Vysotsky's military lyrics presentation. Interrupted flight of Vladimir Semyonovich Vysotsky (war lyrics of the poet) - presentation
“Vysotsky war songs” - Goals and objectives: Volodya with his father and stepmother in the German garrison of Eberswalde in 1948. Therefore, I ask everyone to stand up and honor the memory of your fallen peers with a minute of silence. On July 14, 1980, during a performance at NIIEM (Moscow), Vladimir Vysotsky performed one of his last songs - “My sadness, my longing...
“The Work of Vysotsky” - But the role of... Bulat Okudzhava brought great success. Life and work of V.S. Vysotsky. Mother - Nina Maksimovna, head of the bureau at the KHIMMASH Research Institute. He was buried at the Vagankovskoye cemetery. The author of the monument is A.I. Rukavishnikov. Extracurricular reading lesson “Interrupted Flight...”. Entered the Moscow Civil Engineering Institute.
“Vysotsky” - V. Kuibysheva. Vysotsky Vladimir Semyonovich. Then he returned to Moscow, where he lived in Bolshoi Karetny Lane, 15. Subsequently, songwriting became the main (along with acting) work of life. The theme of the songs and the manner of performance. From the confused faces of my friends, I understand that the doctors’ decision is irrevocable.
“The Life of Vladimir Vysotsky” - The most remarkable historical figure - Lenin, Garibaldi 20. “Moscow-Odessa”. Return. Such reproaches are based on ignorance of the satirical traditions of Russian and world literature. A music teacher was invited. "There was an escape for a dash...". Menu. Verbal and semantic play is generally characteristic of Vysotsky.
“The Life and Work of Vysotsky” - Life and Work. “but I will come for your souls...” Illustrations for the works of V. Vysotsky A. Anikeev. “...There is a wolf hunt going on. We are tough nuts! Official recognition came after death. Illustrations by A. Anikeev and V. Morozov. “...Back five hundred, five hundred forward...” Vladimir Vysotsky and Marina Vladi. We’ll bring the crown!...”
“Vladimir Vysotsky” - VYSOTSKY Vladimir Semenovich. During my life I was tall and slender, I was not afraid of a word or a bullet. Father is a military man, mother is an office worker, an archive worker. In 1989, the V.S. Vysotsky Center-Museum was opened in Moscow. Since 1965 he has sung on stage. V.I. Nemirovich - Danchenko in the acting department. V.S. Vysotsky. In 1960-1961, Vysotsky’s first songs appeared, performed in a narrow circle.
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The life and work of Vladimir Vysotsky. 1938-1980
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Vladimir Vysotsky wrote more than 600 songs and poems, played 20 roles on the theater stage, 30 roles in films and television films, 8 in radio plays.
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On January 25, 1938, in Moscow, a son, Vladimir, was born into the family of Semyon Vladimirovich and Nina Maksimovna Vysotsky. Father is a military man, mother is an office worker, an archive worker. Childhood During the Great Patriotic War, I was evacuated with my mother. The house where Volodya was born
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His parents - Nina Maksimovna Seregina and Semyon Vladimirovich Vysotsky - lived together for about 5 years. At the front, Volodya’s father met another woman and left the family. And after some time, Nina Maksimovna also acquired a new husband. Father - Semyon Vladimirovich Vladimir's relationship with his stepfather did not work out; apparently, this was one of the reasons why he begged his own father to take him with him to Germany, where Semyon Vladimirovich was sent to serve.
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In Germany Until October 1949, Volodya Vysotsky with his father and his wife Evgenia Stepanovna lived in a military garrison in the city of Eberswalde.
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As a child, he began to write poetry. The poem “My Oath,” written in connection with the death of Stalin, was published in the wall newspaper of the enterprise where the mother worked. First poems
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School years Then Semyon Vladimirovich and his family returned to their homeland - he went to serve in Kyiv, and his wife and son settled in Moscow, at house 15 in Bolshoi Karetny Lane.
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At a crossroads, Vysotsky did not immediately determine that he wanted to be an actor. After graduating from school, he enters the Moscow Institute of Civil Engineering, but after studying there for six months, he leaves it. He made this decision on New Year's Eve from 1955 to 1956. He and Igor Kokhanovsky, Vysotsky’s school friend, decided to celebrate the New Year in a very unique way: by drawing drawings, without which they simply would not have been allowed to take part in the examination session. After the chimes, after drinking a glass of champagne, they got down to business. Around two o'clock in the morning the drawings were ready. But then Vysotsky stood up, took a jar of ink from the table, and began pouring the rest of it over his drawing. “That’s it. I’ll prepare, I have another six months, I’ll try to enter the theater school. But this is not my thing...” Vladimir Semenovich said then.
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First songs Vysotsky began writing his first songs in the early 60s. These were songs in the style of “yard romance” and were not taken seriously either by Vysotsky or by those who were their first listeners. A few years later, in 1965, he would write the famous “Submarine,” about which Igor Kokhanovsky would later say: “Submarine was already serious.” And I think that it was this song that announced that it was time for his creative youth ended
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This song lives with you all the time. Vysotsky’s songs are usually divided into cycles: military, mountain, sports, Chinese... You had to live several lives to feel all the characters depicted in the songs. The front-line soldiers who listened to his songs about the war were sure that he personally experienced everything that he wrote about in his songs. People who listened to his songs with a “criminal slant” were sure that he was sitting. Sailors, climbers, truck drivers - everyone considered him one of their own. Every song contained the truth of life. Vysotsky himself spoke about the original song: “I want to say and assure that the original song requires a lot of work. This song lives with you all the time, does not give you rest, day or night.”
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Taganka In 1964, Vladimir Vysotsky came to the Taganka Theater, which, in the words of Vysotsky himself, became “his own theater” for him. “A young man came to my theater to hire me. When I asked him what he wanted to read, he replied: “I wrote several of my songs, will you listen?” I agreed to listen to one song, that is, in fact, our meeting was not supposed to last more than five minutes. But I listened without stopping for an hour and a half," recalls Yuri Lyubimov. Thus began Vysotsky’s creative career at the Taganka Theater. Hamlet, Galileo, Pugachev - a variety of characters created together with Yuri Lyubimov. Lyubimov will also stage the last performance with Vysotsky - Vladimir Semenovich’s farewell to the audience...
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Cinema In parallel with work in the theater there was also work in cinema. Vladimir Vysotsky began acting in his student years. In 1961, he had a role in the famous youth film "The Career of Dima Gorin." In 1965 - two roles: in the films “Our House” and “The Cook”.
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Film success In 1967, the film “Vertical” was released, which brought Vysotsky real success, especially his songs from the film.
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Gleb Zhiglov In 1979, Vladimir Vysotsky played his most significant film role - Gleb Zheglov in the series “The Meeting Place Cannot Be Changed.” As the actor himself admitted, this was his favorite role.
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Love In 1970, Vladimir Semenovich Vysotsky officially registered his marriage with Marina Vladi. It was his greatest love
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He sang While performing his songs, Vysotsky could be so thunderous, so stormy and raging that people sitting in the hall had to close their eyes and pull their heads into their shoulders, as if from a strong wind. And it seemed: - another second - and the ceiling would collapse, and the speakers would explode, unable to withstand the tension, and Vysotsky himself would fall and suffocate right on the stage... It seemed impossible to sing at such a nervous intensity, impossible to breathe! And he sang. He was breathing.
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Mighty performance "We must work!" - was his favorite saying. If he could, he would work around the clock. Sleep - 3-4 hours, the rest is work. He wrote his songs mainly at night. He came home after the performance and sat down to work. Marina put a cup of scalding tea in front of him and sat quietly in the corner. Sometimes she fell asleep, and then, already in the morning, Vysotsky woke her up to read the lines written during the night.
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“...I’m working hard for you guys until I vomit! Maybe someone will light a candle for me someday for my bare nerve with which I scream, And the cheerful manner with which I joke...”
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On January 25, 1938, in Moscow, a son, Vladimir, was born into the family of Semyon Vladimirovich and Nina Maksimovna Vysotsky. Father is a military man, mother is an office worker, an archive worker. During the Great Patriotic War, he and his mother were evacuated. After the war and the divorce of his parents, he lived in his father’s new family; for two years he was in Germany in the city of Eberswald, where his father served. As a child, he began to write poetry. The poem “My Oath,” written in connection with the death of Stalin, was published in the wall newspaper of the enterprise where the mother worked.
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At a crossroads... Vysotsky did not immediately decide that he wanted to be an actor. After graduating from school, he enters the Moscow Institute of Civil Engineering, but after studying there for six months, he leaves it. He made this decision on New Year's Eve from 1955 to 1956. He and Igor Kokhanovsky, Vysotsky’s school friend, decided to celebrate the New Year in a very unique way: by drawing drawings, without which they simply would not have been allowed to take part in the examination session. After the chimes, after drinking a glass of champagne, they got down to business. Around two o'clock in the morning the drawings were ready. But then Vysotsky stood up, took a jar of ink from the table, and began pouring the rest of it over his drawing. “That’s it. I’ll prepare, I have another six months, I’ll try to enter the theater school. But this is not my thing...” Vladimir Semenovich said then.
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Among numerous bards, Vladimir Vysotsky still remains an unfading star. Vysotsky’s interest in the original song was awakened after meeting the work of Bulat Okudzhava, whom Vladimir Semenovich considered his teacher. Later he would write “Song about Truth and Lies,” dedicated to Okudzhava.
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Vysotsky began writing his first songs in the early 60s. These were songs in the style of “yard romance” and were not taken seriously either by Vysotsky or by those who were their first listeners. A few years later, in 1965, he would write the famous “Submarine,” about which Igor Kokhanovsky would later say: “Submarine was already serious.” And I think that it was this song that announced that it was time for his creative youth is over."
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Around this time, Vladimir Vysotsky came to the Taganka Theater, which, in the words of Vysotsky himself, became “his own theater” for him. “A young man came to my theater to hire me. When I asked him what he wanted to read, he replied: “I wrote several of my songs, will you listen?” I agreed to listen to one song, that is, in fact, our meeting was supposed to last not more than five minutes. But I listened without stopping for an hour and a half," recalls Yuri Lyubimov. Thus began Vysotsky’s creative career at the Taganka Theater. Hamlet, Galileo, Pugachev, Svidrigailov - a whole palette of images created together with Yuri Lyubimov. Lyubimov will also stage the last performance with Vysotsky - Vladimir Semenovich’s farewell to the audience...
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Vysotsky’s songs are usually divided into cycles: military, mountain, sports, Chinese... You had to live several lives to feel all the characters depicted in the songs. The front-line soldiers who listened to his songs about the war were sure that he personally experienced everything that he wrote about in his songs. People who listened to his songs with a “criminal slant” were sure that he was sitting. Sailors, climbers, long-distance drivers - everyone considered him one of their own. Every song contained the truth of life. Vysotsky himself spoke about the original song: “I want to say and assure that the original song requires a lot of work. This song lives with you all the time, does not give you rest, day or night.”
January 25, 1938 - Vladimir Vysotsky was born in Moscow. September 1, 1945 - Went to first grade at Moscow School No. 273 - Left with my father and stepmother for Germany - the city of Eberswald. October 1949 - Returned to Moscow. Settled in Bolshoy Karetny, year - Graduated from 10 classes of the 186th men's school. Entered MISS. Kuibysheva. beginning of 1956 - left the institute and entered the Moscow Art Theater School. May 1958 - Married Isolda Zhukova, a student at the Moscow Art Theater School. June 1960 - Graduated from the Moscow Art Theater School. He got a job at the A. Pushkin Theater, then at the Miniature Theater. The first song was written - “Tattoo”. autumn 1961 - In Leningrad he met film actress Lyudmila Abramova, his future second wife. November 1962 - Vysotsky and L. Abramova had their first son, Arkady.
May 1964 - At the insistence of his parents, Vysotsky goes to the hospital for the first time and is treated for alcoholism. August 1964 - Second son Nikita was born. September 1964 - Enrolled in the staff of the Taganka Drama and Comedy Theater year - First solo concerts in Moscow. By that time, he had already written about a hundred songs. summer 1966 - Premiere at the Taganka Theater - "The Life of Galileo", starred in two films: "Vertical" and "Brief Encounters". The first flexible disc with Vysotsky's songs from the film "Vertical" was released. Year - Starred in the films: "Two Comrades Served" and "Intervention". The last film was not released during his lifetime. July 1967 - In Moscow, he met the French film actress Marina Vladi. March 1968 - Vysotsky is fired from the Taganka Theater, then re-accepted with many reservations. June 9, 1968 - The newspaper “Soviet Russia” published a devastating article by G. Mushta and A. Bondaryuk “In the name of what is Vysotsky singing?” December 1, 1969 - Wedding of Vysotsky and M. Vladi on 2nd Frunzenskaya Street. November 29, 1971 - Premiere of "Hamlet" at the Taganka Theater. Starring Vysotsky. summer 1973 - Goes to the West for the first time in a year - The first two giant discs with Vysotsky's songs were released - in the USA. spring 1975 - Vysotsky and Vladi received a separate three-room apartment on Malaya Gruzinskaya, 28.
May 10, 1978 - First shooting of the film “The meeting place cannot be changed.” Filming ended in February 1979 - He starred in his last film - “Little Tragedies”. July 17, 1980 - Last concert - in Bolshevo. July 18, 1980 - Last appearance on the theater stage - in the play "Hamlet". July 20, 1980 - Last poem: “And below there is ice, and above - I toil between...” July 25, 1980 - Died at 4.10 am in his apartment on Malaya Gruzinskaya, 28
My grandmother is a true fan of the singer and poet and often told me about those fleeting meetings with him that fate gave her. Their paths crossed at the Taganka Theater, where she served as a make-up artist and made up Vladimir Semenovich more than once. Once, at his request, she helped on stage during a performance: he played a general, she stood next to him and, at his request, agreed with him. My grandmother still remembers these minutes with reverence. Tamara Dmitrievna Kuzmina
The work of the poet Vysotsky. Every person familiar with the songwriting of Vladimir Vysotsky has “his own” Vysotsky, there are songs that he likes more than others. They like them because they are somehow more familiar, closer, more convincing. I also have “my own” Vysotsky.
In my essay, I focused on the war lyrics of Vladimir Vysotsky, trying to understand what prompted the talented poet, who writes about love, friendship, mountains, books - in a word, about everything, to turn to poems about the Great Patriotic War. I think that I can put together material about the poet, his lyrics, and captivate my friends and classmates with this topic. In my essay I will try to prove a hypothesis: what prompted the poet Vladimir Semenovich Vysotsky to write poems about the war.
Plan
Blatnoy folklore
1. Features of Vysotsky’s poetic speech
a) the artist’s unique work to create an audience
b) freedom of poetic imagination
2. Bulat Okudzhava – “spiritual father” of Vysotsky
a) role-playing lyrics by Vladimir Semenovich
b) the military cycle is one of the largest and most famous
c) humor is a signal of human rapprochement
III. Vysotsky - singer of the people's will
I. V.S. Vysotsky is the most brilliant creator of original songs
Vladimir Semenovich Vysotsky is one of the most prominent representatives of the art song, who had a significant influence on its development as an independent genre of art, uniting in one person a poet, composer, singer and musician. The author's song was born in 1937 as an alternative to mass song, as a confrontation with a terrible time, and it took on a new life. The author's song will receive its development in the late 40s - early 50s. In total, Vysotsky wrote about 450 original songs, many of which were recorded on records, sounded in films and performances, on radio and television. Their topics are comprehensive and varied. Each song resembles a small performance spoken by one character.
II. Blatnoy folklore
Vladimir Vysotsky made a name for himself in the early 60s with songs on criminal, street, and “thieves” themes. This theme was largely suggested to him by the general atmosphere of the post-war years, which included his childhood and youth. The poet owed his excellent knowledge of the world of the “street”, customs, language and inhabitants, as well as a heightened sense of justice to these early impressions. All this allowed Vysotsky to perceive the criminal song not as some kind of “marginal” genre, but as an equal and very significant part of national culture.
In general, thieves' folklore is a special topic. This still little-studied layer of our culture is very colorful and heterogeneous. Passion for this genre was something of a sign of freethinking. Yesterday there was stagnation, resignation to lawlessness, silence; today - openness and the triumph of justice. It was during the years of stagnation and silence that Vysotsky’s voice sounded in full force, and millions of people not only listened to him, but responded to him with all their souls.
In his work, Vysotsky reflected various moments in the life of the inhabitants of the social “bottom” - alcoholics, thieves, swindlers, criminals.
He was later a little ashamed of thieves' and yard songs, claiming that he wrote them for himself and a few friends. But they not only brought Vladimir Semenovich his first popularity. They formed the fundamental features of his poetic style.
And today it no longer seems an accident that all this eventually found its way out in song and oral form. Its pattern is revealed by the fact that Vysotsky paved the way to the audience outside the canons accepted in literature. His artistic intuition was based on invisible, not immediately perceptible, but living trends in people's life.
1. Features of Vysotsky’s poetic speech
a) the artist’s unique work to create an audience
In the early 60s, an avalanche of previously unheard songs fell upon everyone - neither a voice like this had been heard, nor the “freedom of judgment of the square” that found its expression in songs. And then, for twenty years, Vysotsky worked with the poetic word completely independently, in his own way and manner. Only a very few professional writers have shown an interest in this work that lies outside of sociable theatrical communication. It seemed to most: at the Taganka Theater, among others, another actor-writer with a guitar appeared. The Tagansky acting fraternity of the early 60s was a kind of free spirit, attracting some, repelling others. Of course, this environment stimulated and partly shaped Vysotsky’s early years - he wrote songs for performances, he, as a performer, mastered the Tagan aesthetics of those years. But the atmosphere of the intellectual and theatrical semi-free Tagan community had its own danger and, oddly enough, stagnation also arose quite soon. Vysotsky loved his theater, his fellow actors, respected the poets who wrote for the theater and formed his constant circle, but, consciously or spontaneously, one Taganka actor ultimately remained independent of all these attachments. And this independence of his poetic gift was appreciated by few - you can count them all on your fingers. They say that Nikolai Erdman was almost the first to notice the poet. I closely followed the hard work of Vysotsky B. Akhmadulin. A. Voznesensky, E. Yevtushenko, R. Rozhdestvensky encouraged as best they could.
The songs of Vladimir Vysotsky are addressed directly to the conscience of his contemporary. Often his verse permeates our consciousness, shocking and causing instant numbness; it can provoke the familiar, the banal, something with which we have become accustomed. In such cases, the most unexpected reaction arises; opponents may also raise their heads. But Vladimir Vysotsky is not afraid of polemics with them. His verse becomes attacking:
I am awake, but I have a prophetic dream.
I take pills, I hope that I will fall asleep.
I'm no stranger to swallowing bitter saliva -
Organizations, authorities and persons
They declared open war on me
For breaking the silence
For the fact that I wheeze throughout the whole country,
To prove that I am not a spoke in the wheel4….
One of the features of Vysotsky’s poetic speech is straightforwardness and trust in people. In attempts to explain how it all began, where the desire to compose came from, he always talked about his circle of friends at the Bolshoi
Karetny, for whom he sang his first songs (in this circle were Vasily Shukshin and Andrei Tarkovsky), about the need for a friendly attitude, trust and understanding. He turned to those whom he trusted, to those who would not hear anything bad or suspicious in his songs, and this understanding circle grew and expanded fabulously before our eyes.
When Vysotsky the poet gained a sense of his own maturity, the ambiguity of this situation became obvious, for it decisively contradicted mass recognition and understanding. “I want to be understood by my country,” wrote Mayakovsky, and with unexpected humility (and therefore suffering) he recognized the real possibility of not being understood, of passing “on the side, like slanting rain.” Vysotsky had no reason to think so about his fate - it was not “slanting rain” here, but a downpour, cleansing streams, under which people joyfully put their faces. The desire to write a lot, to sing for a long time, for everyone and everywhere, was explained not only by the properties of temperament. Even from those poets with whom Vysotsky came out to the public at the same time in the early 60s, he differed in his individual sense of the mass audience. Time changed, other poets changed, Vysotsky grew up and matured, but his direct and confidential appeal to many people and the expectation of their understanding remained unchanged, determining the themes, character of the word and intonation. Not every poet sets out to reach the consciousness of many and thus unite many at all costs. For Vysotsky, this task was constant; it shaped his poetics. The very presence of a listener-interlocutor is not always, not at all times, a real fact for the poet.
Vysotsky always addressed many people and saw and heard their response. Today it is clear how right the poet was, not wanting to come to terms with official non-recognition, who entered, let us speak frankly, into a fierce struggle with “organizations, authorities and individuals.” He didn’t need recognition, much less awards, but a fair, humane union between the “official” and the “unofficial.” He felt the absence of this union as pain and as a tragedy for many. To reconcile himself meant to recognize his poetic word and his work as illegal on that land, without which he could not imagine himself.
b) freedom of poetic imagination
Today, the agreement between the real truth of life and the word of the writer, poet, publicist is asserting itself. This union is nothing other than the first condition necessary for the birth of true art and literature. This condition has been violated for too long, and the psychology of writers has been distorted and deformed for too long to hope for instant changes. They will be long, and this process is painful.
Despite all the difficult circumstances of the time, Vysotsky was absolutely truthful in his work. And its first feature is the shortest distance between reality, the truth of a fact, and poetry, which, as we know, always transforms facts in one way or another.
Sometimes it seemed that he created without thinking, he simply talked about what was happening around him. I heard a funny conversation between two people on TV - and remembered it. I saw how people were standing in line, talking about what they were talking about, and he told me. It was amazing how quickly and naturally he rhymed something that in life is by no means consistent and does not “rhyme.” The “non-melodic” easily fit into the song structure of his verse, and the “non-poetic” entered into it. That “garbage” from which, as Akhmatova said, “poems grow without knowing shame”, in Vysotsky’s texts often appeared in stunning ugliness, almost literally unprocessed, but in a strange way showed its poetic, artistic temperament.
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Life is richer than fiction - we were once again convinced of this by listening to Vysotsky. His “fictions” were based on the remarkable freedom of poetic imagination, but most of all - on the energy of life itself, its constant diverse movement under any pressure. Many of Vysotsky’s texts are closely grounded in everyday circumstances. Whether soldiers are exchanging remarks in a trench or in the ranks, whether a wife is writing a letter to her husband at an agricultural exhibition, whether a guy who was taken “from a baby mushroom” is talking about the international situation or his own position in the police - all these are real monologues and dialogues, to which, as it were, had never touched the poet’s pen. This is the first, superficial, but strong impression. The impression of strength is precisely from reality. It is not the reader's responsibility to think about the nature of poetic work. The study of the texts (both white papers and drafts), the analysis of the author’s performance convinces that Vysotsky had his own search. He carefully searched for a word that had a special appearance. The flesh of this word was a living sound, intonation. Not always a song sound, but always oral, that is, conversational, living in conversation, in a person’s communication with the world. The author came not from literary, written speech, not from the accepted canons of versification, but from that spiritual impulse that seeks an indispensable, obligatory outlet into living speech, and there, too, lives according to its own mental and psychological laws - sometimes in a long, verbose, almost endless stream , then with the utmost laconicism of a short remark, summing up something. From the draft manuscripts and the number of discarded stanzas, one can see how the energy of word creation surged in Vysotsky.
There was a truth and pattern in how and in what form Vysotsky’s poetry entered our lives. It makes sense to remember this.
Bypassing the so-called mass media (radio, print, television), thanks to tapes, Vysotsky’s songs became known to everyone. The voice was of furious power, devoid of all goodness. It was unusual that the speech either clearly belonged to the author, or abruptly changed its character, expressing someone’s completely different fate. The voice either came literally from the street, or made one remember the times of storytellers and folk epics. For the author, it was as if there was neither past nor future, only the present expanded endlessly in both directions.
No matter how we praise the beginning of the 60s today, it should be remembered that the time of silence, sufficiently strengthened by the previous decades, was also felt in the 60s. The printed word was strictly regulated. Vysotsky found for himself an oral, song form in which his work lived freely for twenty years.
In addition, Vysotsky was given a voice by nature. The voice is special, not polished with any gloss, no “concert quality”, rare in musical range (by two octaves!), processing the song like sandpaper, sometimes coarse-grained, sometimes fine, bringing the intonation structure of the phrase to jewelry elegance. “My wheezing was sometimes like a howl,” wrote Vladimir Semenovich himself. His main instrument, his calling card, was his voice. Instantly recognizable, rushing out of the windows on any city or village street, at a construction site, on the beach, on a train - anywhere, even in prison, and on both sides of the bars. And Vysotsky’s voice sounded. The voice that lives on... Inevitably, many of these precious auditory nuances are lost in publication. But their signs are easy to find in the printed version of the verse. Vysotsky's song texts almost always have their own dramaturgy - with one word, one stroke, the author modifies the traditionally unchanged chorus, removes the mechanics of verbal repetition - and one can see how the thought develops from this, the tension grows in the atmosphere. Vysotsky always lives in verse - so, improvisationally, he lived in performance, but also on paper, recording what he found, he looked for his own way of putting together words, phrases and stanzas.
According to N. Krymova, this work, however, had another meaning. Those who saw and heard Vysotsky remember that his powerful voice literally shook the auditorium, and the stage seemed to be shaking from these sounds and chords. Some only perceived it this way and retained it in their memory - as an unprecedented, purely emotional impression. In fact, this was a unique - during one concert, very different in the chosen techniques and means - persistent work of the artist on the consciousness of the audience. At any cost, to shout out, to reach out (to penetrate, as he said, not only into the ears, but also into the souls), to move something in someone else’s consciousness, to revive it - this was the main meaning of everything that Vysotsky did. On the other side of the ramp, he saw in front of him the massive experience of others, and with this experience, conquering it and subjugating it, he entered into an alliance and struggle. He felt this experience sometimes friendly, often inert, callous, hostile. He directed his poetic work to overcome the inertia of thinking, touching on almost all those spheres of existence and everyday life with which the human consciousness deals every day. Vysotsky destroyed stereotypes, laughed at what frightened others, told about the past what was considered necessary to forget, opened doors on which it was written “No Entry,” and did not consider himself an “outsider” to anything around him. The meaning of this stubborn, lawless, at first glance seemingly even “unpoetic” behavior was to defeat others’ inertia, prevent apathy from strengthening, confuse the indifferent, expand horizons, clear space from prejudice, and dispose people to independent work of thought and evaluation of phenomena.1
What, however, was the power of stagnation if many perceived this super-intense work of the artist as entertainment or a kind of “high,” a temporary blissful intoxication! The source of hysteria, blind idolatry, deeply disgusting to the nature of the poet himself, paradoxically, is here, that is, in stagnation, in the emptiness of souls, which has become habitual and at the same time requires artificial, supposedly “spiritual” filling. The external activity (even aggressiveness) of hysteria is the other side of spiritual hibernation, apathy, and emptiness. If you seriously look into this issue, it turns out, oddly enough, that Vysotsky’s sectarian fans simply do not know him. But they don’t know because they don’t know how to think for themselves. For many, due to his accessibility, Vysotsky became a stimulus, a first impetus in learning about life and themselves. But those who by nature are hopelessly blind or inclined exclusively towards the “cult” do not want to see anything other than Vysotsky’s songs. This is the most interesting dialectic between the resonance of the poet’s fate and the mass response to him.
One way or another, Vysotsky himself did not adapt to mass tastes. He did not allow them to affect his artistic dignity. In the sphere of song (in the mass sphere of culture) a new starting point has appeared. We had Vysotsky - today it is impossible not to take this into account, and not only for representatives of the so-called “art song”.
2. Bulat Okudzhava – “spiritual father” of Vysotsky
It's time, however, to name another poet - Bulat Okudzhava, because he was the first. Sincerely wanting to express his respect, Vysotsky called him his “spiritual father”, without deciphering this somewhat pompous definition. One way or another, the commonality here is obvious - as well as the differences.
Okudzhava’s poetry in the late 50s and early 60s introduced the psychology of an individual, private person into the rather impersonal world of song. Not only in personal, intimate topics, but also in the most public ones, such as war, the individual person discovered his own self-worth and much more complex connections with the general, nationwide, than was previously thought. The only, personal, unique thing in the poetry of Bulat Okudzhava was the character of one person - the author. This author had his own age, biography, human destiny and, what is very important, belonging to a certain generation. He lost his father in the camp, met his released mother and got to know her again. He went to war as a seventeen-year-old youth and returned alive, having gone through this entire terrible path as a private. Okudzhava remained among the living. And the experience of his generation remained (not distorted, not disfigured) - the unique experience of childhood faith, subsequent shocks, war, dramatic growth into post-war life with its new, by no means peaceful internal explosions.
a) role-playing lyrics by Vladimir Semenovich
What does "in your own way" mean? What was the obvious difference? Vysotsky himself explained what was happening with his acting profession - it was convenient for him to sing from someone else's face, play a role, etc. And indeed, not one person performed in his songs, but many, and very different ones. Each with their own biography (socially very specific, unmistakably guessed by any audience, despite the fact that the author gives only indirect, brief signs of the biography, most often reflected in the style of speech), their own manner of communicating, assessing the environment, adapting to it, etc. d . Vladimir Vysotsky has songs that are somewhat similar to his roles. Roles from plays that have not been staged by anyone and, moreover, that have not yet been written by anyone.
Plays with such roles, of course, could be written and could appear on stage. If not today, then tomorrow, if not tomorrow, then the day after tomorrow. But the fact is that Vysotsky did not want to wait until tomorrow. He wanted to play these roles today, now, immediately! And therefore he composed them himself, he himself was the director and performer.
He was in a hurry, trying on the clothes, characters and destinies of other people - funny and serious, practical and reckless, real and fictional. He got into their concerns, problems, professions and life principles, demonstrated their way of thinking and manner of speaking. He improvised, got carried away, exaggerated, was impudent and mocking, teased and exposed, approved and supported.
Moreover, he did all this so talentedly, so convincingly that some listeners even confused him with the characters he portrayed in his songs. They were confused and delighted. They were confused and perplexed. But Vysotsky didn’t seem to pay any attention to it. He appeared on stage again and again, continued to compose and sing his own – always unexpected, diverse, topical – “songs-roles”. Behind all these roles - masks, however, hides a similar psychological type: a strong person, tested to breaking point in an extreme, limiting situation, often on the border between life and death.
D. Samoilov insists that the origins of such creativity go back to the genre of urban romance. But despite all the obviousness of the “sensitive” nature of the genre, its lyrical frankness, confessionalism, etc., it should be said that the social confessions of Vysotsky’s song monologues did not so much even revive the genre as explode it from the inside with special content. If something traditional was brought to light, it was only in order to shake the traditions thoroughly in the fresh air and shake out the dust from them. Remind us of what happened and amaze us with what has not yet happened.6
Thanks to Vysotsky’s songs, many previously silent people had the opportunity to speak out, as they say, to pour out their souls, to say the most essential things about themselves and about life. The terms “self-expression” and “confession”, widespread in literature and theater of the 60s, are applicable to the case of Vysotsky, but with a significant amendment: the right to express oneself, the right to confession was received not by one person (the author), but through him - by a huge number . That is why this “self-expression” could not dry up, could not be monotonous, did not become boring with egocentrism, and was alien to narcissism. Here's the most important thing; Vysotsky opened the door to art to many people who did not have access to such areas. Vysotsky’s merit - today, looking back, you see this with complete certainty - is that without waiting for permission from above, bypassing the prohibitions and barriers of his time, he expanded, so to speak, the social range of poetry, pointed out the indispensable connections of “high” material with the “lowest”. Concepts such as “street”, “square”, “non-official”, “unofficial” have long existed in aesthetics. Vysotsky filled them with real content, because he was talking about the life of the masses, becoming an exponent of their powerful discord. Introducing unofficial vernacular speech into the poetic language, he did not engage in “stylization,” as is sometimes commonly thought, but discovered and promulgated the natural, mass way of thinking, manifesting itself in the unconstrained word. He sought and found moral harmony where there seemed to be no harmony. The author revealed the healthy, root principle of the people's soul and speech, hinting at healthy ideas about life, about its values, about good and evil, preserved somewhere in the depths of their souls.
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As an actor, he has played many roles in his songs. But first of all, he composed them as an author, as a poet. They took shape in his mind in the form of artistic images that asked to come out in words, relying not only (and not even so much) on the talent of the actor, but on the traditional foundations of Russian poetry.
The example of Vysotsky is exceptional, because his artistic destiny, no matter how it came into contact with theater and cinema, was, of course, determined primarily by the will of Russian poetry. Contrary to the daily, legalized dependence in acting, his own - the author's - world grew and expanded literally by leaps and bounds. Yes, the idea of a song was often inseparable from the execution, but only the will of the author, the poet, brought to life the word and the sound of a living voice. In this world of his own, Vysotsky created alone, independently of anyone, and alone was responsible for everything. It is characteristic how he himself explained what allowed him to go out with a guitar in the early 60s, although not to the Polytechnic, where Voznesensky, Yevtushenko, Akhmadulina, Rozhdestvensky performed, but at the same time as them. It was a memorable rise of modern poetry and the emergence of new, young poetry on the stage. No one invited the modest Tagansky actor to the Polytechnic at that time, but in his words there was both respectful “separateness” and, more importantly, an undoubted involvement in what was happening.
This author lived every “role” composed in the song. That is, he passed it through himself. “Squeezed” into it, as he himself said. (Stanislavsky loved to repeat Shchepkin’s words that you need to play in such a way that no needles can be inserted between the actor and the role. Essentially, it’s about the same thing.) There is an everyday expression: to be in someone else’s shoes. Vysotsky often used it. To be in someone else's skin did not mean for him to throw it over his shoulders and show off. “Alien skin” for him is the experience of someone else’s life, which he takes upon himself, anew, with the eyes of another person, reviewing all the surrounding circumstances. This is the intense work of the soul striving to reincarnate, this is an ongoing process of learning.
Why was it accepted and understood by people of different ages, social groups, levels and professions? One of the simplest and main explanations for what was said: because he knew a lot about the lives of others. This was also a certain position in art: to know. Don’t take other people’s knowledge on faith, but have your own. In order to “get to the very essence”, one must recognize the relativity of one’s own experience and plunge headlong into someone else’s, not considering anything there as an unnecessary trifle. Then a selection will take place - only those details that are needed for the “essence” will remain. Vysotsky's poetry is unusually rich in these details, details; previously it even seemed to be oversaturated with them.
Armchair knowledge isolates a person, removes the writer from other people. In this case, knowledge constantly threw the poet into the crowd, sometimes almost dissolving him in it. And the masses fed him with themselves, giving him enormous information - factual, sensory, historical, social, modern - whatever.
Sometimes the boundary between Vysotsky’s “I” and his character seemed almost erased. This was the desired completeness of transformation and experience. But it is precisely in printed texts, devoid of the magic of an actor’s charm, an instant change of intonation, the play of facial expressions, etc., that the poet’s “I” is more perceptible, always radiating its own energy, regardless of whether the object is heroic or base taken for poetic study. By the energy of word creation, far from the common everyday tongue-tiedness, by the moral position that is always unambiguous, although at first glance completely dissolved in someone else’s psychology and someone else’s speech, by the special slyness, kindness and many other signs of poetic texts, one can always recognize: this is - Vysotsky.
b) the military cycle is one of the largest and most famous
In sixty-four, still interspersed with thieves' songs, Vysotsky composed "Mass Graves". The war cycle that began with this song will become one of the largest and most famous (“Sons go into battle”, “He did not return from battle”, “We rotate the Earth”). Much has been written about Vysotsky’s war songs, because this “section” of his poetry was the most accessible for official recognition. Indeed, these songs are both patriotic and courageous, and human memory is alive in them. But the essence of the poet’s approach to the topic was that the nameless (for some, almost faceless) war hero in Vysotsky’s songs seemed to multiply and split into dozens of real persons, individual characters, dramatic (often tragic) destinies. The canons of officially accepted “typification” and “heroization” retreated before the artist’s conviction in the value of every human life, before his keen interest not only in the reality of the war, but also in its monstrously absurd unreality, implausibility, lawlessness, which claims millions of human lives. He sought to look into the faces of those who made up the armies and companies. And the voice of one and only one, often caught in an exceptional situation (funny or terrible), turned out to be extremely important. Vysotsky did not fight, the war caught him as a child (he was born on January 25, 1938), but he was the son of a serviceman and, perhaps, therefore knew more than his peers about what was happening at the front and in the rear.
Vysotsky’s songs about war are, first of all, songs of real people. People of flesh and blood. Strong, tired, courageous, kind. You can trust such people with your own life and your homeland. These won't let you down.
Today you can’t hear the beating of hearts -
It is for alleys and gazebos.
I'm falling, clutching lead in my chest,
Having time to think one last time:
"This time I won't go back,
I’m leaving - someone else will come.”
We didn’t have time to look back -
And the sons go into battle!4
This is exactly how life continues, the common destiny and common cause of people continues. This is exactly how the most significant, highest concepts are passed from parents to children...
It is unknown whether any of the prose writers wrote the real tragic story of the Evpatoria paratroopers, but Vysotsky told the truth about this heroic landing doomed to death in “Black Pea Jackets.” The literature has not yet fully described what the psychology of people who ended up in penal battalions is like. Vysotsky, bypassing the well-known limits of the heroic theme, also opened up the topic from this side, known to the people, but unknown to literature.
In short, what today, through difficult struggle, is conquering all spheres of society, the poet, without waiting for any instructions, realized, relying on his own natural democracy, civic and poetic intuition.
They often write that Vysotsky’s poems “mock our shortcomings.” They resort to this cliche in order to confirm the poet’s attitude towards the so-called “negative phenomena”.
c) humor is a signal of human rapprochement
Vysotsky does not make fun of people often, although he does laugh, and in general he can never do without humor. He does not mock, does not castigate, and does not even condemn. Although he judges. He judges life and people whom he sees through in their past and present, in their exploits and sins, in the discrepancy between a person’s opinion of himself and his real significance.
The funnyness of the appearance, the guise is humor of the first, superficial level. And since the second plane of humor is nothing more than a second meaning - often much more general, expansive, always requiring mental effort and not amenable to a single solution - difficulties have arisen and will continue to arise with the interpretation of poetry. The point is that these verses have multiple meanings. They have a second, and often a third, meaning. A common term is: “Vysotsky’s comic songs.” Indeed, let's say, the joke in the story about the Giraffe who fell in love with the Antelope is clear to everyone, even to the little ones. But when Gogol argued that Krylov’s fables “are by no means the lot of children,” he, without denying the meaning of fable plots that is understandable to children, called for evaluating small parables also as a collection of paradoxes of existence, a book of wisdom, marked by the author’s special gift of expressing himself “accessible to everyone.” . Simplicity, accessibility, obviousness - this is the best way of initial knowledge. You can stop at this stage. And we can go further. And everyone will do this in accordance with their own imagination, experience and, of course, sense of humor.
By the way, prior to the performance of the song about the Giraffe, the author said that every comic song should have some kind of “second layer”, otherwise he would not be able to put his hand to the pen. This second layer (an indispensable condition of the popular saying) exists in the simplest line, which immediately went from verse to our everyday speech: “The giraffe is big - he knows best!”
As you know, laughter is a signal of human intimacy. Equals laugh. Laughter equalizes people, it rebels against all kinds of dividing barriers, ranks and differences. In Vysotsky's poems, this role of laughter has a clearly expressed social character. In his laughter there is a call, faith and, what is very important, a sense of ideal, sometimes vague in his characters, but constant and distinct in the author.
Sometimes he called something very serious and complex “half-jokingly.” For example, he called the song “Yellow lights in my dreams...”, one of the most tragic. But the tragic state of the soul, for which “everything is wrong,” and the terrible in its expressiveness list of polar phenomena, brought together by the fact that here and there “nothing is sacred” - this list itself is camouflaged with such deliberately common gypsyism that this alone is almost funny. Lovers of song stylizations smile blissfully at the dashing dance of stanzas, lines, and melody, while the words and stanzas are combined into a bizarre, but quite strict order, bypassing everyday logic, while expressing an undoubtedly tragic feeling. In this case, the song nature of the verse gives a certain outcome to what is generally hopeless and tragic.5
Laughter is as varied as fingerprints. Vysotsky's laughter has the character of protection - a person protects all living things. It protects life - as nature in itself and around, as a normal habitat. Through laughter, he discovers everything unnatural, distorted, perverted in this environment. He is not afraid to see the distortion of the ideal in himself and laugh at it.
Having gained audacity from folk humor, that is, from the popular mentality, Vysotsky introduced humor where there seemed to be little room for it - into the topic of war. He was not the first to do this, but it is no coincidence that for so long they could not get through to the publication of Vysotsky’s songs “The One Who Didn’t Shoot”, “I Lived with My Mother and Father...”. To some, the intonation of these verses seemed almost blasphemous. Meanwhile, the poet only continued his study of the human condition in war, knowing that the topic requires completeness, and there are no and cannot be forbidden angles in the pursuit of truth.
He introduced humor into a topic that was not raised at all in his time, but was openly expressed in both “Bathhouse in White” and “Paradise Apples.” The humor there is creepy, but, nevertheless, undeniable. “And on the left chest is Stalin’s profile, and on the right is Marinka’s full face.” And this - let's not be hypocrites - is funny. As people say, what is sinful is funny. Humor is also introduced into the most terrible poems about escaping from places of detention - like a scary grin, like the steely shine of that smile of a former prisoner, which Tvardovsky wrote about in the poem “Beyond the Distance - the Distance.”
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It has long been customary for people to suppress fear and overcome it with a joke - free, furious. In an era of multiple fears, Vysotsky extracted from himself and from his huge, mass audience this great ability - to laugh at what is scary.
Poking fun at oneself is the traditional intonation of Russian soldiers' songs. (It is reproduced in its pure form in one of the songs for “Ivan da Marya”.) In this sense, Vysotsky is a deeply traditional poet. Both Vysotsky’s language and laughter are not, strictly speaking, folklore. This is the art of a professional poet. But, entering the element of free conversation (this is the poetic form he most used), frank buffoonery and buffoonery, he felt absolutely natural, as if he had been born in this element. It is unknown how many books about folklore he read. But any specialist, listening to the roar of his poetry fair, will catch many speech genres of the square there - the voices of charlatan barkers, the jokes of farcical “grandfathers”, humorous curses addressed to the public and to oneself. In a word, that cult of laughter that goes deep into people's life and remains there for centuries.
Vysotsky’s word is open, open to people, not encrypted. It lacks intellectual sophistication. But it has natural grace and its own character. The poet willingly and often plays with words and rhymes (in performance - melodic rhythms). This game is also dictated most of all by a cheerful freedom of communication - both with the word and with the audience. Vysotsky's poetry is straightforward. With simplicity, which in everyday life is forgiven only to a child, the poet said what he thought himself and what many thought (but did not say, were silent). But this simplicity, this seemingly simple nature contains its own mysteries.
He himself had a wartime childhood and a sad post-war adolescence. He never brushed aside the sounds and moods of that time; he remembered them perfectly. He said that the early songs gave his voice “liberation”2, and this is important. The motif of freedom constantly sounds in them - sometimes imaginary, temporary, sometimes genuine, perceived as an ideal. “I have a guitar - make way, walls!” - in a naive form, the happy possession of such a property (perhaps the only one) as a guitar is expressed, and the belief in some kind of magical power that expands the prepared cramped space. Really, there is no point in “purifying” in any way the beginning that is organic to Vysotsky as a poetic beginning and, in its own way, pure and natural. And there seems to be some connection between this youthful “make way, walls!” and that constant desire to “push horizons”, which became a sign, a mark of poetic maturity. There is a connection here, but also the rapid movement is obvious, and the growth of skill, and the certainty of artistic self-awareness.
III. Vysotsky - singer of the people's will
I can’t believe that twenty-four years have already passed since Vladimir Vysotsky passed away from us. It was strange and annoying in those days when the country said goodbye to its actor, poet and singer - the pain and conscience of the people. “He sang as he played, and played as he lived - frantically, disastrously,” with pain and anguish in his soul. He can be called a singer of the people's will. Throughout Vysotsky’s life, he was accompanied by an ardent desire for love, in order to more often feel a state of elation above the ordinary and earthly, as he himself said: “... the desire to work as much as possible. And to feel inspired as often as possible.”
Vladimir Vysotsky opened his eyes to a lot. That time - the seventies and eighties - is now called nothing more than “stagnant - table times”.
... And even wine
We had a lot of fun
They destroyed the house
They fought, they hung themselves...3
The generation of the 60s was somewhat lucky; the “thaw” in the country helped push them to self-expression and the realization of their dormant creative powers. We need to learn from Vysotsky to communicate more with the people, to listen to the living, spoken Russian language. He, like no one else, could convey the intonation and tone of a confidential conversation with the listener using living words of folk speech. Vysotsky, as an actor, understood the importance of placing precisely such accents in his work, and correctly emphasized this aspect when creating his songs, hitting not the eyebrow, but the eye - to the very point - to the soul of everyone... This happened to him unexpectedly when he listened to Bulat Okudzhava and realized that “... the impression can be enhanced by a musical instrument and melody... This helps, that is, even composing - with a guitar...”. He lived among us in difficult times, in strange and sleepy times... But he managed to shout out to everyone, he dared to think, feel, sing his songs, poems not without context: poems are a cry, poems are tears, poems are a role...
The song poetry of Vladimir Vysotsky was created in agony while defending his views on life, struggle and love. It was strange and scary for him to “while away his life in amusements...”. Vysotsky knew and felt very well that salvation and the meaning of real life lies in creative work.
He began with the primitive, with unambiguousness, gradually enriching his poetic and civic vision, reaching high literary examples; he constantly learned from life, from literature, which happens to any poet, regardless of the degree of his talent. Vladimir Semenovich began writing for a narrow circle of friends, but came to the widest audience, came to the utmost expression of himself, and to express himself means to achieve the highest pleasure.
All of Moscow listened and sang the forbidden texts of the famous bard, who was officially considered only the author of plays and scripts. Vysotsky’s songs resemble a flu epidemic not only in the speed of spread, but also in the impossibility of avoiding this “disease” and not becoming infected with its sticky melodies and lyrics.
It cannot be considered that in the USSR Vladimir Semenovich “was not given fame” - he, like Shukshin, became a national hero, which does not happen so often with writers. Isn’t it his “specialness” that his gift combined different facets of an artist - singer, poet, actor - and that this fusion turned out to be unique, inimitable in its rare unity of an anecdotal or “fatal” plot.
Bibliography
V.S. Vysotsky in the context of Russian culture (collection of texts – compiled by L. Abramova and others). - M., 1990.
Vladimir Vysotsky Nerv Poems 6th edition. – M., 1998, p. 239, pp. 3-14.
Vladimir Vysotsky Selected. - Moscow, Soviet writer, 1988, pp. 509, pp. 481 – 502.
Kormilov S.I. Songs of Vladimir Vysotsky about war, friendship and love // Russian speech. – 1983. -No. 3
Kokhanovsky I. Silver strings: About the song creativity of V. Vysotsky: Memoirs// Youth. – 1988. - No. 7.
Novikov V.I. Living Water: Notes on the language of V. Vysotsky’s poetry // Rus. Speech. – 1988. - No. 1.
We discuss the legacy of V. Vysotsky // Issue. Literary – 1987. -No. 4.
