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June 3, 2016 at 23: 39
Vladimir Mayakovsky
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Biography of Vladimir Mayakovsky
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Vladimir Vladimirovich Mayakovsky was born on July 7(19), 1893 in the village of Baghdadi (now S. Mayakovsky) near the city of Kutaisi, Georgia.
His father was a forester, Vladimir Konstantinovich Mayakovsky (1857-1906), his mother was Alexandra Alekseevna, nee Pavlenko (1867-1954).
In 1902-1906, Mayakovsky studied at the Kutaisi Gymnasium.
In 1905, he participated in demonstrations, in a gymnasium strike.
In July 1906, after the sudden death of his father, the family moved to Moscow.
Mayakovsky enters the 4th grade of the 5th classical gymnasium.
He gets acquainted with Bolshevik students; is fond of Marxist literature; entrusts the first party assignments.
In 1908, he joined the Bolshevik Party.
He was arrested three times – in 1908 and twice in 1909; the last arrest was in connection with the escape of political prisoners from Novinsky prison.
Incarceration in Butyrskaya prison.
Mayakovsky considered the notebook of poems written in prison (1909), selected by the guards and not yet found, to be the beginning of literary work.
Released from prison for a minor (1910), he decides to devote himself to art and continue his studies.
In 1911, Mayakovsky was admitted to the Moscow School of Painting, Sculpture and Architecture.
In the autumn of 1911, he met D. Burlyuk, the organizer of a group of Russian futurists, and became close to him in a general sense of dissatisfaction with the academic routine.
At the end of December 1912, Mayakovsky made his poetic debut: the poems "Night" and " Morning "in the almanac" Slap in the Face to Public Taste " (where Mayakovsky signed the collective manifesto of the Kubo Futurists of the same name).
Mayakovsky attacks the aesthetics and poetics of symbolism and acmeism, but in his search he critically masters the artistic world of such masters as A. Bely, "breaks out" from the "charming lines" of A. Blok, whose work for Mayakovsky is "a whole poetic epoch".
On Wednesday, Mayakovsky entered the cubo futurists with a tragically protesting theme rapidly growing in him, in fact, going back to the humanistic tradition of Russian classics, despite the nihilistic declarations of the Futurists.
From urban sketches to catastrophic insights, the poet's thought about the madness of the possessive world grows ("From Street to Street", 1912; "The Hell of the City", " Here!", 1913). "
I! " - the title of Mayakovsky's first book (1913) – was synonymous with the poet's pain and indignation.
For participating in public speeches, Mayakovsky was expelled from the School in 1914.
The First World War was met by Mayakovsky controversially.
The poet cannot help but feel disgust for the war ("War is declared", "Mother and the evening killed by the Germans", 1914), but for some time he is characterized by the illusion of the renewal of humanity, art through war.
Soon Mayakovsky comes to the realization of war as an element of senseless destruction.
In 1914, Mayakovsky met M. Gorky for the first time.
In 1915-1919 he lived in Petrograd.
In 1915, Mayakovsky met L. Yu.
and O. M. Brik.
Many of Mayakovsky's works are dedicated to Lilia Brik.
With new strength he writes about love, which is bigger than nesovmestimost with horror of wars, violence and petty feelings (poem "Flute spine", 1915, etc.).
Bitter invites Mayakovsky to cooperate in the journal "Annals" and the newspaper "New life", helps the poet to publish a second collection of his poems, "a Simple as Moo", which was released by the publishing house "Parus" (1916).
The dream of a harmonious person in a world without wars and oppression found a peculiar expression in Mayakovsky's poem "War and Peace" (written in 1915-1916; a separate edition - 1917).
The writer creates a giant anti war panorama; a utopian extravaganza of universal happiness unfolds in his imagination.
In 1915-1917, Mayakovsky served his military service at the Petrograd Driving School.
He took part in the February Revolution of 1917.
In August, he leaves the "New Life".
The October Revolution opened up new horizons for V. Mayakovsky.
It was the poet's second birth.
By the first anniversary of October, the play "Mystery Buff", conceived back in August 1917, was staged at the Musical Drama Theater (staged by V. Meyerhold, with whom Mayakovsky was associated with the creative search for a theater consonant with the revolution until the end of his life).
Mayakovsky associates his innovative ideas with "left art"; he seeks to rally the Futurists in the name of the democratization of art (speeches in the "Newspaper of the Futurists", "Order for the Army of Art", 1918; he is part of the group of Futurist communists ("Comfutes"), who published the newspaper "Art of the Commune").
In March 1919, Mayakovsky moved to Moscow, where in October his cooperation with ROSTA began.
Mayakovsky's inherent need for mass agitation activity was satisfied in the artistic and poetic work on the posters "Windows of GROWTH".
In 1922-1924, Mayakovsky made his first trips abroad (Riga, Berlin, Paris, etc.).
The cycle of his essays about Paris is " Paris. (Notes of Ludogus)
", "Seven day review of French painting", etc. (1922-1923), which captured Mayakovsky's artistic sympathies (in particular, he notes the world significance of P. Picasso), and poems ("How does the democratic republic work?", 1922; "Germany", 1922-1923; " Paris.
(Conversations with the Eiffel Tower)", 1923) were Mayakovsky's approach to the foreign topic.
The transition to a peaceful life is interpreted by Mayakovsky as an internally significant event that makes us think about the spiritual values of the future person (the unfinished utopia "The Fifth International", 1922).
The poem "About this" (December 1922 – February 1923) becomes a poetic catharsis with its theme of purification of the lyrical hero, who carries the indestructible ideal of humanity through the phantasmagoria of philistinism and breaks into the future.
The poem was first published in the first issue of the magazine "LEF" (1923-1925), the editor in chief of which becomes Mayakovsky, who headed the literary group LEF (1922-1928) and decided to rally around the magazine "left forces "(articles "What is Lef fighting for?", " Who is Lef biting into?", " Whom is Lef warning?", 1923).
In November 1924, Mayakovsky left for Paris (later he visited Paris in 1925, 1927, 1928 and 1929).
He visited Latvia, Germany, France, Czechoslovakia, America, Poland.
Discovering new countries, he enriched his own poetic "continent".
In the lyrical cycle "Paris" (1924-1925), Mayakovsky's Lefist irony is defeated by the beauty of Paris.
The contrast of beauty with emptiness, humiliation, ruthless exploitation is the naked nerve of poems about Paris ("Beauties", "Parisian", 1929, etc.).
The image of Paris bears a reflection of Mayakovsky's " hulk of love "("A letter to Comrade Kostrov from Paris about the essence of love"," A Letter to Tatyana Yakovleva", 1928).
Mayakovsky's foreign theme is centered on the American cycle of poems and essays (1925-1926), written during and shortly after a trip to America (Mexico, Cuba, USA, the 2nd half of 1925).
In poems of 1926-1927 and later (up to the poem "At the top of my voice") Mayakovsky's position in art was revealed at a new stage.
Ridiculing Rapp's vulgarizers with their claim to a literary monopoly, Mayakovsky persuades proletarian writers to unite in poetic work for the sake of the future ("Message to Proletarian Poets", 1926; previously the article "Lef and MAPP", 1923).
Yesenina (December 27, 1925) sharpens thoughts about the fate and vocation of true poetry, causes grief over the death of a" ringing"talent, anger against rotten decadence and cheerful dogmatism ("To Sergei Yesenin", 1926).
At the end of the 1920s, Mayakovsky again turned to drama.
His plays "The Bedbug" (1928, 1st post. - 1929) and "The Bathhouse" (1929, 1st post – - 1930) were written for the Meyerhold Theater.
They combine a satirical depiction of the reality of the 1920s with the development of Mayakovsky's favorite motif – resurrection and travel to the future.
Meyerhold highly appreciated the satirical talent of the Mayakovsky playwright, comparing him in the power of irony with Moliere.
However, critics of the play, especially "The Bathhouse", were perceived extremely unkindly.
And, if in the " Bug "they saw, as a rule, artistic shortcomings, artificiality, then they made claims of an ideological nature to the" Bathhouse – - they talked about exaggerating the danger of bureaucracy, the problem of which does not exist in the USSR, etc.
Harsh articles against Mayakovsky appeared in the newspapers, even under the heading " Down with Mayakovism!"
In February 1930, after leaving the Refa (the Revolutionary Front [of Arts], a group formed from the remnants of the Lef), Mayakovsky joined the RAPP (the Russian Association of Proletarian Writers), where he was immediately attacked for "hitchhiking".
In March 1930, Mayakovsky organized a retrospective exhibition "20 years of work", which presented all areas of his activity.
(The term of 20 years was counted, apparently, from writing the first poems in prison.)
The exhibition was ignored by both the party leadership and former colleagues in the Left/Ref.
One of the many circumstances: the failure of the exhibition "20 years of work"; the failure of the performance based on the play" Bath "at the Meyerhold Theater, prepared by devastating articles in the press; friction with other members of the RAPP; the danger of losing his voice, which would make public performances impossible; failures in his personal life (a love boat crashed on everyday life – "Unfinished", 1930), or their confluence, caused Mayakovsky to commit suicide on April 14, 1930.
In many works ("Flute spine", "Man", "About it") Mayakovsky deals with the theme of the suicide of a lyrical hero or his double; after his death, these themes were reinterpreted accordingly by readers.
Soon after Mayakovsky's death, with the active participation of members of the RAPP, his work was under an unspoken ban, his works were practically not published.
The situation changed in 1936, when Stalin, in a resolution to a letter from L. Brik with a request for assistance in preserving the memory of Mayakovsky, publishing the poet's works, organizing his museum, called Mayakovsky "the best talented poet of our Soviet era."
Mayakovsky was almost the only representative of the artistic avant garde of the early 20th century, whose works remained accessible to a wide audience throughout the Soviet period.
The artistic world of Mayakovsky is a synthetic drama, which includes the properties of various dramatic genres: tragedy, mystery, epic heroic drama, comedy, raik, cinema, extravaganza, etc., subordinate to the main one of Mayakovsky — the tragic character of his main character and the tragic structure of his entire work.
It should be noted that not only his plays, but also his poems are dramatic in their own way and most often tragic.
For many completely different poets of the 1950s and 60s, the pre revolutionary Mayakovsky became a symbol of creative freedom and artistic experiment.
"When we talk about Mayakovsky," Marina Tsvetaeva wrote – " we, and maybe our grandchildren, will have to turn not back, but forward.
Speaking of the poet, God grant us to remember the century."
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Russian Russian literature of the 20th century, Russian poets of the 20th century, the life and work of Vladimir Mayakovsky, Keywords: Vladimir Mayakovsky, kubo futurists, biography of Vladimir Mayakovsky, download a detailed biography, download for free, Russian literature of the 20th century, Russian poets of the 20th century, life and work of Vladimir Mayakovsky
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