theurgist, i.e. "the owner of secret knowledge, behind which there is a secret action", he is inspired by a radiant gaze, or a golden and azure sword that pierces all worlds and reaches the heart of the poet. This is the look of Solovyov's "Radiant Friend", whose name was given by the "teacher" himself (as Blok calls Vl. Solovyov), the look of Sophia the Wisdom of God. The worlds pierced by the gaze-sword are painted for the poet in purple-lilac tones. "The golden sword that pierces the purple of the lilac worlds flares up dazzlingly - and pierces the theurge's heart." But this meeting is hindered by other forces, “as if someone, jealous of the theurgist for the Glow Clarity… suddenly crosses the golden thread of blooming miracles; the blade of the radiant sword fades and ceases to feel in the heart. The second stage of symbolist action-creativity is opposite to the first. The purple goes out, everything is covered with a "blue-lilac dusk." This color, according to Blok, symbolizes special condition consciousness and soul, which has lost its guiding thread, was conveyed in his paintings by M. Vrubel. If, Blok says, he himself had the gift of a painter, then he would describe the experience of this moment as follows: “... in the lilac twilight of the vast world, a huge white hearse sways, and on it lies a dead doll with a face vaguely reminiscent of that which was seen through among the heavenly roses". There is a substitution, a diabolical seduction, the living is replaced by a dead likeness. The horror of this state is the main fear of the symbolist poet. The magical, full of meanings and meanings world turns into a booth populated by werewolf doubles, life becomes art (artificial), the Stranger appears - “a beautiful doll, a blue ghost, an earthly miracle”.
About the Stranger Blok writes as follows: “The Stranger. This is not just a lady in a black dress with ostrich feathers on her hat. It is a diabolical fusion of many worlds, predominantly blue and purple. If I had Vrubel's means, I would have created a Demon; but everyone does what is assigned to him. This is the current state of symbolism, the artist creates "not alive, not dead."
According to Blok, art is a "burden", "art is Hell". “The artist brings his images out of the darkness of this Hell”, and in the same darkness and darkness, he, longing for the extinct golden ray, “goes crazy and perishes”. Blok recalls the fate of M. Lermontov, N. Gogol, M. Vrubel, V. Komissarzhevskaya. Blok's contemporaries also knew about the madness of F. Nietzsche. The ultimate aestheticization of, in fact, apocalyptic moods, a premonition of the end of art and life were characteristic of the era as a whole (a treatise on the art of L.N. Tolstoy; the fate of the Symbolist poet A.M. Dobrolyubov, who had gone “to the people” and dissolved there).
In the secret melodies of the muse, Blok heard "The Fatal News of Death." Already in 1908, Blok noted: “... in the hearts of people latest generations there is a persistent sense of disaster caused by excessive accumulation real facts, part of which is a deed that has happened, the other part is a deed that can be accomplished ... we all have a feeling of illness, anxiety, catastrophe, rupture. The Symbolists, Blok is convinced, "survived the madness of other worlds, prematurely demanding a miracle," and are punished for this. The poet called on his fellow writers to the feat of courage and obedience, sobriety of the spirit: “My conclusion is this: the path to the feat that our ministry requires is, first of all, discipleship, self-deepening, gaze and spiritual diet. We must learn again from the world and from that baby who still lives in a burned soul.
Blok revealed the main contradiction deeper than all the Symbolists. symbolist method and way of thinking: the confrontation in the soul of the artist of two principles - the divine and the demonic. The French symbolists also knew this antinomy. Ellis wrote that C. Baudelaire was able to see in all phenomena "two rows of reflection, reflections of two faces, the face of the Madonna and the face of Satan".
In the poem "Retribution", the poet expressed his creative credo and the purpose of creativity:
Life is without beginning or end.
Chance awaits us all.
Above us - the inevitable dusk,
Or the clarity of God's face.
But you, the artist, firmly believe
Beginnings and ends. You know
Where heaven and hell guard us.
You have been given an impassive measure
Measure everything you see.
Your gaze - let it be firm and clear.
Erase random features -
And you will see: the world is beautiful.
In Italian Poems (1909), a trip to Western Europe and his beloved Italy. The symbolic-romantic drama The Rose and the Cross (1913) reflects Blok's search for the synthesis of suprareal and historical meanings in the spirit of French symbolism and medieval thinking with echoes of Rosicrucianism. Gaetan's song "Joy is one suffering" reflects both the desire in the created myth about the knight to include F. Dostoevsky's idea of suffering as (a necessary moment in achieving human dignity (and thus possible happiness on earth), and awareness of the tragedy of a human knight.
The multicolored palette and musical fabric of Blok's poetry, saturated with bold metaphors and eternal symbolic images, the sublimity of a romantically inclined soul, sensitively capturing all the overtones of world and cosmic life, are replaced by tragic grotesque and auto-irony. The cycle "Dance of Death" - the apotheosis " scary world", which only pretends to be alive: "How hard it is for a dead man among people / To pretend to be alive and passionate!" This cycle includes the well-known poem "Night, street, lantern, pharmacy" about the deathly circulation: "If you die, you will start again from the beginning, / And everything will be repeated, as of old." Cosmic life is meaningless: “The worlds fly. The years are flying by. The empty / Universe looks at us with the darkness of its eyes. / And you are a soul, tired, deaf, / You keep repeating about happiness - how many times?
In 1916 Blok was drafted into the army. He served in Belarus, in Polissya. N. Gumilyov said about this: "This is the same as eating fried tongues of nightingales." After the February Revolution of 1917, as an editor, the poet was a member of the Extraordinary Commission for Checking the Political Crimes of the Tsarist Government. In the wake of this work, he wrote a documentary study, The Last Days of the Old Regime (1919). The October upheaval was perceived as a cosmically necessary cleansing thunderstorm. The dramatic nature of his perception is reflected in the poem "The Twelve", a work that completes Russian classical literature and opens the first page of the history of Russian Soviet literature.
The interpretation of the poem "The Twelve" includes at least two polar points of view: according to one of them, Christ sanctifies the deeds of the twelve new apostles of the revolution - the Red Guards, walking "with a sovereign step" through Petrograd, and thus the poem is the justification of the revolution. According to another interpretation, Christ, at whom the twelve shoot through a blizzard to destroy all that is brightest and most holy, ascends Golgotha with a bloody flag and symbolizes the path of Russia's suffering. According to this interpretation, the author of the poem "The Twelve" exposes the falsity of the newly-appeared apostles, reveals the anti-Christian essence of the revolution, which justifies murders and threatens the whole world ("We are on grief to all bourgeois / We will inflate the world fire"). The symbolism of the poem is manifested both at the level of its structure - twelve chapters, and at the level of content - Petruha, who kills Katya out of jealousy, bears the same name as the Apostle Paul. The ambivalence of reading is dictated by the structural complexity of the poem, its polyphony, suggesting various interpretations, and the personal anxiety that permeates the work. A.M. Piatigorsky noted: “Blok, who had foreseen and foreshadowed a revolutionary catastrophe all his life, was nevertheless somewhat surprised when he discovered that not only the whore and the “bourgeois at the crossroads” from The Twelve would be killed, but also in some way himself.
Blok expressed his views on the fate of Europe and Asia at the time of the "collapse of the old world" in the poem "Scythians" (1918). The poem "Retribution" (1910-1921), which is based on a biographical beginning, remained unfinished. The idea of retribution matured in Blok through the deepening of social themes (the City cycle, 1904–1908) and the comprehension of the terrible world (the Terrible World cycle, 1908–1916). Blok's mature lyrics contrast past and present, "beautiful" and "terrible" worlds, paradise and inferno. The "terrible world" is comprehended as hell. Not only the undivine, but the blasphemous and theomachic essence of “life here” is emphasized: “... In the melodies of your innermost<…>/ There is a curse of sacred covenants”; “And there was a fatal consolation / In trampling the cherished shrines”; “He forgot how to praise God / And he sang sinful songs”; “I’m going to throw an evil challenge / Heaven ...”; “He was only a fashionable writer, / Only words of blasphemous creator.” Good Paradise is opposed by evil, the highest Truth is opposed by the lie of the inferno, or "terrible world". It is really possible to defeat evil, Blok believed, only by becoming "incarnated". The goal of life creation is affirmed in "Yambs"
Oh, I want to live crazy
All that exists is to perpetuate,
Impersonal - incarnate,
Unfulfilled - to embody!
E. Kuzmina-Karavaeva felt that Blok was "a symbol of our whole life, even of the whole of Russia." She said to the poet: "Before death, before death, Russia concentrated all its most terrible rays on you - and you are burning for her, in her name, as if in her image."
Blok's literary and critical heritage and his journalism raise questions of creativity ("On the Realists", 1907; "Elements and Culture", 1909; "On the Modern State of Russian Symbolism", 1910; "On the Appointment of the Poet", 1921), the problem is formulated relations between the people and the intelligentsia, the intelligentsia and the revolution (Intelligentsia and Revolution, 1918; Catilina, 1919). Block was the first to point out qualitative change value systems in the modern world ("The collapse of humanism", 1919). The rethinking of the revolutionary events and the fate of Russia was accompanied by a deep crisis and mental depression of the poet. One of Blok's last poems were poems dedicated to Pushkin and the freedom he sang. In his speech about Pushkin, delivered six months before his death, the poet said: “Peace and freedom. They are necessary for the poet to release harmony. But peace and will are also taken away. Not external peace, but creative. Not childish will, not freedom to be liberal, but creative will - secret freedom. And the poet dies because he has nothing else to breathe: life has lost its meaning.
Blok's lyrics have the power of hypnotic suggestion, pure tonic metrics, image-symbols endowed with polysemantic overtones, had a significant impact on subsequent Russian poetry. Blok became a symbolic figure in Russian culture in the first quarter of the 20th century. M. Tsvetaeva handed him her works at one of the poetry evenings and dedicated poems to him. Arriving in St. Petersburg, S. Yesenin first went to Blok. A. Akhmatova sent him a magazine with her publication, in "A Poem without a Hero" she called Blok "the tragic tenor of the era." N. Klyuev writes him a letter asking him to explain the essence modern culture. V. Mayakovsky gives him his hand alone in revolutionary days: “Hello, Alexander Blok!” I. Severyanin gives him his book with the inscription "Poet! ..". Vl. Khodasevich will say about Blok's poetry: “... in it very early and very correctly they heard, guessed, smelled the “fatal news of death”. They fell in love with Blok, not understanding in essence what his tragedy was, but feeling its undoubted authenticity.
Blok, having gone through many creative and life trials, retained his love for life and man. He created a unique art world. The musical basis of his lyrics, Blok's images of the homeland became the golden heritage of the Silver Age. Blok's forebodings, scattered in diary entries, came true in the most catastrophic way, as did his confidence in the prophetic meaning of everything that happened.
Compositions
Blok A.L. Collected works: In 8 vols. M.; L., 1960–1963.
A. Blok, A. Bely: Dialogue of poets about Russia and the revolution. M, 1990.
Literature
Avramenko A.P. Blok and Russian poets of the 19th century. M, 1990.
Alexander Blok: New materials and research. T. 92. M., 1980.
Gromov P. L. Blok, his predecessors and contemporaries. L., 1986.
Kling O. A. Alexander Blok: the structure of the "novel in verse". Poem "Twelve". M., 1998.
Maksimov D. Poetry and prose of A. Blok. L., 1975.
Mints Z. G. Blok and Russian symbolism. Poetics of Alexander Blok. SPb., 1999.
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