Hyleya is a literary and creative association of futurists. Gileya (group) Gileya futurists

Cubofuturism (“Hilea”)

Cubo-futurism is a trend in the art of the 1910s, most characteristic of the Russian artistic avant-garde of those years, which sought to combine the principles of cubism (decomposition of an object into constituent structures) and futurism (development of an object in the “fourth dimension”, i.e. in time).

When it comes to Russian futurism, the names of cubo-futurists, members of the Gilea group, immediately come to mind. They are remembered for their defiant behavior and shocking appearance (the famous Mayakovsky yellow jacket, pink frock coats, bunches of radishes and wooden spoons in buttonholes, faces painted with unknown signs, outrageous antics during performances), and scandalous manifestos and sharp polemical attacks against literary opponents. , and the fact that their ranks included Vladimir Mayakovsky, the only one of the futurists who was “not persecuted” in Soviet times.

In the 1910s of the last century, the popularity of the “Gileans” really surpassed the rest of the representatives of this literary movement. Perhaps because their work most corresponded to the canons of the avant-garde.

Gilea is the first futuristic group. They also called themselves “cubo-futurists” or “budetlyane” (this name was proposed by Khlebnikov). The year of its foundation is considered to be 1908, although the main composition was formed in 1909-1910. “We did not even notice how we became Gileans. This happened by itself, by a common tacit agreement, just as, realizing the commonality of our goals and objectives, we did not bring each other Hannibal oaths of loyalty to any principles. Therefore, the group did not have a permanent composition.

At the beginning of 1910 in St. Petersburg, "Gilea" announced its existence as part of D. and N. Burlyukov, V. Khlebnikov, V. Mayakovsky, V. Kamensky, E. Guro, A. Kruchenykh and B. Livshits. It was they who became representatives of the most radical flank of Russian literary futurism, which was distinguished by revolutionary revolt, oppositional disposition against bourgeois society, its morality, aesthetic tastes, and the entire system of social relations.

Cubo-futurism is considered to be the result of mutual influence of futurist poets and cubist painters. Indeed, literary futurism was closely associated with the avant-garde art groups of the 1910s, such as the Jack of Diamonds, Donkey's Tail, and the Union of Youth. The active interaction of poetry and painting, of course, was one of the most important incentives for the formation of cubo-futuristic aesthetics.

The first joint appearance of the Cubo-Futurists in the press was the poetic collection “The Garden of Judges”, which actually determined the creation of the “Gilea” group. Among the authors of the almanac D. and N. Burliuk, Kamensky, Khlebnikov, Guro, Ek. Nizen and others. Illustrations were made by D. and V. Burliuks.

The idea of ​​the exhaustion of the cultural tradition of previous centuries was the starting point of the aesthetic platform of the Cubo-Futurists. Their manifesto, which bore the deliberately scandalous name "Slap in the face of public taste", became a programmatic one. It declared the rejection of the art of the past, calls were made to “throw off Pushkin, Dostoevsky, Tolstoy, and so on and so forth. from the steamer of modern times”.

However, despite the rather harsh tone and polemical style of the manifesto, many ideas were expressed in the almanac about the ways for the further development of art, the convergence of poetry and painting. Behind the external bravado of its authors was a serious attitude to creativity. And the famous shocking phrase about Pushkin, which, it would seem, does not allow for other interpretations, was explained by Khlebnikov, to whom, in fact, he belonged, in a completely different way: “Budetlyanin is Pushkin in his coverage of the World War, in the cloak of the new century, teaching the right of the century to laugh over Pushkin of the 19th century” and did not sound shocking at all. In another declaration (1913), Khlebnikov wrote: “We are offended by the distortion of Russian verbs by translational meanings. We demand to open Pushkin's dams and Tolstoy's piles for the waterfalls and streams of the Montenegrin sides of the haughty Russian language... In addition to the howling of many throats, we say: "There is one sea here and there." A. E. Parnis, commenting on this statement, states: “Khlebnikov’s declarative thesis, outwardly directed against the classics - Pushkin and Tolstoy, against their language canons, is in fact dialectically addressed to their own authority, primarily to Pushkin: Khlebnikov’s metaphor” one sea” clearly goes back to the famous Pushkin’s “Will Slavic streams merge into the Russian sea?””.

Another futurist, S. Tretyakov, speaks in the same spirit:

“The mockery of idols: Pushkin and Lermontov, etc. is ... a direct blow to those brains that, having absorbed the spirit of lazy authoritarianism from school, never tried to give themselves an account of the truly futuristic role that for their time for example, Pushkin, who brought to the French salons the most common folk ditty, and now, after a hundred years, chewed and familiar, has become an arshin of elegant taste and has ceased to be dynamite! Not the dead Pushkin, in academic volumes and on Tverskoy Boulevard, but the living Pushkin of today, living with us a century later in the verbal and ideological explosions of the futurists, who continue today the work that he did on the language the day before yesterday ... ”.

Publication of "Slap" was perceived by the public mostly negatively, as a fact of immorality and bad taste. But cubo-futurists believed that the publication of this book officially approved futurism in Russia (although the word “futurism” itself was never mentioned in the text).

In February 1913, the same publishing house published (also on wallpaper, but in an enlarged format) Judges' Garden II. If in the first manifesto it was mainly about the ideology of the futurists, then here it is about poetic techniques that can put these ideas into practice.

One of the founders of the movement, V. Khlebnikov was actively involved in revolutionary changes in the field of the Russian language. He wrote: “To find, without breaking the circle of roots, the magic stone of turning all Slavic words into one another, to freely melt Slavic words - this is my first attitude to the word. This self-styled word is outside everyday life and life benefits. Seeing that the roots are just a ghost, behind which are the strings of the alphabet, to find the unity of world languages ​​in general, built from the units of the alphabet, is my second attitude to the word.

Khlebnikov, seeking to expand the boundaries of the language and its possibilities, worked hard to create new words. According to his theory, the word loses its semantic meaning, acquiring a subjective coloring: “We understand vowels as time and space (the nature of aspiration), consonants - paint, sound, smell.”

The very concept of the meaning of a word from the level of sound association has now moved to the levels of graphic constructions and connections within one word according to structural features. The lexical renewal of literary texts was now achieved by introducing vulgarisms, technical terms into it, the invention of unusual phrases, and the rejection of punctuation marks. Some poets produced new words from old roots (Khlebnikov, Kamensky, Gnedov), others split them with rhyme (Mayakovsky), others, with the help of poetic rhythm, gave words the wrong stress (Kruchenykh). All this led to the depoeticization of the language.

After syntactic shifts, semantic shifts began to appear. This was manifested in a deliberate inconsistency of phrases, in the replacement of a word that was necessary in meaning with its opposite in meaning.

The visual impact of the poem now played a large role. “We began to give content to words according to their descriptive and phonetic characteristic. In the name of freedom of personal chance, we deny spelling. We characterize a noun not only by adjectives… but also by other parts of speech, also by individual letters and numbers.” The essence of poetry moved from questions of the “content” of the text to questions of “form” (“not what, a how”). To do this, the Futurists used the figurative construction of the verse, where they actively used the methods of rhyming not the final, but the initial words, as well as internal rhymes or the way the lines were arranged in a “ladder”.

Showing a heightened flair for the word, the futurists reached the point of absurdity while designing. They attached special importance to word creation, “self-made word”. In the program article “The Word as such”, abstruse lines were cited:

The result of such activities of the futurists was an unprecedented surge in word creation, which eventually led to the creation of the theory of "abstruse language" - zaumi.

In literary terms, absurdity was a kind of action in defense of the “self-made word” against the subordinate meaning that the word had in the poetics of symbolism, where it played only an auxiliary role in the creation of a symbol and where poetic vocabulary was extremely strictly separated from the dictionary of colloquial speech.

In the article by L. Timofeev, characterizing this phenomenon, it is said that “acmeism has already significantly expanded its vocabulary boundaries, ego-futurism has gone even further. Not satisfied with the inclusion of the spoken language in the poetic dictionary, cubo-futurism further expanded its lexical and sound possibilities, following two lines: the first line is the creation of new words from old roots (in this case, the meaning of the word was preserved), the second line, that is, precisely zaum - the creation of new sound complexes, devoid of meaning - which brought this process of returning the word of its “rights” to the point of absurdity.

Zaum was one of the main creative principles of Russian Cubo-Futurism. Khlebnikov, G. Petnikov, and Kruchenykh defined the essence of transrational language in the “Declaration of a Transrational Language” in the following way: frozen), abstruse. A common language binds, a free language allows you to express yourself more fully. Zaum awakens and gives freedom to creative imagination, without offending it with anything specific.

Zaum, thus, is represented either by a combination of sounds that do not have a meaning, or by the same words. The innovation of the futurists was original, but, as a rule, was devoid of common sense. M. Wagner notes that “from one verbal root, the futurists produced a number of neologisms, which, however, did not enter the living, colloquial language. Khlebnikov was considered the discoverer of the verbal "Americas", a poet for poets. He had a subtle sense of the word in the direction of the search for new words and phrases. For example, from the stem of the verb “to love”, he created 400 new words, of which, as expected, not a single one entered into poetic use.

The innovative poetics of Khlebnikov was consonant with the aspirations of the Budets. After the release of Judges' Cage II, other collective and individual collections of an equally shocking quality began to appear, where futurist poems were published and discussed: “Dead Moon”, “Roaring Parnassus”, “Tango with Cows”, “Blow”, “I!” , “Gag”, “Trebnik of three” and others.

However, the movement, which was gaining momentum, immediately had a mass of imitators and imitators, who, on the wave of a fashionable literary trend, tried to turn their opuses into a hot commodity, not alien to a sort of “modernity”, and forgetting that imitation is useful only for study. And one can fully agree with the statement of O. Rykova that “futurist poets, despite the commonality of the presented manifestos, certainly differed in their creative search and depth. Mediocrity used only shocking, and true poets over time "outgrew" the existing movement and remained in the literary process as specific individuals - it could not be otherwise.

In the spring of 1914, an attempt was made to create an “official” cubo-futurism, which was to be the “First Journal of Russian Futurists”, published by the “Publishing House of the First Journal of Russian Futurists” created by the Burliuk brothers. But the publication stopped after the first issue - the war began.

This most directly affected "Gilea", which by the end of 1914 ceased to exist as a single group. Its members each went their own way. Many futurists left Moscow and Petrograd, hiding from the draft, or, on the contrary, having gone to the front.

The youth, who in peacetime constituted the main fertile audience of the futurists, was mobilized. Public interest in "futuristic audacity" began to fall rapidly.

With all the cardinal external differences, the history of cubo-futurism in Russia strikingly resembles the fate of Russian symbolism. The same furious non-recognition at first, the same uproar at birth (with the Futurists, only much stronger, growing into a scandal). This was followed by a rapid recognition of the advanced layers of literary criticism, a triumph, great hopes. A sudden breakdown and fall into the abyss at the moment when it seemed that opportunities and horizons unprecedented in Russian poetry had opened before him.

Exploring futurism at the dawn of its inception, Nikolai Gumilyov wrote: “We are witnessing a new invasion of barbarians, strong in their talent and terrible in their squeamishness. Only the future will show whether they are “Germans” or ... Huns, of which there will be no trace.”

Well, today, after almost a century, it is safe to say that the art of many "budetlyans" has stood the test of time.

Of greatest interest is the already mentioned group "Hilea". - the first futuristic group. In the 1910s of the last century, the popularity of the "Gileans" really surpassed the rest of the representatives of this literary movement. Perhaps because their work most corresponded to the canons of the avant-garde. They also called themselves "cubo-futurists" or "budetlyane" (this name was suggested by Khlebnikov). The year of its foundation is considered to be 1908, although the main composition was formed in 1909-1910.

Members of the Gilea were Velimir Khlebnikov, Alexei Kruchenykh, Vladimir Mayakovsky, David Burliuk, Vasily Kamensky, and Benedict Livshits, as well as avant-garde artists Elena Guro, Mikhail Larionov, Natalya Goncharova Vladimir and David Burliuk, Kazemir Malevich, Wassily Kandinsky. Many "speech-makers"-budetlyane were part-time artists, many avant-garde artists, such as Kandinsky, Malevich, Filonov, wrote poetry. The first collection of a group that still bore the name "Budetlyane", as well as the first futuristic publication in Russia: "The Garden of Judges" came out (" took off", in the words of Kruchenykh) in 1910 with a circulation of 300 copies. The text of the collection is printed on the reverse side of the wallpaper, 9 sheets contain illustrations by V. Burliuk.

Garden of Judges. [Issue I]. 9 drawings fecit (lat. performed by himself) by Vladimir Burliuk.

[St. Petersburg. Printing house Kugelgen and Co. 1910]. 131 p. Circulation 300 copies. 12.2x11.8 cm. Works by Vasily Kamensky, E. Nizen, N. Burliuk, E. Guro, S. Myasoedov, D. Burliuk and V. Khlebnikov are placed. The collection is printed on the reverse side of colored wallpapers of several varieties. Text on one side of the sheet. 9 sheets of illustrations by Vladimir Burliuk. In a color publisher's wallpaper cover with a printed sticker "Judges' Garden". According to the initiator of the collection, some copies of the edition were not bought by the authors from the printing house and, in all likelihood, were destroyed. [information RARUS'S GALLERY]

In December 1912, the Gileya group released the collection A Slap in the Face to Public Taste (circulation: 600 copies). It was this collection that succeeded in achieving what the publishers of "The Garden of Judges" were counting on - to attract everyone's attention. After the publication, he caused a real wave of reviews in the press.

The group's manifesto, written by Alexander Kruchenykh and signed by D. Burliuk, Mayakovsky and Khlebnikov, read:

“Only we are the face of our Time. The horn of time blows us in verbal art.

The past is tight. The Academy and Pushkin are more incomprehensible than hieroglyphs. Throw Pushkin, Dostoevsky, Tolstoy and so on. and so on. from the ship Modernity.

Whoever does not forget his first love will not know the last. [Cit. by: 4]

Publication of "Slap" was perceived by the public mostly negatively, as a fact of immorality and bad taste. But cubo-futurists believed that the publication of this book officially approved futurism in Russia (although the word "futurism" itself was never mentioned in the text).

A slap in the face of public taste. In defense of free art. Poems. Prose. Articles. D. Burliuk, N. Burliuk, A. Kruchenykh, V. Kandinsky, B. Livshits, V. Mayakovsky, V. Khlebnikov.

Moscow: Ed. G.L. Kuzmina, . Type-lithography, etc. "I AM. Dunkin and Ya. Khomutov”, Moscow, B. Nikitskaya. 9. Phone. 199-26. 112, p., in a publisher's cover covered with burlap. 25×19 cm. Circulation 600 copies. “Slap in the face” is the first poetry collection of Cubo-Futurists (St. Petersburg poetic group “Gileya”), published on December 18, 1912. He is best known for the accompanying manifesto of the same name.[info RARUS'S GALLERY]

"Slap in the face..." was framed extremely ascetically, most likely due to lack of funds. There are no illustrations in the text, which rather positively affected the perception of the works. The cover has a special expressiveness: a set of the book title in capital letters (capitals), a technique more typical for newspaper headlines and posters. Undoubtedly, this attracted the attention of the public. Especially since this headline was on a burlap-covered cover. After the release of "Slap in the face ...", persecution began on the pages of the literary press. Partly in response to this reaction, partly to further promote his ideas and shock society, Burliuk issues a leaflet. Its title completely repeats the title of the book, and it ends with the slogan "To stand on a block of the word "we" in the midst of a sea of ​​whistling and indignation."

Benedikt Lifshitz, a member of the Gilea group, recalls those times in his book One and a Half Eyed Sagittarius:« At Christmas I again came to St. Petersburg. “A Slap in the Face to Public Taste”, by this time already printed in Moscow, was about to go on sale. And the wrapping paper, gray and brown, anticipating the type of newsprint of the twentieth year, and the lined cover, and the very title of the collection, designed to dumbfound the tradesman, hit right on target. The main trump card was the manifesto... the text of the manifesto was completely unacceptable for me. I slept with Pushkin under my pillow - am I alone? Did he not continue in his sleep to disturb those who declared him more incomprehensible than hieroglyphs? - and to throw him, along with Dostoevsky and Tolstoy, from the "steamer of modernity" seemed to me hypocrisy. I was especially outraged by the style of the manifesto, or rather, the absence of any style ...»

In February 1913, the same publishing house published (also on wallpaper, but in an enlarged format) "The Garden of Judges II" with a circulation of 800 copies. If in the first manifesto it was mainly about the ideology of the futurists, then here it is about poetic devices capable of putting these ideas into practice. Like a "Slap in the Face..." this book opens with a manifesto. It can be recognized as one of the most "programmatic" among the works of this kind released by Russian futurists. Despite the well-known particular dependence of its very form, and many of the provisions contained in it, on the manifestos of the Italians, it is in it that we first meet with a detailed justification of the “new principles of creativity”:

« 5. We characterize nouns not only by adjectives (as we did mainly before us), but also by other parts of speech, also by individual letters and numbers:

a) considering his blots and vignettes of creative expectation as part of an inseparable work;

Cubofuturism is a trend in the art of the 1910s, most characteristic of the Russian artistic avant-garde of those years, which sought to combine the principles of cubism (decomposition of an object into constituent structures) and (development of an object in the “fourth dimension”, i.e. in time).

When it comes to Russian futurism, the names of cubo-futurists, members of the Gileya group, immediately come to mind. They are remembered for their defiant behavior and shocking appearance (the famous Mayakovsky yellow jacket, pink frock coats, bunches of radishes and wooden spoons in buttonholes, faces painted with unknown signs, outrageous antics during performances), and scandalous manifestos and sharp polemical attacks against literary opponents. , and the fact that their ranks included Vladimir Mayakovsky, the only one of the futurists who was “not persecuted” in Soviet times.

In the 1910s of the last century, the popularity of the "Gileans" really surpassed the rest of the representatives of this literary movement. Perhaps because their work most corresponded to the canons of the avant-garde.

Gilea is the first futuristic group. They also called themselves "cubo-futurists" or "budetlyane" (this name was suggested). The year of its foundation is considered to be 1908, although the main composition was formed in 1909-1910. “We didn’t even notice how we became Gileans. This happened by itself, by a common tacit agreement, just as, realizing the commonality of our goals and objectives, we did not bring each other Hannibal oaths of loyalty to any principles. Therefore, the group did not have a permanent composition.

At the beginning of 1910, in St. Petersburg, "Gilea" announced its existence as part of D. and N. Burlyukov, V. Khlebnikov, E. Guro, A. Kruchenykh and B. Livshits. It was they who became representatives of the most radical flank of Russian literary futurism, which was distinguished by revolutionary revolt, oppositional disposition against bourgeois society, its morality, aesthetic tastes, and the entire system of social relations.

cubofuturism It is considered to be the result of mutual influence of Futurist poets and Cubist painters. Indeed, literary futurism was closely associated with the avant-garde art groups of the 1910s, such as the Jack of Diamonds, Donkey's Tail, and the Union of Youth. The active interaction of poetry and painting, of course, was one of the most important incentives for the formation of cubo-futuristic aesthetics.

The first joint appearance of the Cubo-Futurists in the press was the poetry collection "The Garden of Judges", which actually determined the creation of the Gilea group. Among the authors of the almanac D. and N. Burliuk, Kamensky, Khlebnikov, Guro, Ek. Nizen and others. Illustrations were made by D. and V. Burliuks.

The idea of ​​the exhaustion of the cultural tradition of previous centuries was the starting point of the aesthetic platform of the Cubo-Futurists. Their manifesto, which bore the deliberately scandalous name "Slap in the face of public taste", became a programmatic one. It declared the rejection of the art of the past, calls were made to “throw off Pushkin, Dostoevsky, Tolstoy, and so on and so forth. from the steamer of modern times.

However, despite the rather harsh tone and polemical style of the manifesto, many ideas were expressed in the almanac about the ways for the further development of art, the convergence of poetry and painting. Behind the external bravado of its authors was a serious attitude to creativity. And the famous shocking phrase about Pushkin, which, it would seem, does not allow for other interpretations, was explained by Khlebnikov, to whom, in fact, he belonged, in a completely different way: “Budetlyanin is Pushkin in his coverage of the World War, in the cloak of the new century, teaching the right of the century to laugh over Pushkin of the 19th century” and did not sound shocking at all. In another declaration (1913), Khlebnikov wrote: “We are offended by the distortion of Russian verbs by translatable meanings. We demand to open Pushkin's dams and Tolstoy's piles for the waterfalls and streams of the Montenegrin sides of the arrogant Russian language ... In addition to the howls of many throats, we say: "There is one sea here and there." A. E. Parnis, commenting on this statement, states: “Khlebnikov’s declarative thesis, outwardly directed against the classics - Pushkin and Tolstoy, against their language canons, is in fact dialectically addressed to their own authority, primarily to Pushkin: Khlebnikov’s metaphor“ one sea" clearly goes back to the famous Pushkin's "Will the Slavic streams merge into the Russian sea?"

Another futurist speaks in the same spirit: “The mockery of idols: Pushkin and Lermontov, etc. is ... a direct blow to those brains that, having absorbed the spirit of lazy authoritarianism from school, never tried to give themselves an account of that a truly futuristic role, which for his time was played even by the slacker Pushkin, who brought to the Frenchized salons essentially the most common folk ditty, and now, after a hundred years, chewed and familiar, has become a yardstick of elegant taste and has ceased to be dynamite! Not the dead Pushkin, in academic volumes and on Tverskoy Boulevard, but the living Pushkin of today, a century later living with us in the verbal and ideological explosions of the futurists, who continue today the work that he did on the language the day before yesterday ... "

Publication of "Slap" was perceived by the public mostly negatively, as a fact of immorality and bad taste. But cubo-futurists believed that the publication of this book officially approved futurism in Russia (although the word "futurism" itself was never mentioned in the text).

In February 1913, the same publishing house published (also on wallpaper, but in an enlarged format) Judges' Garden II. If in the first manifesto it was mainly about the ideology of the futurists, then here it is about poetic devices capable of putting these ideas into practice.

One of the founders of the movement, V. Khlebnikov was actively involved in revolutionary changes in the field of the Russian language. He wrote: “To find, without breaking the circle of roots, the magic stone of turning all Slavic words into one another, to freely melt Slavic words - this is my first attitude to the word. This self-styled word is outside everyday life and life benefits. Seeing that the roots are just a ghost, behind which are the strings of the alphabet, to find the unity of world languages ​​in general, built from the units of the alphabet, is my second attitude to the word.

Khlebnikov, seeking to expand the boundaries of the language and its possibilities, worked hard to create new words. According to his theory, the word loses its semantic meaning, acquiring a subjective coloring: “We understand vowels as time and space (the nature of aspiration), consonants - paint, sound, smell.”

The very concept of the meaning of a word from the level of sound association has now moved to the levels of graphic constructions and connections within one word according to structural features. The lexical renewal of literary texts was now achieved by introducing vulgarisms, technical terms into it, the invention of unusual phrases, and the rejection of punctuation marks. Some poets produced new words from old roots (Khlebnikov, Kamensky, Gnedov), others split them with rhyme (Mayakovsky), others, with the help of poetic rhythm, gave words the wrong stress (Kruchenykh). All this led to the depoeticization of the language.

After syntactic shifts, semantic shifts began to appear. This was manifested in a deliberate inconsistency of phrases, in the replacement of a word that was necessary in meaning with its opposite in meaning.

The visual impact of the poem now played a large role. “We began to give content to words according to their descriptive and phonetic characteristics.<...>In the name of freedom of personal chance, we deny spelling. We characterize a noun not only by adjectives… but also by other parts of speech, also by individual letters and numbers.” The essence of poetry has shifted from questions of the "content" of the text to questions of "form" ("not what, but how"). To do this, the Futurists used the figurative construction of the verse, where they actively used the methods of rhyming not the final, but the initial words, as well as internal rhymes or the “ladder” way of arranging the lines.

Showing a heightened flair for the word, the futurists reached the point of absurdity while designing. They attached special importance to word creation, “self-made word”. In the program article "The Word as such" abstruse lines were given:

Dyr bul schyl ubeshshur
skoom you co boo
r l ez

The result of such activities of the futurists was an unprecedented surge in word creation, which eventually led to the creation of the theory of "abstruse language" - zaumi.

In literary terms, absurdity was a kind of action in defense of the “self-made word” against the subordinate meaning that the word had in the poetics of symbolism, where it played only an auxiliary role in creating a symbol and where poetic vocabulary was extremely strictly separated from the dictionary of colloquial speech.

In an article by L. Timofeev, characterizing this phenomenon, it is said that “acmeism has already significantly expanded its vocabulary boundaries, ego-futurism has gone even further. Not satisfied with the inclusion of the spoken language in the poetic dictionary, cubo-futurism further expanded its lexical and sound possibilities, following two lines: the first line is the creation of new words from old roots (in this case, the meaning of the word was preserved), the second line, that is, precisely zaum - the creation of new sound complexes, devoid of meaning - which brought this process of returning the word of its "rights" to the point of absurdity.

Zaum was one of the main creative principles of Russian Cubo-Futurism. Khlebnikov, G. Petnikov and Kruchenykh defined the essence of transrational language in the “Declaration of a Transrational Language” as follows: “Thought and speech do not keep pace with the experience of the inspired, therefore the artist is free to express himself not only in a general language ... but also in a personal one ... and in a language that does not have a definite meaning (not frozen) , abstruse. A common language binds, a free language allows you to express yourself more fully. Zaum awakens and gives freedom to creative imagination, without offending it with anything specific.

Zaum, thus, is represented either by a combination of sounds that do not have a meaning, or by the same words. The innovation of the futurists was original, but, as a rule, was devoid of common sense. M. Wagner notes that “from one verbal root, the futurists produced a number of neologisms, which, however, did not enter the living, spoken language. Khlebnikov was considered the discoverer of the verbal "Americas", a poet for poets. He had a subtle sense of the word<...>looking for new words and phrases. For example, from the stem of the verb "to love" he created 400 new words, of which, as expected, not a single one entered into poetic use.

The innovative poetics of Khlebnikov was consonant with the aspirations of the Budets. After the release of Judges' Cage I, other collective and individual collections of an equally shocking quality began to appear, where futurist poems were published and discussed: "Dead Moon", "Roaring Parnassus", "Tango with Cows", "Blow", "I!" , "Gag", "Trebnik" and others.

However, the movement, which was gaining momentum, immediately had a mass of epigones and imitators, who, on the wave of a fashionable literary trend, were trying to turn their opuses into a salable commodity, not alien to a sort of “modernity”, and forgetting that imitation is useful only for study. And one can fully agree with the statement of O. Rykova that “futurist poets, despite the commonality of the presented manifestos, certainly differed in creative search and depth. The mediocrity used only shockingness, and the true poets over time “outgrew” the existing movement and remained concrete individuals in the literary process - it could not be otherwise”?..

In the spring of 1914, an attempt was made to create an "official" cubo-futurism, which was to be the "First Journal of Russian Futurists", published in the "Publishing House of the First Journal of Russian Futurists" created by the Burliuk brothers. But the publication stopped after the first issue - the war began.

This most directly affected the "Giley", which by the end of 1914 ceased to exist as a single group. Its members each went their own way. Many futurists left Moscow and Petrograd, hiding from the draft, or, on the contrary, having gone to the front.

The youth, who in peacetime constituted the main fertile audience of the futurists, was mobilized. Public interest in "futuristic audacity" began to decline rapidly.

With all the cardinal external differences, the history of cubo-futurism in Russia strikingly resembles the fate of Russian symbolism. The same furious non-recognition at first, the same uproar at birth (with the Futurists, only much stronger, growing into a scandal). This was followed by a rapid recognition of the advanced layers of literary criticism, a triumph, great hopes. A sudden breakdown and fall into the abyss at the moment when it seemed that opportunities and horizons unprecedented in Russian poetry had opened before him.

Exploring futurism at the dawn of its inception, Nikolai Gumilyov wrote: “We are witnessing a new invasion of barbarians, strong in their talent and terrible in their squeamishness. Only the future will show whether they are “Germans”, or ... Huns, of which there will be no trace.”

Well, today, after almost a century, it is safe to say that the art of many "budetlyans" has stood the test of time.

The content of the article

FUTURISM(Italian futurismo from lat. futurum - future) - the avant-garde art movement of the 1910s - early 1920s of the 20th century, most fully manifested in Italy (the birthplace of futurism) and Russia. Futurists were also in other European countries - Germany, England, France, Poland. Futurism declared itself in literature, painting, sculpture, and to a lesser extent in music.

Italian Futurism.

The birthday of futurism is considered February 20, 1909, when T.F. Marinetti wrote in the Parisian newspaper Le Figaro Futurism Manifesto. It was Marinetti who became the theorist and leader of the first, Milanese, group of futurists. The manifesto was addressed to young Italian artists (“The oldest among us are thirty years old, in 10 years we must complete our task until a new generation comes and throws us into the wastebasket.”). The manifesto denied all the spiritual and cultural values ​​of the past. (A few years later, the Russian futurist poet V. Mayakovsky formulated this briefly and expressively: “I put “nihil” over everything that has been done.”).

It is no coincidence that futurism originated in Italy, a country-museum. “We have no life, but only memories of a more glorious past ... We live in a magnificent sarcophagus in which the lid is tightly screwed so that fresh air cannot enter,” complained Marinetti. To introduce your compatriots to the Olympus of modern European culture - that's what undoubtedly stood behind the outrageous and loud tone of the manifesto. A group of young artists from Milan, and then from other cities, immediately responded to Marinetti's call - both with their work and their own manifestos. February 11, 1910 appears Futurist Manifesto, and on April 11 of the same year - Technical Manifesto of Futurist Painting, signed by U. Boccioni, J. Balla, K. Carra, L. Russolo, J. Severeni - the largest futurist artists. Marinetti himself published over 80 manifestos in his life, concerning not only the most diverse types of artistic creativity, but also various aspects of life. In all his works, both theoretical and artistic (poetry, novel Mafarka the futurist) Marinetti, like his associates, denied not only the artistic, but also the ethical values ​​of the past.

Pity, respect for the human person, romantic love were declared obsolete. Intoxicated with the latest advances in technology, the Futurists sought to cut out the "cancer" of the old culture with the knife of technism and the latest achievements of science. A racing car, "rushing like shrapnel," seemed to them more beautiful than Nike of Samothrace. Futurists argued that the new technique also changes the human psyche, and this requires a change in all the visual and expressive means of art. In the modern world, they were especially fascinated by speed, mobility, dynamics, and energy. They dedicated their poems and paintings to automobiles, trains, and electricity. “The heat emanating from a piece of wood or iron excites us more than the smile and tears of a woman,” “New art can only be violence, cruelty,” Marinetti said.

The worldview of the Futurists was strongly influenced by the ideas of Nietzsche with his cult of the "superman"; Bergson's philosophy, which states that the mind is able to comprehend only everything that is ossified and dead; rebellious slogans of the anarchists. A hymn to strength and heroism - in almost all the works of Italian futurists. The man of the future, in their view, is a "mechanical man with replaceable parts", omnipotent, but soulless, cynical and cruel.

They saw the cleansing of the world from "junk" in wars and revolutions. "War is the only hygiene of the world", "The word "freedom" must obey the word Italy," proclaimed Marirnetti. Even the titles of poetry collections pistol shots Luchini, Electric verses shit, bayonets HELL. (apostrophe) Albs, airplanes buzzi, Song of the Engines L. Folgore, Pyro Palazzeschi speak for themselves.

The key slogan of the Italian futurists in literature was - "Words on the loose!" - not to express the meaning in words, but to let the word itself control the meaning (or nonsense) of the poem. One of his contemporaries described how Marinetti read his poem about the war: “Boom, boom .. and explains: - these are the nuclei. Boom, boom ... tararkh - a shell burst. Peak, peak, peak - a swallow flies over the battlefield. Wow, Marinetti growls so that the frightened face of the lackey is shown in the office door - this is the wounded mule breathing. Onomatopoeia, drawings, collages, playing with fonts, mathematical symbols - all this, according to the futurists, should destroy the traditional, unambiguous connection between the word and meaning and create new, modern, inexpressible only in words and generally accepted graphics, meanings.

In painting and sculpture, Italian Futurism became the forerunner of many subsequent artistic discoveries and trends. So, Boccioni, who used a variety of materials in one sculpture (glass, wood, cardboard, iron, leather, horsehair, clothes, mirrors, light bulbs, etc.), became a harbinger of pop art. Striving in his futuristic sculptures-constructions to combine plastic form, color, movement and sound, Balla anticipated both kineticism and later synthetic art forms.

The Italian Futurists introduced (or at least tried to introduce) sound into their canvases and sculptures. (“Our canvases,” wrote K. Carra, “will express the plastic equivalents of sounds, noises and smells in the theater, in music, in the cinema hall, in a brothel, at a railway station, in a port, garage, clinic, workshop, etc.). n. For this, the artist must be a whirlwind of sensations, pictorial strength and energy, and not a cold logical intellect.

For the Italian futurists (as well as subsequently for the Russians) direct contact with the public was very important. Artists attended their exhibitions, shocking the public with their appearance and speeches.

The poets tried to ensure that the people who came to their performances were not only spectators, but also participants in some action. “We will throw into the future the locomotives of our inspiration,” Marinetti proclaimed, and the public began to imitate the whistles of departing locomotives. A. Mazza called for the destruction of museums, libraries and all kinds of academies, to anathematize all professors. “Aha! It’s true that I failed in the exams, ”they shout from the audience. “Futurists are not afraid of whistles, they are only afraid of slight signs of approval,” another futurist speaker proudly proclaims. Orange peels flying from the audience to the stage, a police squad at the end of the performance ... - all this was an almost obligatory and welcome part of the performances of the "people of the future". It is with futurism that the tendency of the artist to consistently go beyond art begins.

On the eve of the First World War, Marinetti openly subordinates artistic interests to political ones: he creates futuristic circles from nationalist-minded youth, travels around Europe with propaganda lectures. Agitates for the entry of Italy into the First World War and himself participates in it as a volunteer. In 1918, the Italian futurists created a political party, which began to draw closer to the "fascists" of B. Mussolini. In the 1920s, many futurists sang of the fascist regime, considering it the embodiment of the dream of a great future for Italy.

Italian Futurism in Russia.Italian futurism was well known in Russia almost from birth. Futurism Manifesto Marinetti was translated and published in the Evening newspaper on March 8, 1909. M. Osorgin, an Italian correspondent for the Russkiye Vedomosti newspaper, regularly introduced the Russian reader to futuristic exhibitions and performances. V. Shershenevich promptly translated almost everything that Marinetti wrote. Therefore, when Marinetti arrived in Russia at the beginning of 1914, his performances did not cause any sensation. Most importantly, by this time, Russian literature had blossomed its own futurism, which considered itself better than Italian and not dependent on it. The first of these statements is indisputable: in Russian futurism there were talents of such a magnitude that Italian futurism did not know.

The first significant exhibition of Italian futurist artists was held in Paris in 1912 and then traveled to all the art centers of Europe. Everywhere she was a scandalous success, but did not attract serious followers. The exhibition did not reach Russia, but at that time Russian artists themselves often lived abroad for a long time, the theory and practice of Italian futurism turned out to be in many ways consonant with their own quests.

The beginning of futurism in Russia.

In Russia, futurism at first manifested itself in painting, and only then in literature. The artistic searches of the brothers D. and N. Burlyukov, M. Larionov, N. Goncharova, A. Exter, N. Kulbina and others became, as it were, the prehistory of Russian futurism (although the word itself was not used in relation to the phenomena of Russian art until 1911).

In March 1910 in the collection Impressionist studio a poem by the then almost unknown poet V. Khlebnikov was published Laughter spell (Oh, laugh laughers! ...), which later became almost the hallmark of futurism. The collection came out a little later. Judges' cage. Among the authors are David and Nikolai Burliuk, Elena Guro, V. Khlebnikov, V. Kamensky. The sound similarity of the words "garden" and "judges" immediately attracted attention. The meaning of the name for the uninitiated reader was indistinct (and therefore shocked him). However, the authors “deciphered” the title as follows: a cage is a cage for keeping animals in captivity, the poets of the future are still driven into a cage (a cage), but in the future they will become legislators (judges) of poetic taste. “The main thing is that everyone unanimously understood,” recalled V. Kamensky, “that the essence of our coming is not only in the book Judges' cage but in those huge undertakings of the future, which we energetically took up in the hope of supporting the army of advanced youth. The book was printed on the back of the wallpaper. According to the recollection of the same V. Kamensky (his poem Churlyu-Zhurl the collection was opened) the book "exploded with a deafening roar ... on the peaceful decrepit street of literature." "Wallpaper poets", "clowns", "chickens to laugh" - this is how professional criticism greeted the collection. But the general public did not notice the collection: it was published in a scanty circulation, and besides, it was not completely redeemed from the printing house.

Hylaea = Cubofuturism.

In the winter of 1911, the young poet Benedikt Livshits came to the village of Chernyanka in the Nizhne-Dneprovsky district of the Taurida province, where the Burliuk family lived, to visit the brothers David, Vladimir and Nikolai - to sort out the papers of Khlebnikov, who had recently visited here. “On quarters, on half-sheets, sometimes just on scraps… recordings of the most varied content scattered in all directions… the understanding of language as art found the most eloquent confirmation in the works of Khlebnikov, with the only amazing proviso that the process, thought until now, as a function of the collective consciousness of an entire people, was embodied in the work of one person ... - B. Livshits later said, who left rather extensive memories of his stay in Chernyanka: "It was a continuous creative boil that broke off only in a dream." “David continued to study complex compositions, in ‘landscapes with several points of view’, putting into practice his doctrine of multiple perspective... A tender love for the material, an attitude towards the technique of reproducing an object on a plane as something immanent in the very essence of the depicted urged the Burliuks to test their forces in all types of painting - oil, watercolor, tempera, from paints to pass to a pencil, to engage in etching, engraving ... ".

The ancient Greek name of the area where Chernyanka was located - Gilea - was chosen for the name of the literary group, which, in addition to the Burliuks and Livshits, also included Khlebnikov and V. Kamensky. And the next winter - 1912 - a student of the Moscow School of Painting, Sculpture and Architecture D. Burliuk (by that time already a participant in several exhibitions of the “new” painting) and a very young student of the same school V. Mayakovsky spend a “memorable night”: “Conversation .... David has the wrath of a master who enriched his contemporaries; I have the pathos of a socialist who knows the inevitability of the collapse of the old. Russian futurism was born,” Mayakovsky wrote.

The program of Russian futurism, or rather that group of it, which at first called itself "Gilea", and entered the history of literature as a group of cubo-futurists (almost all the Gilean poets - to one degree or another - were also painters, adherents of cubism) became manifestos published in collection A slap in the face of public taste(1912): and Judges' cage II (1913)

Only we are the face of our Time...

In the history of literature, Igor Severyanin is the leader of egofuturism. But for readers - "only a poet."

Other groups of futurists.

After "kubo" and "ego", other futuristic groupings arose. The most famous of them are “Mezzanine of poetry” (V. Shershenevich, R. Ivnev, S. Tretyakov, B. Lavrenev and others) and “Centrifuge” (S. Bobrov, N. Aseev, B. Pasternak, K. Bolshakov, Bozhidar (B. Gordeev) and others). Each of these groups considered itself to be the spokesman for "true" futurism. The new "fighters" had to fight not so much with the old literature as with the leaders of Futurism itself and "overlap" them in terms of their own slogans. “... no longer wanting to encourage the impudence of a presumptuous gang that has appropriated the name of the Russian Futurists, declaring to their face ... You are traitors and renegades ... You are impostors ... You are cowards ... You ... will be put in the need to get into your hands the true track record of PASSEIISTS" (vol. e. People who are partial to the past and indifferent to the present). Under these words from the manifesto "Centrifuge" - "Diploma" were the signatures of N. Aseev, S. Bobrov, I. Zdanevich, B. Pasternak.

The Mezzanine of Poetry, whose entire history fits into a few months of the winter of 1913-1914, has not even issued its manifesto. It was replaced by articles by M. Rosiyansky (L. Zak) Glove to cubofuturists and V. Shershenevich Open letter to M.M.Rossiyansky. Leaving the meaning to logic and science and not being satisfied with the cubo-futuristic perception of the word, Zak and Shershenevich suggested: the first one is “word-smell”, the second one is “word-image”, which preceded the understanding of the poetic word in Imagism. There was not a single major talent among the participants of the Mezzanine of Poetry.

"Centrifuge", organized by S. Bobrov in 1914, lasted for several years. Of the publications of "Centrifuge" can be noted collections of poetry and criticism Rukonog(1914) and Second collection of centrifuges(1916), collections of poems by N. Aseev Oksana(1916), B. Pasternak Over the barriers(1917) and others. The books "Centrifuges" were designed by "left" artists (A. Exter, A. Rodchenko, El Lissitzky and others).

Figures of Russian culture about futurism.

The first response to Russian futurism was an article by V. Bryusov The latest trends in Russian poetry. Futurists. An experienced critic immediately "convicted" the futurists of what they did not want to admit: their manifestos essentially repeat the manifestos of the Italians, and noticed the difference between the St. Petersburg and Moscow futurists, not so much, however, in theory as in its implementation - "Petersburg poets I was lucky: among them was a poet with an undeniably outstanding talent: Igor Severyanin ... But an outstanding poet is always higher than the school to which he is reckoned: his work cannot be a measure of the aspirations and achievements of the school. (The article by V. Bryusov appeared in 1913, when V. Mayakovsky's talent had not yet been fully revealed). At the end of the article, the master of symbolism notes that the futurists have some achievements in the field of “verbal presentation” and one can hope that the “grains” will someday grow “into real flowers”, but for this, of course, “one will have to learn a lot from ... symbolists ".

"Flat hooliganism" called futurism I. Bunin. M. Osorgin, who was ironic about Italian futurism, was seriously concerned about the spread of futurism in Russia: “The campaign of young Italians against a frozen, petrified culture may be absurd, but it can be explained, there is an excuse against it. There is no justification for those who oppose a culture that has just been born, which still needs a greenhouse and careful care ... It’s too early for us to indulge: we don’t have the right, we didn’t deserve it.

Ludmila Polikovskaya

FUTURISM THEATER

The idea and principles were declared in the manifestos of 1914–1915, written by the Italian artists J. Balla, F. Depero, E. Prampolini. They relied on the theory of the founder of literary futurism F.T. Marinetti.

Futurist painters turned to the stage to create performances for the artist's theater using new scenographic means of expression. “The scene,” E. Prampolini wrote in Manifesto of futuristic scenography(1915) - will not be a picturesque background, but an electromechanical neutral architecture, powerfully enlivened by the chromatic emanations of a light source, conducted by electric reflectors with multi-colored glasses - in accordance with the psychic essence of each segment of the stage action. The light emission of these beams, these colored light planes, their dynamic combinations will lead to remarkable results - interpenetration, mutual intersection of light and shadow. Empty gaps will be born, jubilant light clots. These additions, these surreal collisions, this abundance of sensations, combined with the dynamic architectural structures of the stage, which will move, waving metal arms, overturning plastic surfaces, among new, modern noises, will increase the vital tension of the stage action. Prampolini offered his vision of a new, futuristic type of scenery (architectural-light, dynamic) in which the actors should play. But play in a new way: they "will be able to create unexpected dynamic effects that have hitherto been neglected or very little used, mainly due to the old prejudice that calls to imitate and show reality."

The new futuristic model of scenography according to Prampolini is the transfer to the theater of the projects of Italian artists, which they developed in workshops and exhibited at exhibitions. Projects of kinetic objects - plastic complexes that combined, as Prampolini wrote, "plastic, chromatic, architectural elements, movement, noise, smell, etc., into a single alloy."

The manifesto is dedicated to the same idea. Futuristic reconstruction of the universe J. Balla and F. Depero. As follows from the title, in the plastic complexes they saw the possibility of embodying the universal categories of the modern artistic worldview, which they tried to implement in their practical implementations. They composed and built spatial compositions from heterogeneous materials: metal wire and nets, plates, colored glass and foil, paper and fabrics, mirrors, banners, springs, levers, pipes. With the help of special mechanical and electrical devices, individual parts of the structure rotated around an axis (horizontal, vertical, inclined) or around several axes at once, in one direction or in different directions, synchronously or at different speeds. Other parts were divided into volumes, layers, transformed into different shapes (cone, pyramid, ball), made sounds and noises, worked like spray guns, spreading certain chemical compounds and odors. The action involved water, fire, smoke, and other pyrotechnics, with the help of which the artists created all sorts of magical miracles, which also arose unexpectedly for the audience, thereby repeatedly activating their perception.

Plastic complexes were an expression of two trends at the beginning of the 20th century: the synthesis of different types of creative activity and going beyond the boundaries of easel painting. Self-playing spatial objects were created, which contained signs of a work of no longer fine art, but of new scenography. The theater of the artist was conceived as the last stage of this process, and in it, according to Prampolini, "there will be no place for human actors." They will be replaced by those elements of the art of the futurist artist, which he himself will be able to control, set in the necessary movement and create from them a performance capable of expressing such an emotional content that is inaccessible to the theater of literature and acting. Prampolini paid much attention to light and color effects. He believed that they could create a performance on their own and evoke new emotional experiences in the audience.

In a synthetic project Flowers(1916) Depero suggested an action that four "abstract individuals" should create in the empty blue space of the cube - in the form of four color forms: an ovoid Gray, making shrill whining sounds; dull rattling triangular Red; cut into pointed stripes White, "singing" in a thin, glassy voice; finally, Black, which sounded with deep guttural notes. According to the artist's idea, each of these "abstract individualities" alternately played its musical and color theme and was then replaced by the next "individuality". However, it was not Depero who succeeded in realizing this model on stage, but Balla - in the production Fireworks to the music of I. Stravinsky, which was shown in 1917 in S. Diaghilev's Roman entreprise.

Futurists also developed the idea of ​​creating the so-called. "artificial living beings" as characters. They were supposed to act as actors. This idea was born by Depero in the manifesto Plastic Complexes - Futuristic Free Play - Artificial Living Being(1914), although it was not implemented. But it was she who determined one of the main directions in the development of the artist's futuristic theater in 1910-1920 - in Depero in his plastic dances(1918) and Machine 3000(1924), with Prampolini in the play Matum and Tevilar(1916), and in the pantomimes he performed in Paris in the mid-1920s.

The stage ideas of the Italian Futurists had a significant impact on the development of theater and stage design in the 20th century. In different countries, this influence affected in different ways, to different degrees and in different forms. On the Russian stage, it manifested itself in the performances performed in 1913 by the St. Petersburg "futurist theater": Victory over the sun which - in the project of K. Malevich - became the artist's first theater work, and Tragedy. Vladimir Mayakovsky, where the poet himself played the main role, as well as in the so-called. scenographic cubo-futurism of productions of the Moscow Chamber Theater - scenery and costumes by A. Exter for performances Salome(1917) and Romeo and Juliet (1921).

Viktor Berezkin

Literature:

Giovanni. Theater futuriste italien. Lausanne, 1976
Giovanni. Futuristic. Manifestes, documents, proclamations. Lausanne, 1973
Giovanni. La Scena futuriste. Paris, 1989
Berezkin V.I. Italian futurists and theater. - Questions of the theater. M., 1993
Russian futurism. Theory. Practice. Criticism. Memories. M., 1999
Poetry of Russian Futurism (New Library of the Poet), St. Petersburg, 1999
Lekmanov O. Futurism- In the book: Encyclopedia for children. Russian literature, part 2. M., 1999
Petrova E. Russian futurism. St. Petersburg, 2000
Bobrinskaya E. Futurism. M., 2000

V. Khlebnikov , V.Kamensky , E. Guro, V.Mayakovsky, A.twisted , B. Livshits .

"GILEA"

1. Gilea - an ancient wooded area in the Northern Black Sea region, presumably, the territory between the channel of the Lower Dnieper and the Black Sea. According to Herodotus, it began behind Borisfen (Dnieper), was near the Achilles run (Tendrovskaya Spit), was subject to Olbia (Parutino, Nikolaev region).

2. Hylaea - the first futuristic cubist grouping. They are also "Cubofuturists" or "Budetlyans" (the name was suggested by Khlebnikov ). The name "Gilea" has deep roots. First, brothers Burliuks were fond of archeology, studied the history of the Northern Black Sea region. Chernyanka is located on the ancient land of Gilea.

Secondly, all members of the association (except Kamensky ) were Ukrainians with ancient Cossack ancestry - Burliuks, Mayakovsky, Khlebnikov , or geographically belonged to Ukraine - Guro, Livshits. And, finally, the society was guided by the archaic art of Ukraine.

The year of foundation of "Gilea" is considered to be 1908, although the main composition was formed in 1909-1910. “We didn’t even notice how we became Gileans. This happened by itself, by a common tacit agreement, just as, realizing the commonality of our goals and objectives, we did not bring each other Hannibal oaths of allegiance to any principles” (B.Livshits). Therefore, the group did not have a permanent composition.

At the beginning of 1910, in St. Petersburg, Gilea announced its existence as part of D., V. and N.Burlyuov, V.Khlebnikov , V. Mayakovsky, V. Kamensky , E.Guro, A. twisted , B. Livshitsy and Anton Bezval. With the departure of D. Burliuk in 1920, the group actually broke up abroad.

2

There were "three whales" of "Gilea", or rather, the "holy trinity".Burliuk was, so to speak, the "FATHER", the managing director of futurism.

The secret seer of the group, its "clergyman", the invisible "SPIRIT" - of course, Khlebnikov . He did not like foreign words and called himself not a futurist, but a "budetlyan", trying to find roots in the Russian language for any concept. Thus, he turned his name Viktor into Velimir. Inexhaustible organizational projectionBurliuk complemented by "quiet genius" Khlebnikov .

His strange fantasies looked like some kind of social program, justified by an outlandish selection of facts from world history and mathematical calculations. Khlebnikov possessed the idea of ​​time. He wanted to uncover the rhythm of history and learn to predict future events.

He dreamed of a state of time, free from borders between peoples. Although his fantasy in its content, of course, had nothing in common with Marxism, but when the October Socialist Revolution came, he accepted it all the more confidently and ardently because in his eyes it was a confirmation of his theory.

These were the two most striking figures in that circle of innovators in which "SON" was to appear. They became the youngest member of the group - VladimirMayakovsky. Getting close to Gilea, Mayakovsky came ready. Russian futurism has already developed its own theory and tactics, leaders and sympathizers.

Noticing against the bleak government backdrop of the School of Sculpture and Painting, headed by Prince Lvov, an eccentric figureBurliuk, Mayakovsky "fuck up" with him.

Burliuk there was a fat man in a frock coat with a lorgnette, which he constantly held up to his one eye. David was known at the school as a "Cubist". Mayakovsky he did not understand what he wanted from the art of painting, in which Kelin's student and Serov's admirer was accustomed to appreciate realistic expressiveness above all else.

Future friends almost grabbed hand to hand. But soon they got into a conversation, and Mayakovsky could not help but be interested in plansBurliuk, about which he spoke so broadly and advertisingly, with such confidence and knowledge of the matter, that to object Mayakovsky there was nothing.

WITH Burliuk they didn't talk about politics, about revolution. True, between the poems of Blok, Bryusov, Sasha Cherny and many others that Mayakovsky memorized in one fell swoop, he suddenly began to quote entire pages from Marx. Not without pride Mayakovsky saidBurliuk upon meeting, that he managed to thoroughly "sit" for politics.

But Burliuk this political revolution in Mayakovsky didn't care at all. Burliuk knew one thing: a revolution in art. He perfectly understood the old masters - Michelangelo, Raphael, reveled in them.

Of his contemporaries, he spoke very convincingly about Serov. But at the same time, they were smashed and vilified with the last words in the smoking room and at the debates of the art school. AND Mayakovsky he learned to overthrow in art not only what he hated, but also what he once loved, in order to create new things, to move forward.

He now understood that in art, love for great teachers knows its chains, which are difficult to break, but necessary in order to become oneself.

However, Mayakovsky I did not feel at home among the futurists - their origins, life roots were too different. But, as befits a “son”, he alone was able to descend to the sinful land of “socialism”, preach the “word” throughout the country, and be morally crucified by the “Pharisees”.

Gilaeans (age in brackets is given in 1910):

David Davidovich Burliuk(28) (1882 - 1967) - organizer of the futurist movement in Russia, founder of the Gilea group, poet and painter.
Vladimir Davidovich Burliuk(24) (1886 - 1917) - innovative artist, painter, graphic artist.
Nikolai Davidovich Burliuk(20) (1890 - 1920) - poet, prose writer, critic, drew a little. In Gilea since 1910.
Vasily Vasilyevich Kamensky (26) (18.4.1884 - 11.11.1961) - a talented poet and painter, prose writer and one of the first Russian aviators. “A Futurist among the Futurists”, as the philologist-researcher A.A. Shemshurin said about him. Joined the group in March 1909.
Vladimir Vladimirovich Mayakovsky (17) (1893 - 1930) - a brilliant Soviet poet, met Burliuk in the autumn of 1911, but finally entered the Gilea late, in 1913, he played one of the leading roles in the group.
Benedict Konstantinovich Livshits(24) (1886 - 1938) - a talented poet, biographer of the group. In Gilea since 1911.
Elena Grigorievna Guro (33) (January 10, 1877, St. Petersburg - May 6, 1913, Usikirikko) - poetess, prose writer, painter. Experimented with color. Her husband M.V. Matyushin is the founder of the Union of Youth. with D. Burliuk met in 1909. and has since collaborated extensively with the group.
Alexey (Alexander) Eliseevich twisted (24) (1886 - 1968) - artist and poet, researcher of abstruse language. Joined the group in 1912.
Velimir (Victor) Vladimirovich Khlebnikov (25) (1885 - 1922) - a brilliant poet-scientist, played one of the most important roles in the group. Researcher of ancient Russian culture. In Gilea since 1909.

Chronology of the activities of the Gileans, 1908-1920

1908. In Chernyanka, the goals and objectives of the first futuristic group, called "Gilea", were outlined. This year is considered the year of foundation of the group.
1908, Nov. Exhibition "Link" in Kiev, organized by D.Burliukand A. Exter. It was attended by V. Baranov, A. Bogomazov, P. Bromirsky, V. and D.Burliuks, N. Goncharova, M. Larionov, A. Lentulov and others. At the exhibition, in the form of leaflets, the first manifesto of D. Burliuk"The Voice of the Impressionist in Defense of Painting".
1909, March. N. Kulbin organizes the exhibition "Impressionists" in St. Petersburg. It was attended by V. Baranov, E. Guro, B. Grigoriev, V.Kamensky , A. Kruchenykh, M. Matyushin, P. Sahaydachny, I. Shkolnik and others. Mostly neo-impressionistic works were presented.
1910, beginning of the year. "Gilea" in the composition of V.Khlebnikov , D. and N.Burliukov, V. Kamensky , E. Guro, V. Mayakovsky, A. twisted , B. Livshitsy declared itself as the first futuristic group.
1912, spring. The first exhibition of the gallery "Der Sturm" in Berlin took place, V. and D.Burliuks, N. Goncharova.
November 20, 1912 In St. Petersburg, a debate was held, organized by the Union of Youth, at which a report by V.Mayakovsky "On the Newest Russian Poetry". On the eve of the evening of the "Union of Youth" V.Mayakovsky with the reading of his poems and D. Burliuk performed in the artistic basement "Stray Dog". Benois's article "Cubism or Fukishism?" published in Rech on November 23 became a reaction to it.
1912, December 18. The first program collection of "budetlyans" "A slap in the face of public taste" was published with the manifesto of the same name by V.Khlebnikov , V.Mayakovsky, D. Burliuk and A. twisted .
1912. In Moscow, G. Kummin and S. Dolinsky published the first futuristic books by A. Kruchenykh and V.Khlebnikov with illustrations by N. Goncharova and M. Larionov "Game in Hell", "Old Love", "Mirskonets".
1913, February 12 and 24. Disputes about contemporary art took place in Moscow, organized by the Jack of Diamonds Society of Artists. In the second debate, D.Burliukread the report “New Art in Russia and the Attitude of Art Criticism to It”, V.Mayakovsky.
1913, March. At the beginning of the month there was a creative association of the "Union of Youth" with the group "Gileya" (as an autonomous section) for joint work in the magazine, at debates and exhibitions.
1913, 23 and 24 March. Disputes of the "Union of Youth" with reports by D. Burliuk, V.Mayakovsky, A. Kruchenykh.
1913, April 23. Death of Elena Guro.
November 11, 1913 The Polytechnical Museum in Moscow hosted the evening "Affirmation of Russian Futurism" with the participation of D. Burliuk, V.Mayakovsky, V. Khlebnikov and V.Kamensky .
1913, December 2-5. At the Luna Park Theater (Comic Opera Theatre) in St. Petersburg, a performance of the tragedy by V.Mayakovsky "Vladimir Mayakovsky"and operas by A. twisted and M. Matyushin "Victory over the sun". At the same time, there was a break between the "Gilea" and the "Union of Youth", which soon ceased to exist.
1913, December. The MUZHVZ Council forbade students from public speaking - basically this measure was directed against V.Mayakovsky and D. Burliuk.
Futurists B.Mayakovsky, D. Burliuk, V.Kamensky open their famous tour of the cities of Russia, which ended in March 1914. They visited Kharkov, Simferopol, Sevastopol, Kerch, Odessa, Kishinev, Nikolaev, Kiev, Minsk, Kazan, Penza, Saratov, Tiflis, Baku.
1914, February 21. Exception D. Burliuk and V.Mayakovsky from the Moscow School of Painting, Sculpture and Architecture. In response, they appear in the press with articles criticizing the pedagogical system of the school.
1914, October 14. An evening of futurists "War and Art" was held at the Polytechnic Museum in Moscow. It was attended by: D. Burliuk with the report "War and creativity", N. Burliuk with the report "War and racial spirit", V.Kamensky with the report "War and Culture".
1915, February. Within a month, poetry evenings were held at the Stray Dog cabaret in Petrograd: 11 - with the participation of V.Kamensky , I. Severyanina, D. Burliuk and others; 20 - V.Mayakovsky; 25 - evening dedicated to the release of the Sagittarius collection, in which for the first time Symbolists and Futurists performed together.
1917, February 27. The overthrow of the autocracy in Russia.
1917, March 26. At the Hermitage Theater in Moscow, V.Kamensky organized the "First Republican Evening of the Arts", in which D. Burliuk, V. Gnedov, A. Lentulov, K. Malevich, V. Tatlin, G. Yakulov.
1917, October 25. socialist revolution.
1917, Nov. The opening of the "Cafe of Poets" in Nastasinsky Lane in Moscow (lasted until the spring of 1918). It was designed by D. Burliuk, V.Kamensky , V.Khodasevich, G.Yakulov. Initially, there were daily performances of futurists - V. Burliuk, V.Mayakovsky, V. Khlebnikov .
1917, November 21. Exhibition of the Society "Jack of Diamonds" in the Art Salon on Bolshaya Dmitrovka, 11 in Moscow. 314 works were exhibited, A. Baryshnikov, D.Burliuk, N. Davydova, V.Kamensky , I. Klyun, K. Malevich, M. Menkov, D. Petrovsky, O. Rozanova, V. Khodasevich, A. Exter and others.
1917, December 3. At the closing of the exhibition D. Burliuk and V.Kamensky read reports on the theme "Fence painting and literature".
1917, December 30. The "Futurist Christmas Tree" was held at the Polytechnic Museum in Moscow with the participation of D. Burliuk, V.Mayakovsky and V. Kamensky .
1918, end of January. The evening "Meeting of two generations of poets" took place at the apartment of M. Tsetlin in Moscow. The party was attended by: D. Burliuk, V.Kamensky , K. Balmot, Vyach. Ivanov, A. Bely, V. Khodasevich, B. Pasternak and others. V.Mayakovsky read his poem "The Man".
1918, February. Decree of V.I. Lenin "On the introduction of the Western European calendar in the Russian Republic" was adopted.
1918, March 15. The first and only issue of the Futurist Newspaper is published in Moscow, edited by V.Mayakovsky, D. Burliuk and V.Kamensky . There was published a collective declaration "Decree No. 1 on the democratization of art" and "Manifesto of the Flying Federation of Futurists", as well as D. Burliuk"Appeal to Young Artists". The newspaper was pasted up on the street like a poster. In the same day Burliuk exhibited several of his paintings on the Kuznetsk bridge.
1918, 19 (30) March. Opening of Cafe Pittoresk on Kuznetsky Most, 5 in Moscow, where D. Burliuk, V.Mayakovsky, V.Kamensky . The painting of the cafe was carried out by G. Yakulov.
1920. D.Burliukleaves his homeland. This, in fact, was the end of the existence of the Gilea group.

From the memoirs of V.V.KAMENSKY

(March 1909, St. Petersburg, "Exhibition of paintings of modern painting" ("Impressionists")). The speaker boomed:

And we are the masters of modern painting, we open your eyes to the advent of a new, real art. This bull is a symbol of our power, we will take all sorts of philistine critics on the horns, we will begin to smash at lectures and smash petty-bourgeois tastes everywhere and in practice we will prove the rightness of leftist trends in art.
- What's your last name? reviewers asked.
- David and Vladimir Burliuks, - the sweaty artist introduced himself.
I grabbed the hot hand of the agitator, and he repeated:
- David Burliuk. At your service.

From that moment on, we merged into inseparability. Burliuks immediately introduced to Kulbin, Yakulov, Lentulov, Olga Rozanova, Larionov, Goncharova, Tatlin, Malevich, Filonov, Spandikov. I liked all these strong, healthy, confident guys so wonderfully that it was as if in my life I was just looking for them.

And now I found it, and I don’t want to part: after all, what I was talking about violently Burliuk, and he is entirely spontaneous, stuffed with storms of protest and an onslaught into the future, convinced of innovation, a knowledgeable, modern man of culture - all this lived, existed, acted, spoke in me.

The next day I was at Burliukov how exactly they were born and raised.
I read my poems, and David read his.
I spoke my thoughts about the art of the future, and David continued as if we were building a railway in a new open country where people did not know about the achievements of today's culture.
And indeed it was.
"Being determines consciousness."

We perfectly saw and realized that the greatest field of Russian art, despite the revolution of 1905, remained untouched by new trends, refreshing winds from the mornings of the future.

We perfectly understood right away that in this broad, highly cultured area we must take the initiative - the reins in our hands - and act in an organized manner, uniting the new masters of literature, painting, theater, and music into one stream.
And, most importantly, we have grasped the truth that we must appeal directly to the public, to the crowd, and especially to the progressive youth, so that our movement takes on a social character, so that we become life itself, and not a book office of outgoing and incoming samples of art. and others);
Der blaue Reiter, -München, 1912 (a collection released in the wake of the Blue Rider exhibition, where graphics by N. Goncharova, M. Larionov and K. Malevich were presented, February, 1912. N. .Kulbin, N. Goncharova, V. and D. Burliuks(article D. Burliuk- Die "Wilden" Russlands). As illustrative material in the almanac, Russian popular prints, German primitive on glass and children's drawings were widely reproduced);
A slap in the face to public taste, -M., 1912 (the first program collection of "budetlyans" with the manifesto of the same name by V. Khlebnikov , V. Mayakovsky, D. Burliuk and A. Kruchenykh);
Garden of judges II, -P., 1913;
"Union of Youth", No. 3, -P., 1913;
Book of three, - M., 1913;
Plug, - Kherson, 1913; -M., 1913;
Dead moon, Kakhovka, 1913; -M., 1913;
Three, - P., 1913;
Roaring Parnassus, - P., 1914;
"Futurists: The First Journal of Russian Futurists", No. 1-2, -M., 1914;
Futurists "Hilea", collection. Milk of mares, - Kherson, 1914; -M., 1914;
Dead moon, - M., 1914 (second edition);
Spring counterparty of muses, - M., 1915;
"Sagittarius", volume I-II, -P., 1915-1916;
Took: Drum of the Futurists, - P., 1915;
Moscow masters, - M., 1916;
Four birds, - M., 1916;
"Vremennik", volume I-IV, -M., 1917-1918.

Declarations:

A slap in the face to public taste, - M., 1913;
Letters and declarations of Russian futurists, - P., 1914;
Trumpet of the Martians, - Kharkov, 1916.