Presentation on the topic "stagnation in the USSR." Development of a lesson on the history of Russia: “Culture and spiritual climate in the era of “stagnation” Soviet cultures during the years of stagnation presentation
During this period, large investments were made in guaranteeing life support for the long term: unified energy and transport systems were created, a network of poultry farms was built, large-scale soil improvement and extensive forest planting were carried out. The demographic situation has become stable with a constant population growth of about 1.5% per year. In 1982, the state Food Program was developed and adopted, setting the task of providing adequate nutrition to all citizens of the country. According to the main real indicators, this program was carried out well. In 1980, the Soviet Union ranked first in Europe and second in the world in terms of industrial and agricultural production. In social terms, during the 18 Brezhnev years, real incomes of the population increased by more than 1.5 times. The population of Russia in those years increased by 12 million people. There was also the commissioning of 1.6 billion square meters under Brezhnev. meters of living space, thanks to which 162 million people were provided with free housing. The pride of the Soviet leadership was the constant increase in the provision of agriculture with tractors and combines, but grain yields were significantly lower than in industrialized capitalist countries. At the same time, in 1980, the production and consumption of electricity in the Soviet Union increased 26.8 times compared to 1940, while in the United States, over the same period, generation at power plants increased 13.67 times. In general, to assess the efficiency of agricultural production, it is, of course, necessary to take into account climatic conditions. Nevertheless, in the RSFSR, the gross grain harvest (in weight after processing) was one and a half to two times higher than after Perestroika, and similar proportions can be seen in the number of main types of livestock.
Lesson objectives: to reveal the changes that took place in the ruling elite of the Soviet Union in the 2000s, to show how the Soviet party and state nomenklatura was formed; note the reasons for the failure of the economic reform of the government of A.N. Kosygin on the modernization of the USSR economy in the second half of the 1960s; analyze the causes of crisis phenomena in the Soviet economy in the 1970s - the first half of the 1980s; identify the prerequisites that contributed to the emergence of the dissident movement in the USSR, characterize its role in the public life of the country; summarize the socio-economic and socio-political features of Soviet society during the period of “developed socialism” in the 1970s - the first half of the 1980s. as the “era of stagnation” Objectives of the lesson: to reveal the changes that took place in the ruling elite of the Soviet Union in the 2000s, to show how the Soviet party and state nomenklatura was formed; note the reasons for the failure of the economic reform of the government of A.N. Kosygin on the modernization of the USSR economy in the second half of the 1960s; analyze the causes of crisis phenomena in the Soviet economy in the 1970s - the first half of the 1980s; identify the prerequisites that contributed to the emergence of the dissident movement in the USSR, characterize its role in the public life of the country; summarize the socio-economic and socio-political features of Soviet society during the period of “developed socialism” in the 1970s - the first half of the 1980s. as "the era of stagnation"
The era of Khrushchev's “thaw” gave way to a time that is characterized in historical science in different ways: conservatism; stability; but more often there was “stagnation” or “crisis” of Soviet society in the late 1960s and early 1980s. In 1964, L.I. Brezhnev led a conspiracy against N.S. Khrushchev, after whose removal he held the post of First Secretary of the CPSU Central Committee. During the apparatus struggle for power and influence in the party, Brezhnev promptly eliminated all obvious and potential opponents, placing people loyal to him in positions. By the beginning of the 1970s. the party apparatus believed in Brezhnev, viewing him as a defender of the system. The party nomenklatura rejected any reforms and sought to maintain a regime that provided it with power, stability and broad privileges. PERIOD OF stagnation - a time of slow development of the economy, a passive, sluggish state of public life, thought PERIOD OF stagnation - a time of slow development of the economy, a passive, sluggish state of public life, thought
The era of “developed socialism” Maximum political stability during the years of Soviet power, the highest level of material well-being of the population in the history of the USSR was achieved Contradictions of the era The immediate prerequisites were laid that led to the collapse of the USSR BUT
The era of “developed socialism” Economic reform of 1965 (Kosygin Reform) Goal: replacement of administrative methods of economic management with economic ones Economic reform of 1965 (Kosygin Reform) Goal: replacement of administrative methods of economic management with economic ones Changes in agriculture: development of material and social village bases; increased purchase prices for agricultural products; premiums were introduced to prices for above-plan products and guaranteed wages for collective farmers; restrictions on private farming were lifted Changes in industry: the number of planned indicators was reduced to a minimum; the activities of the enterprise were to be assessed not by the gross indicators of the products produced, but by their sales; strengthening self-financing and increasing the independence of enterprises, retaining a larger share of profits at their disposal. Changes in agriculture: development of the material and social base of the village; increased purchase prices for agricultural products; premiums were introduced to prices for above-plan products and guaranteed wages for collective farmers; restrictions on private farming were lifted Changes in industry: the number of planned indicators was reduced to a minimum; the activities of the enterprise were to be assessed not by the gross indicators of the products produced, but by their sales; strengthening self-financing and increasing the independence of enterprises, retaining a larger share of profits at their disposal A.N. Kosygin, Chairman of the Council of Ministers of the USSR
The era of “developed socialism” In general, the reform gave a positive result, but the planned economy could not be combined with individual features of a market economy Economic reform of 1965 (Kosygin Reform) The five-year plans for the most stable development of the Soviet economy were: the eighth. and ninth The state could develop through the sale of oil and gas abroad, but the influx of “petrodollars” stopped in the early 1980s, as prices on the world market fell. THE COUNTRY HAS ENTERED A PERIOD OF DEEP CRISIS
Socio-political life The main idea is the construction of “developed socialism” Provisions of the concept: Homogeneity of Soviet society The emergence of a new community - the Soviet people The final solution to the national question Absence of contradictions within society Intensification of the ideological struggle against capitalism The prospect of building communism has been postponed indefinitely Provisions of the concept: Homogeneity of Soviet society The emergence of a new community - the Soviet people The final solution to the national question The absence of contradictions within society The intensification of the ideological struggle against capitalism The prospect of building communism was postponed indefinitely These provisions were reflected in the 1977 Constitution. It established the role of the CPSU as “the leading and directing force of Soviet society,” “the core of the political system.” These provisions were reflected in the 1977 Constitution. It established the role of the CPSU as “the leading and guiding force of Soviet society,” “the core of the political system.” What regime was built in the USSR?
The dissident movement is a movement of those who disagree with the dominant ideology and power. Supporters of “genuine Marxism-Leninism” advocated a return to the origins of the doctrine in the improvement of society. Supporters of Christian ideology were in favor of the spread of Christian democratic principles in society. Ideologists of liberalism believed that it was necessary to build a democratic society of the Western type. Alexander Isaevich Solzhenitsyn () Russian writer, veteran of the Great Patriotic War. In – repressed under “political” charges. In 1974, he was deprived of citizenship and expelled from the country. In 1994, Andrei Dmitrievich Sakharov (gg.), the leader of the hydrogen bomb development team, academician of the USSR Academy of Sciences, returned to his homeland. Human rights activist, Nobel Peace Laureate (1975) Andrei Dmitrievich Sakharov (gg.) Leader of the hydrogen bomb development team, academician of the USSR Academy of Sciences. Human rights activist, Nobel Peace Laureate (1975) In national republics - a movement for the rights of nations and nationalities
The case of writers Andrei Sinyavsky and Yuliy Daniel For publishing their books in the West, they were accused of anti-Soviet activities and sentenced to imprisonment in a strict regime correctional labor colony (for 7 and 5 years, respectively) The case of writers Andrei Sinyavsky and Yuliy Daniel For publishing their books in the West were accused of anti-Soviet activities and sentenced to imprisonment in a strict regime correctional labor colony (for 7 and 5 years, respectively)
Main directions: Support for countries freed from colonial dependence Support for colonial countries in the struggle for independence Assistance to the Democratic Republic of Vietnam () Main directions: Support for countries liberated from colonial dependence Support for colonial countries in the struggle for independence Assistance for the Democratic Republic of Vietnam () Foreign policy Part of the socialist countries ( China, Romania, Yugoslavia) were increasingly moving away from the USSR
Results of development The Afghan war depleted the Soviet economy. A political and moral crisis has arrived. Faith in communist ideals disappeared, corruption grew, discontent began in the national republics, pessimism grew in society. Queue of Demonstration
Change of power Yu.V. Andropov () K.U. Chernenko () From 1967 to 1982 – Chairman of the KGB of the USSR From 1982 to 1984. – General Secretary of the CPSU Central Committee. – General Secretary of the CPSU Central Committee
Introduction
Moretwenty
years
V
Soviet
stories
there was an era of “stagnation”, which in the region
culture was characterized by contradictory
trends.
On the one hand, fruitful
development of all spheres of scientific and artistic
activities.
WITH
another
sides,
intensified
ideological
control of the country's leadership over creativity
writers, poets, artists and composers.
Conditions of cultural life
In the 70s, the division was becoming more and more clearly visibleculture into official and “underground”,
not recognized by the state.
Majority
talented
poets,
writers,
artists, directors found themselves between
official and unofficial culture.
There was pressure to deny access to the viewer,
to the reader.
Publishers stopped accepting manuscripts.
Performances were removed from the repertoire.
The films went on the shelf.
Forced
to go abroad and announced
traitors.
Literature
Literature, like everything else, was divided intoofficial and "unofficial".
Everything was accompanied by the expulsion of those who did not
wanted
give up
freedom
creativity: I.A. Brodsky, A.A. Galich.
In the 70s A.I. Solzhenitsyn, V.E.
Maksimov,
V.N.
Voinovich,
G.N.
Vladimov, V.P. Aksenov and others left
Soviet Union at different times.
V.S. Grossman
Vasily Semyonovich Grossman - Soviet writer.V.S. Grossman brought his novel “Life and Fate” to the editorial office
magazine "Znamya", being already a recognized writer, but
the manuscript was not accepted, but after a while it was
seized by KGB officers.
Trying to save the book, he wrote to N.S. Khrushchev.
There was a decision prepared by the referents that the return
manuscript is "out of the question" and that a novel could be
published in the USSR no earlier than 200-300 years later.
Another copy of the novel in the mid-1970s, after the writer’s death,
was exported to the West. The novel was published abroad in
1980, and in the USSR - in 1988, during perestroika.
Over the years he wrote: “Good for you!”, 1967; “Everything Flows...”, Frankfurt, 1970;
"Life and Fate", Lausanne, 1980; “On Jewish Topics”, Tel Aviv,
1985.
A. A. Galich
Alexander Arkadievich Galich - Russian Soviet poet,screenwriter,
playwright,
author
And
executor
own songs.
Galich was prohibited from giving public concerts.
They didn’t print it and didn’t allow the record to be released.
In essence, it was a ban on any
professional activities and work.
In 1969, the Posev publishing house published a book of his songs.
As a result, in 1971 Galich was expelled from the Union of Writers of the USSR, and in 1972
- from the Union of Cinematographers.
In 1974, Galich was forced to emigrate, and immediately after crossing
border was deprived of Soviet citizenship.
On October 22, 1974, by a decree of Glavlit in agreement with the CPSU Central Committee, all
his previously published works were banned in the USSR.
About books by L.I. Brezhnev
Brezhnev trilogy - memoir books"Small Earth", "Renaissance" and
"Virgin Land", the author of which was considered
Leonid Brezhnev (actually there were
written by a group of professional
journalists).
For this trilogy, Brezhnev was awarded
April 1980 Lenin Prize for
literature.
Circulation
each
books
made up
15
millions of copies.
The books were brought into the school
literature program.
The trilogy was translated and distributed to
national libraries of 120 countries
peace.
Education
Transition to universal secondary educationcompleted by 1975.
was
96% of Soviet youth completed or completed the course
high school or special education institutions
(vocational school, technical school). The acceleration of scientific and technological progress has complicated
school programs, which led to a decrease
interest in classes led to a deterioration in the level of
preparation.
A significant restructuring of the entire
pedagogical system.
Education reform was launched in 1984, but
turned out to be unprepared and was folded. Increases
number of students and
higher education
establishments.
Passes in the early 70s
company for
transformation
pedagogical
institutions in
universities (by 1985
– 69 universities). Overproduction of specialists with higher education with a shortage
skilled workers led to a decline in prestige
higher education (an engineer received a salary lower than a worker)
Many specialists with university diplomas had to work outside of
specialties.
“In the early 70s. XX century People's Teacher of the USSR Viktor Fedorovich
education of schoolchildren. It has become popular in many countries around the world. “In the early 70s. XX century People's Teacher of the USSR Viktor Fedorovich
Shatalov developed an original innovative training system and
education of schoolchildren. It became popular in many countries
peace.
Viktor Fedorovich Shatalov - innovative teacher,
People's Teacher of the USSR, Honorary Doctor
academy
pedagogical
sciences
Ukraine,
Honored Teacher of Ukraine.
Author of the training system using
reference signals. In this system, educational
material
presented
V
webralographic form. Uses pedagogy
cooperation, game forms of classes.
The science
DevelopmentSciences
V
in general
characterized as stagnation.
Not
Maybe
be
Network of scientific institutions and research
centers has expanded significantly.
Research intensification and strengthening
connections between science and production.
Research and production associations were created
(by 1985 - 250 such NGOs).
A new approach to energy development (nuclear
power plants, nuclear icebreaker "Arktika").
Intensive development of oil and gas fields
Western Siberia. Achievements of Soviet science in the "field of theoretical and
experimental physics (quantum electronics and laser
technique).
Research in various fields of chemistry and biology
(deciphering protein structure, genetic engineering, laser
medicine).
Scientific developments of defense and space technology and
technologies.
Research in economics, sociology, social sciences.
forecasting (large-scale programs have been developed
for development, placement and improvement
national economic complex as a whole).
Historical science (successes in the study of specific
facts and events of the past).
Theoretical developments in the field of economics and sociology
remained only on paper.
A. M. Prokhorov
Alexander Mikhailovich Prokhorov - outstandingSoviet physicist, one of the founders
the most important direction of modern physics -
quantum electronics, Nobel laureate
in physics in 1964, one of the inventors of laser
technologies.
Prokhorov's scientific works are devoted to radiophysics,
accelerator physics, radio spectroscopy, quantum
electronics and its applications, nonlinear optics.
Created by:
laser based on two-quantum transitions (1963),
range of continuous wave and infrared lasers
(1966),
powerful gas-dynamic laser (1966).
HELL. Sakharov
Andrei Dmitrievich Sakharov - Soviet physicist, academician of the USSR Academy of Sciences andpolitician, dissident and human rights activist, one of the founders
Soviet hydrogen bomb. Winner of the Nobel Peace Prize for 1975.
On January 22, 1980 he was arrested and with his second wife Elena Bonner without
court exiled to the city of Gorky. Was deprived of: the title of three times Hero
Socialist Labor, the title of laureate of Stalin (1953) and Lenin
(1956) prizes, as well as the Order of Lenin (the title of member of the USSR Academy of Sciences was not deprived
was).
In the late 1970s and early 1980s, there was a campaign against Sakharov in the Soviet press. IN
The Great Soviet Encyclopedia (published in 1975) and then in those published until 1986.
encyclopedic reference books, the article about Sakharov ended with the phrase “In recent years, he has moved away
from scientific activity."
In Gorky, Sakharov went on three long hunger strikes. In 1981, he, together with Elena Bonner,
stands the first, seventeen days, - for the right to travel to her husband abroad for L. Alekseeva
(Sakharovs' daughters-in-law).
In July 1983, four academicians (Prokhorov, Scriabin, Tikhonov, Dorodnitsyn) signed a letter
“When they lose honor and conscience” with the condemnation of A.D. Sakharov.
In May 1984, the second (26 days) - in protest against the criminal prosecution of E. Bonner. IN
April-October 1985 - third (178 days) - for the right of E. Bonner to travel abroad for surgery
on the heart. Sakharov was forcibly hospitalized and force-fed.
During the entire time of A. Sakharov’s Gorky exile, a campaign was going on in many countries around the world against him.
protection. For example, the square is a five-minute walk from the White House, where the Soviet
embassy in Washington, was renamed “Sakharov Square”. In various world
The Sakharov Hearings have been held regularly in capitals since 1975.
He was released from Gorky exile only with the beginning of Perestroika, at the end of 1986.
Painting
Painting management policy alsowas being built
on
balance sheet
unmotivated
prohibitions
And
temporary relief.
Long years of dominance of socialist realism in
paintings led to the degradation of taste
and mass artistic culture
Soviet spectator, unable
perceive nothing more complex,
how
literal
copying
reality.
Alexander Shilov, a portrait artist who worked in the “photographic” manner, gained enormous popularity in the late 70s.
realism", author of portraits intraditional romantic style.
Participated in exhibitions of young
artists, and in 1976 became
member of the Union of Artists of the USSR.
"Bulldozer Exhibition"
On September 15, 1974 in Moscow there wasdestroyed
exhibition
24's
avant-garde artists
(“bulldozer exhibition”), but
already at the end of September, seeing that
this event caused a great deal
public
resonance,
official authorities allow
hold another exhibition in
which involves the same
the most avant-garde.
Paintings damaged during overclocking
"Bulldozer Exhibition" September 15
1974
Oscar Rabin.
Passport. 1972. Oil on canvas.
I.S. Glazunov
Ilya Sergeevich Glazunov - People's Artist of the USSR, academicianRussian Academy of Arts, State Prize laureate
Russian Federation, founder and rector of the Russian Academy
painting, sculpture and architecture by I. S. Glazunov, full holder of the order
"For services to the Fatherland", monarchist.
In 1977, an exhibition containing the painting "Roads of War"
(image of the retreating Soviet army), was closed
as “contrary to Soviet ideology.” The picture was
destroyed. Subsequently, the artist wrote an original
copy.
Since 1978 he taught at the Moscow Art Institute.
In 1981 - he organized and became director of the All-Union
Museum of Decorative, Applied and Folk Art in
Moscow.
Since 1987 - Rector of the All-Russian Academy of Painting,
sculpture and architecture.
Glazunov I. S. Ivan the Terrible. 1974
Ilya Glazunov
“Roads of War” by I. GlazunovTheater
Constant struggle for the ideals of true humanism,freedom of thought and creativity was led by the theater. Creators
fought for the life of almost every performance.
Such as
“A Man from the Outside” at the Theater on Malaya Bronnaya,
“And the dawns here are quiet”, “Hamlet” at the Taganka Theater,
“Solo for the striking clock”, “Party committee meeting”,
“Feedback” at the Moscow Art Theater.
In such conditions, many creative individuals went into
themselves, into private life, others emigrated. numbers and
facts.
Forced emigration awaited many. From the country
The director of the Taganka Theater Yu had to leave.
Lyubimov.
Yu. Lyubimov
Yuri Petrovich Lyubimov is a Russian director, actor andteacher, founder of the Moscow Drama and Comedy Theater
Taganka, Honored Artist of the RSFSR (1954), People's Artist
Artist of Russia (1992), winner of the second Stalin Prize
degrees (1952).
In 1980, Vladimir Vysotsky died, and the theater staged a performance dedicated to
in memory of the artist - the authorities ban him.
Yuri Lyubimov's next production (1982) - Pushkin's - was also banned
"Boris Godunov".
In 1983, rehearsals of Bulgakov’s “Theatrical Novel” were prohibited.
When in March 1984 Lyubimov went to England to stage “Crime and
punishment”, he was treacherously, behind his back, relieved of his position
artistic director. And then they deprived me of Soviet citizenship.
After being deprived of citizenship, he worked in Israel, America, England,
Scandinavia, France, Italy, Germany. Staged both dramatic and
opera performances. Including La Scala and the Grand Opera.
The West gladly received Yu. Lyubimov - Israel and Hungary provided
he has his own citizenship, he has access to the famous and best theater stages,
his productions are very successful.
Taganka Theater
“And the dawns here are quiet”, Taganka TheaterJanuary 6, 1971
"Hamlet", Taganka Theater
July 17, 1980.
Sculpture
ErnstIosifovich
Unknown
-
Soviet
And
American sculptor.
Sculptural compositions of the Unknown, expressing him
expression and powerful plasticity were often composed of
parts of the human body.
Monument at the grave of N.S.
Ernst Neizvestny.
2005 year.
He preferred to create sculptures in bronze, but he
monumental sculptures were created from concrete.
For his work, Neizvestny was criticized by
the then head of the Soviet Union N.S. Khrushchev, who in
1962 at an exhibition called his sculptures
"degenerate art":
- Why are you so
distorting the faces of Soviet people? N. S. Khrushchev.
In 1976, Unknown emigrated to Zurich, Switzerland, and in
1977 Moves to New York, USA.
Later, Ernst Neizvestny created a tombstone for N.S.
Khrushchev (Novodevichy Cemetery).
The most significant works of the Unknown
Soviet period are - "Prometheus" in the All-Union
pioneer camp Artek (1966) and “Lotus Flower”,
built near the Aswan Dam in Egypt (1971).
E. I. Neizvestny
"Lotus Flower", Egypt1971
Memorial "Memory to the miners of Kuzbass"
work by Ernst Neizvestny
M.M.Shemyakin
Mikhail Mikhailovich Shemyakin - Russian artist andsculptor. Laureate of the State Prize of the Russian Federation,
People's Artist of Kabardino-Balkaria, honorary
Doctor of the University of San Francisco.
From 1959 to 1971 he worked as a laboratory assistant,
performing various types of work.
He is subjected to forced treatment in a clinic for
mentally ill for three years and discharged to
a state of moderate severity, when huge
efforts
medical
specialists
was
albeit conditionally, legal capacity has been restored.
In 1971 he was expelled from the USSR.
First he lived in Paris, then in the USA, since 1981 - in
New York, since 1991 - in Claverack, New
York), New York State. Enter back into the USSR
Mikhail Shemyakin was allowed only in 1989,
after 18 years of exile. Mikhail Mikhailovich created
Institute of Philosophy and Psychology of Creativity in
Hudson city (USA).
E.V. Vuchetich
Evgeniy Viktorovich Vuchetich - outstanding Sovietsculptor-monumentalist, People's Artist of the USSR
(1959), full member (1953) and vice-president
(1970)
Academy
arts
THE USSR,
Hero
Socialist Labor (1967), five-time laureate
Stalin Prize (1946-1950), Lenin Prize laureate
Prize (1970).
“Motherland”, Mamayev Kurgan, Volgograd 1963-1967.
According to the project and under the direct supervision of Vuchetich, it was built
memorial ensemble to the heroes of the Battle of Stalingrad on Mamayev Kurgan in
Volgograd (together with architects Ya. B. Belopolsky and others,
Lenin Prize (1970))
One of the most famous and
majestic monuments of monumental art dedicated to the theme
heroic feat of the Soviet people in the fight against the fascist occupiers
- composition “Motherland” (author Vuchetich). It is sincere and
the call of the Fatherland was soulfully embodied in the face of a screaming woman with
sword in hand, defend your native land from the enemy invader.
“The Motherland is calling!”
“The Motherland is calling!”The sculpture is made from pre-made blocks
prestressed reinforced concrete - 5500 tons of concrete
and 2400 tons of metal structures (without
the foundation on which it stands).
The total height of the monument is 85-87 meters. He
rests on a concrete foundation 16 deep
meters. The height of the female figure is 52 meters
(weight - over 8 thousand tons).
The statue stands on a slab only 2 meters high,
which rests on the main foundation. This
the foundation is 16 meters high, but it is almost
not visible - most of it is hidden under
earth. The statue stands freely on the slab, like
chess piece on the board.
Thickness
reinforced concrete
walls
sculptures
is only 25-30 centimeters. Inside
frame rigidity is maintained at ninety
nine metal cables, constantly
under tension.
The sword was 33 meters long and weighed 14 tons.
originally made of stainless steel,
covered with titanium sheets. Monument to V.I. Lenin, Volga-Don Canal, Volgograd1970-1973
gg.
The decision to build a monument to V.
I. Lenin was received on the eve
celebrating the 100th anniversary of
birth of a leader.
In 1952, on a high pedestal there was
a gigantic monument to I.V. was built.
Stalin. The project was headed by Evgeniy
Vuchetich (architect Polyakov L.M.).
This monument stood for several years,
towering 40 meters above
level of the Volga. 26-meter Stalin,
dressed in the usual jacket and
crowned with a cap, thoughtfully
looked into the distance of the river, tightly squeezing his
rolled up party card in your hands
newspaper.
IN
progress
process
de-Stalinization initiated by the 20th Congress
CPSU in 1956, the monument was
monument
removed, to I.V. Stalin
But
remained
empty
Volga-Donskoy
channel, Volgograd
reinforced concrete
pedestal
Movie
Undoubtedly, cinema was going through difficult times.situation. A large number of similar
films filled cinema screens.
Search
such
talented
Soviet
directors like A. Tarkovsky, A. German, not
became an achievement for a wide film audience.
Filmed
literary
classic.
Comedies are being filmed.
Epochal
phenomenon
V
development
domestic
cinema
appeared
monumental painting by S. F. Bondarchuk
"War and Peace" (1965–1967).
.Mosfilm: L. I. Gaidai “Operation Y” 1965, “Caucasian
captive" 1967, "The Diamond Arm" 1969, "Ivan
Vasilyevich changes profession" 1973, E. A. Ryazanov "Irony
fate or Enjoy Your Bath" 1976, "Moscow no tears
believes”, V. Ya. Motyl “White Sun of the Desert” and more.
Lenfilm: Vladimir Fetin “Striped Flight” 1961
Odessa Film Studio: S. S. Govorukhin “Change the meeting place
it is forbidden".
Film studio named after A. Dovzhenko: “They were known only by sight” - Anton
Timonishin.
Riga Film Studio: “Chickens are counted in the fall” - Olgert
Dunkers.
However, not all films reached mass release. Long
many works remained unknown to the general public for a time
A. A. Tarkovsky, for example his famous “Stalker”.
L. I. Gaidai
Leonid Iovich Gaidai - Soviet film director, screenwriter,actor. People's Artist of the RSFSR (1974), People's Artist of the USSR (1989).
In 1956, Leonid Gaidai’s first film was released - “Long
way”, based on the stories of V. G. Korolenko.
Later
two
of the year
on
screens
came out
scandalous
satirical picture “The Groom from the Other World” almost
cost the director his career. After this, Gaidai goes to
shadow for three years.
1961 was marked by two short films "Dog"
Barbos and unusual cross" and "Moonshiners". These works
bring fame to the director, as well as the legendary
trio Coward - Dunce - Experienced.
The following year, Gaidai will film three short stories by O. Henry,
as part of his film "Business People".
After taking a break of three years, Leonid released three films,
each of which becomes popularly loved
a work of Soviet cinematography. Comedy film
“Operation “Y” and other adventures of Shurik”, consisting
of three film novels, takes first place at the box office 1965
of the year. Like Gaidai’s next two films - “Caucasian
captive, or Shurik's New Adventures" (1966) and
"The Diamond Arm" (1968) which repeat this
achievement. Detective
comedy
Leonida
Gaidai
-
"The Diamond Arm" was recognized in 1995
the best domestic comedy in 100 years,
winning a TV viewer poll.
In the 1970s he was involved in film adaptations of classic
works (I. Ilf and E. Petrov, M. Bulgakov, M.
Zoshchenko, N. Gogol). In 1981-1988 Gaidai
shot stories for the film magazine “Wick”.
Several new films have also been released.
Gaidai.
Leonid Gaidai’s last work was the film “On
Deribasovskaya good weather, or Brighton Beach
It's Raining Again" released in 1992.
“The Diamond Arm” 1968
E. A. Ryazanov
Eldar Aleksandrovich Ryazanov is a famous Russian andSoviet film director, screenwriter, actor, poet. People's
artist of the USSR.
In 1955, Eldar Aleksandrovich became a director at the Mosfilm film studio and
directed the first Soviet wide-screen film revue “Voices of Spring”.
In 1956, “Carnival Night” was a huge success.
Comedies: the lyrical “Girl without an Address” (1957), the heroic “Hussar
ballad" (1962), everyday "Give me a book of complaints" (1964), eccentric
“The Incredible Adventures of Italians in Russia” (1974).
One of the best paintings by E. A. Ryazanov is “Beware of the Car” (1966).
The widest audience was attracted by E. A. Ryazanov: “Zigzag
good luck" (1968), "Old Robbers" (1972), "The Irony of Fate, or With Ease
ferry!" (1975), “Office Romance” (1977), “Station for Two” (1982).
The films “Garage” (1979) and
“Say a word for the poor hussar” (1980), “Cruel Romance” (1984, based on
based on the play by A. N. Ostrovsky “Dowry”), which caused a stormy
controversy in the press, and much more.
Eldar Aleksandrovich created his own cinema, gave him a “start in life”
to many young actors, I discovered famous actors in a new way. In 1979-1985, Eldar Aleksandrovich as
host of the TV show “Kinopanorama”. In addition, they
More than 200 original television programs have been created.
Television series became the most popular
"Eight Girls, One Me", "Snow White and the Seven Dwarfs"
“Conversations in the fresh air”, “Let's talk about
oddities of love", "Parisian secrets of Eldar
Ryazanov."
In 1984, Eldar Aleksandrovich was awarded the title
People's Artist of the USSR, he twice became
laureate of State Prizes: USSR (1977 - for
film “The Irony of Fate, or Enjoy Your Bath!”) and the RSFSR
named after the Vasiliev brothers (1979 - for the film
“Office Romance”), awarded two orders
Red Banner of Labor, Order of Friendship of Peoples
and “For services to the Fatherland” II and III degrees, as well as
French Order of Arts and Letters. He -
winner of international film festivals in Madrid,
Delhi, Brussels, etc.
In 2010 he became one of the founders of the Cinema Union. Lives
and works in Moscow.
A.A. Tarkovsky
Andrei Arsenievich Tarkovsky -Soviet film director and screenwriter.
outstanding
Already with his first work – “Ivan’s Childhood” (1962) – he declared
like a philosopher in a movie. His films were not entertainment.
Spectators watched his paintings “Andrei Rublev” several times
(1966/1971), “Solaris” (1972), “Mirror” (1974), “Stalker”
(1979), “Nostalgia” (1983), “Sacrifice” (1986). Every
viewing opened up the possibility of a new reading of time and
person. A.A.
Takovsky always wanted to make a film as if it were about
contemporary. He wanted to make the viewer philosophize along
with myself. It was difficult work, not accessible to everyone, but
attractive and interesting in the creative process,
the opportunity to “travel within yourself through cinema.”
With A.A. Tarkovsky began the line of “philosophical cinema”, which
translated cinema from the farcical spectacle of the mass
culture into the category of high art.
Monument to Andrey
Tarkovsky at the entrance
at VGIK.
Music
Huge role in cultural lifeplayed a Soviet man
pop music. Western rock culture gradually
leaked from under the "iron"
curtain", influencing
to Soviet popular
music.
A sign
time
became
the emergence of “via” - vocal-instrumental ensembles (“Gems”, “Pesnyary”,
“Time Machine”, etc.).
The whole country knew the names
popular performers of Sofia
Rotaru, Valery Leontyev and others. The seventies were the time of ascension in the firmament of the Russian
pop scene of the new bright star Alla Pugacheva. Significant impact on development
classical music rendered
creativity of G. V. Sviridov (suite
"Time forward!" 1965
musical illustration for the poem
A. S. Pushkin “Blizzard” 1974).
Master of musical compositions
large forms, including ballets,
operas, symphonies became R. K. Shchedrin
(ballet “Anna Karenina” 1972,
opera "Dead Souls" 1977).
Synthesis of classical traditions and
innovative compositional
techniques distinguished by a creative manner
A. G. Schnittke. Peculiar musical and
became poetic “samizdat”
tape recordings. Wide
distribution of tape recorders
predetermined the widespread
dissemination of bard songs (V.
Vysotsky, B. Okudzhava, Yu. Vizbor), in
to which they saw an alternative
official culture.
Music and V.S. Vysotsky
Vladi Mir Semyonovich Vysotsky - Soviet poet, bard, actor, authorseveral prose works, laureate of the State
USSR Prize (1987, posthumously).
Vysotsky played about thirty roles in films (including
“The meeting place cannot be changed”, “Little tragedies”,
“Short Encounters”, “Master of the Taiga”, “Vertical”). Participant
permanent troupe of the Taganka Drama and Comedy Theater.
One of its brightest manifestations was the song creativity of V.S. Vysotsky. To him
managed to say in songs about those aspects of life that were not usually discussed
speak openly.
Democratic creativity, breadth of life, deep understanding
national spirit, its historical roots made Vysotsky truly
people's poet and artist, although he did not receive any titles or awards during his lifetime
was getting.
The phenomenon of Vysotsky’s popularity is a characteristic feature of his time. Only
Some of his songs during the author’s lifetime were heard from the screen, on the radio, or were
recorded on records.
Main
same
source
distribution
his
works
were
tape recordings.
Vysotsky’s audience was the whole country. Others not officially recognized
the authors, as a rule, were not so widely known.
Conclusion
Situationdisintegration
Soviet
culture
continued.
The discrepancy between culture and power has become more noticeable.
Official culture was losing its position. Unofficial
the field of culture expanded and strengthened its position beyond
account of the underground, dissidence, (dissent based
on disagreement with the dominant ideology existing
system, dissidence usually combines cultural and
political content).
The cultural “two worlds” manifested itself most clearly in culture
everyday life. In particular, public
The so-called “hipsters” began to be ostracized,
those. young people who strived extraordinarily
dress
And
like this
way
emphasize
my
individuality.
PLAN Manifestation of economic reform in agriculture Manifestation of economic industry Standard of living of the people Dissident movement - anti-people reform actions protest against
The essence of the conservative course of the new leadership is defined by the word “stabilization,” which became a symbol of the Brezhnev era. But it was not possible to achieve this goal, because the system immediately lost two important incentives for economic development: ü Fear of reprisals with the death of Stalin ü Enthusiasm and romantic faith with the elimination of Khrushchev.
IN SEPTEMBER 1965, AN ECONOMIC REFORM IN AGRICULTURE WAS ANNOUNCEED: Increasing purchase prices for products; Redistribution of national income in favor of agriculture; Development of the social sphere of the village; Result: there were no significant changes in agricultural policy, agricultural production continued to lag, and the state was forced to purchase bread abroad.
IN SEPTEMBER 1965, ECONOMIC REFORM IN industry WAS ANNOUNCEED: Transition from administrative to economic methods of management; Transfer of enterprises to self-financing, expansion of their independence, material incentives for workers depending on the results of their work; Economic management was centralized, 95% of Ukrainian enterprises were again subordinated to Moscow;
PROGRESS OF THE REFORM: At the first stage of the reform, relatively high rates of industrial development were ensured. Economists called 1966-1970 the “golden” five-year period. In Ukraine, fixed production assets and the total volume of industrial production increased by 1.5 times, and national income by 30%. However, in the early 1970s, the rate of increase slowed down, symptoms of the collapse of the reform. appeared
REASONS FOR THE FAILURE OF ECONOMIC REFORM: The reform did not concern the fundamentals of the administrative-command system, was not comprehensive, and did not change the structural and investment policy; The party-state apparatus could not, and did not want, to abandon the usual methods of economic management;
Mismanagement and irresponsibility intensified, corruption, organized crime and the “shadow” economy became increasingly evident. Thus, in 1970-1980. The national economy entered a period of crisis. In Ukraine, the predominance of the fuel and raw materials industries became more and more noticeable. Less than 30% of Ukrainian industry capacity worked for the consumer market (while in developed countries this figure reached 50-60% or more)
LIVING STANDARD OF THE PEOPLE During the 60-80s, there was a certain increase in the well-being of the people and an increase in wages. But this prosperity was relative: in terms of living standards, Ukraine in the 80s. was among the countries occupying 50-60th places in the world. In addition, this welfare was ensured through the sale of national natural resources - oil, gas, coal, timber. There was an acute shortage of industrial and food products, and queues became a shameful sign of people’s lives.
IN THE SOCIO-POLITICAL SPHERE THE FOLLOWING FEATURES STANDED OUT: Strengthening the political monopoly of the CPSU, concentration of all power in its hands, Absence of real bodies of self-government, people's power, Growth of the bureaucratic apparatus, Curtailment of democracy, Violation of civil rights and freedoms, Implementation of repression
As a protest against the anti-people actions of the party-state apparatus, the dissident movement gains strength. In Ukraine, the dissident movement aimed at the free development of Ukrainian culture and language, and ensuring civil rights. The “sixties” became the core of Ukrainian dissidence.
In 1950 -1960 The main manifestation of dissidence was protests and appeals to the country's leaders. Uncensored literature was distributed - “samizdat”, where the works of I. Dzyuba and E. Sverstyuk were published. In 1959, the Ukrainian Workers' and Peasants' Union, led by L. Lukyanenko, arose in Lvov, which demanded the secession of the Ukrainian SSR from the USSR and the creation of an independent socialist Ukraine. Based on a denunciation, the group was arrested, L. Lukyanenko received a 15-year prison sentence. In 1964 -1967 In the Western Ukrainian lands, the underground organization “Ukrainian National Front” operated, which aimed to establish an independent democratic Ukrainian state. In 1970 -1974 In Lvov, samizdat “Ukrainian Bulletin” was published, the chief editor of which was V. Chernovol.
In the dissident movement during 1960 -1972. About a thousand people took part. Despite its small numbers, it was a moral and ideological threat to the Soviet system. In the 1980s. the dissident movement intensified. Thanks to the activities of its representatives, the idea of the need for reforms in all spheres of life, the need to form its own independent Ukrainian state, matured.
Introduction
1. Features of culture in the first years of Soviet power
2. Spiritual and artistic culture of the period of totalitarianism
3. The Great Patriotic War in the history of Russian culture
4. Soviet architecture
5. Fashion during the Soviet period
6. Soviet culture during the period of “thaw” and “stagnation”
The war and the heroism of the Soviet people are reflected in the paintings of artists A.A. Deineki “Defense of Sevastopol”, S.V. Gerasimov “Mother of the Partisan”, painting by A.A. Plastov “The Fascist Flew” and others.
Assessing the damage to the country's cultural heritage, the Extraordinary State Commission to investigate the atrocities of the invaders named 430 museums out of 991 located in the occupied territory, 44 thousand palaces of culture and libraries among those plundered and destroyed. The house-museums of L.N. were looted. Tolstoy in Yasnaya Polyana, I.S. Turgenev in Spassky-Lutovinovo, A.S. Pushkin in Mikhailovsky, P.I. Tchaikovsky in Klin, T.G. Shevchenko in Kanev. The 12th century frescoes in the St. Sophia Cathedral in Novgorod, the manuscripts of P.I. were irretrievably lost. Tchaikovsky, paintings by I.E. Repina, V.A. Serova, I.K. Aivazovsky, who died in Stalingrad. Ancient architectural monuments of ancient Russian cities - Novgorod, Pskov, Smolensk, Tver, Rzhev, Vyazma, Kyiv - were destroyed. Suburban architectural ensembles-palaces of St. Petersburg and architectural monastery complexes of the Moscow region were damaged. The human losses were irreparable. All this affected the development of national culture after the war.
In the 30s, architecture in Russia underwent very important changes: due to the specifics of the political regime, the most beautiful churches throughout the country, as well as architectural monuments, were demolished. The buildings were built in the “constructivist” style. It was widely used for the construction of public and residential buildings. The aesthetics of simple geometric forms, characteristic of constructivism, influenced the architecture of the Lenin Mausoleum, built in 1930 according to the design of A.V. Shchuseva. The architect managed to avoid unnecessary pomp. The tomb of the leader of the world proletariat is a modest, small in size, laconic structure that fits into the ensemble of Red Square. With the coming to power of Stalin, it was replaced by a style called the “Stalin Empire style”. Lush stucco molding, huge columns with pseudo-classical capitals, sculptures of strict and powerful Soviet people, coats of arms of the USSR, paintings and mosaic panels are all in fashion - everything glorifies the outstanding achievements of the Soviet people.
Everything that surrounded people during the Soviet period contained the characteristic features of the Soviet era. Five-pointed star, hammer and sickle, harvest scenes, stylized bas-reliefs of workers. The interior used marble slabs, decorations made of bronze laurel wreaths with Soviet symbols, bronze lamps stylized as torches, and the use of Baroque elements in the decor, again with the obligatory image of state Soviet symbols. This manifests gigantomania and a penchant for richness of decoration, bordering on bad taste; there was some pretense. A true empire style is characterized, first of all, by the deepest internal harmony and restraint of forms. The splendor of Stalinist neoclassicism was intended to express the strength and power of the totalitarian state, the desire to create a new cult through the iconization of symbolism. The most famous buildings in this style are the Stalinist high-rise buildings in Moscow: the building of Moscow State University, the Ministry of Foreign Affairs and the Ministry of Transport, the VDNKh ensemble, and residential buildings.
Sculpture was dominated by the creation of numerous monuments on a socialist theme: monuments to pioneers, workers, etc. This is also what distinguished modern painting of that time. It is noteworthy that in the USSR there was no city, or even settlement, in which there would not be a monument to Lenin.
State buildings were amazing in their sheer size. For example, in 1931, the Moscow City Council held a closed competition for the design of a huge hotel with 1000 rooms, the most comfortable by the standards of those years. Six projects took part in the competition; the best was recognized as the project of young architects L. Savelyev and O. Stapran. The architectural and general press closely followed all stages of design and construction: in urban planning terms, the building was of great importance - it was located at the intersection of the main thoroughfare of the capital, Gorky Street, with the newly built “Ilyich Alley,” a huge avenue that led to the Palace of the Soviets. When the walls of the future Moscow Hotel were already being erected, Academician A. Shchusev was appointed head of the team of architects. Changes were made to the hotel project, its façade, in the spirit of new monumentality and orientation towards the classical heritage. According to legend, Stalin signed both versions of the building's façade, submitted to him on one sheet of paper, at once, as a result of which the façade of the built hotel turned out to be asymmetrical. Construction was completed in 1934. “Ilyich Alley” was not built; traces of its construction are the current Manezhnaya Square, formed on the site of the demolished buildings on Mokhov Streets.
Another striking example of architecture is the Palace, an unrealized construction project of the Soviet government. The idea of constructing a building in the capital of the world’s first state of workers and peasants that could become a symbol of the “coming triumph of communism” appeared already in the 20s. Work on it was carried out in the 1930s and in the 1950s. It was supposed to be a grandiose administrative building, a place for conventions, celebrations, etc. The palace in Moscow, with a height of 420 m, would become the tallest building in the world. It was to be crowned with a grandiose statue of Lenin. A large-scale architectural competition was held for the palace project. It was decided to build the Palace of the Soviets on the site of the destroyed Cathedral of Christ the Savior. The highest prizes at the competition were awarded to the following architects: I. Zholtovsky, B. Iofan, G. Hamilton (USA). Subsequently, the Council of Builders of the Palace of Soviets (which at one time included Stalin himself) adopted B. Iofan’s project as a basis, which, after numerous modifications, was accepted for implementation. The project was truly grandiose. The height of the structure was supposed to be 420 meters (with a statue of V.I. Lenin. Sessions of the Supreme Council, as well as all kinds of meetings according to the project, would be held in a huge hall with a volume of a million cubic meters, a height of 100 and a diameter of 160 meters, which was designed for 21,000 people! Small the hall would accommodate “only" 6 thousand. Also in the Palace of Soviets it was planned to house the Presidium, the state documentary archive, a library, a museum of world art, halls of the Chamber of the Supreme Soviet of the USSR, the Constitution, the Civil War, the Construction of Socialism, auditoriums for the work of deputies and receptions of delegations. Nearby With the building, it was decided to build a huge square and a parking lot for 5 thousand cars, for this it was necessary to change the surroundings: it was decided to move the Museum of Fine Arts 100 meters away, Volkhonka and its neighboring streets had to disappear under thousands of cubic meters of earth.
Particular attention should be paid to the statue of Lenin, which in the final project it was decided to place on the roof of the gigantic building. The sculptor intended to make the statue a hundred meters high. If only the index finger were comparable in size to a two-story house! The weight of the statue was estimated at 6 thousand tons - almost the same as the largest statue in the world - the Motherland in Volgograd - weighs.
Despite the rapid start of construction, the project had to be frozen. Moreover, the metal frame of the Palace of the Soviets was dismantled during the war: the capital needed materials for defense against Nazi Germany. After the victory, they did not begin to restore the building, although the idea of building this grandiose structure did not leave Stalin until his death. The leader wanted to emphasize with this building the superiority of the Soviet system over the structure of capitalist states. Formally, the construction of the Palace of Soviets was abandoned in the late 1950s.
After Khrushchev came to power and the decree on “the fight against architectural excesses” there were no such grandiose projects in architecture. The buildings became more modest. Brezhnev's architecture was distinguished by powerful prismatic buildings like the Moscow Rossiya Hotel, but in a provincial way they were poorer.
In the USSR, after the war, few people thought about clothing style - the situation in the country did not allow any luxury. New clothes themselves were already in short supply. But gradually the situation of citizens leveled off. The need for an aesthetic appearance has re-emerged.
It is generally accepted that the style of the 1950s was the most elegant in the history of the 20th century. The new hourglass silhouette contrasted with the crisp, straight, wide-shouldered wartime silhouette. He had certain requirements for the figure that had to be met: a thin waist, sloping shoulders, a full bust combined with rounded, feminine hips. The body was literally “molded” to the required standard from what was available - they put cotton wool in bras, tightened the waist. Popular actresses of those times were considered the standard of beauty and style: Lyubov Orlova, Klara Luchko, Elizabeth Taylor, Marilyn Monroe. Among young people, Brigitte Bardot and - in the USSR after Carnival Night - Lyudmila Gurchenko became such a standard - trendsetters for the decade.
A woman in fashionable clothes of that time resembled a flower - a full skirt almost to the ankles (they wore a light multi-layered bottom underneath), swaying in high stiletto heels, wearing the obligatory nylon stockings with a seam.
A striking change in style in the harsh post-war period, when fabrics were sold “to measure”, no more than was considered necessary for a modest short dress “without frills”, and stockings were incredibly expensive. One skirt of the “new silhouette” required from 9 to 40 meters of fabric (Fig. 5)! This style (“new look”) reached the USSR only after the death of Stalin, during Khrushchev’s “thaw”. As an alternative, there was also the “H” style proposed by Christian Dior - a straight skirt combined with a soft or fitted bodice.
“Stylish” sleeves were made 3/4 or 7/8 long - which required long, elegant gloves. No less fashionable were short nylon or openwork ones - in the color of the toilet. A small round hat was mandatory, which in winter was replaced with a “meningitis” - a small cap that covered only the back of the head. Accessories included clips and bracelets, as well as jewelry with semi-precious stones - crystal, topaz, malachite. In addition, sunglasses were incredibly popular - with pointed “arrow” corners, decorated with rhinestones. In the USSR, fur in general and astrakhan fur in particular were very fashionable.
For men, very tight trousers - pipes - and nylon shirts came into fashion. A necessary male accessory was a hat.
In the USSR, two major events had an undeniable influence on fashion, on the boldness of styles and colors: the festival of youth and students and the arrival of Christian Dior with his models for the show. The second strong trend of the 1950s was various rethinking of folklore motifs - the peoples of the USSR and the “friendly” ones. Chinese embroidered blouses and Chinese down scarves became a very strong fashion trend in the USSR.
Since buying clothes in the union was quite expensive, and the appearance of ready-made clothes from a domestic manufacturer was not fashionable. However, after the war, during the lack of attention from men, women always joyfully welcomed all the tricks that allowed them to present themselves in a favorable light. The 50s were marked by the emergence of fartsovka (speculation in expensive things). The VI World Festival of Youth and Students, held in 1957 in Moscow, became the cradle of fartsovka as a large-scale phenomenon. Thanks to the “opening” of the Iron Curtain, foreign citizens had the opportunity to visit major cities of the USSR as tourists. The black marketeers, mostly young people and students, took advantage of this. The services of black marketeers were mainly used by the so-called “hipsters,” a Soviet youth subculture that had the Western (mainly American) way of life as a standard. Hipsters were distinguished by their deliberate apoliticality, a certain cynicism in their judgments, and a negative (or indifferent) attitude towards certain norms of Soviet morality. Hipsters were distinguished from the crowd by their bright, often ridiculous, clothes, and a certain manner of conversation (special slang). They had an increased interest in Western music and dance.
Fartsovka became most widespread in Moscow, Leningrad, port cities and tourist centers of the USSR. The end of fartsovka was the establishment of first shuttle and then normal trade between the republics of the former USSR and foreign countries at the end of perestroika in the early 90s of the 20th century.
The reforms that began after Stalin's death created more favorable conditions for the development of culture. The exposure of the cult of personality at the 20th Party Congress in 1956, the return from prison and exile of hundreds of thousands of repressed people, including representatives of the creative intelligentsia, the weakening of the censorship press, the development of ties with foreign countries - all this expanded the spectrum of freedom, caused the population, especially young people, to utopian dreams of a better life. The combination of all these completely unique circumstances led to the movement of the sixties.
The time from the mid-50s to the mid-60s (from the appearance in 1954 of I. Ehrenburg’s story entitled “The Thaw” and until the opening of the trial of A. Sinyavsky and Yu. Daniel in February 1966) went down in the history of the USSR under the name “thaw”, although the inertia of the processes unfolding at that time made itself felt until the beginning of the 70s.
The era of change in Soviet society coincided with a global sociocultural turn. In the second half of the 60s, a youth movement intensified, opposing itself to traditional forms of spirituality. For the first time, the historical results of the 20th century are being subjected to deep philosophical understanding and new artistic interpretation. The problem of the responsibility of “fathers” for the catastrophes of the century is increasingly being raised, and the fatal question of the relationship between “fathers and sons” is beginning to be heard in full force.
In Soviet society, the 20th Congress of the CPSU (February 1956), perceived by public opinion as a cleansing thunderstorm, became the milestone of sociocultural changes. The process of spiritual renewal in Soviet society began with a discussion of the responsibility of the “fathers” for the departure from the ideals of the October Revolution, which became a criterion for measuring the historical past of the country, as well as the moral position of an individual. This is how the confrontation between two social forces came into play: supporters of renewal, called anti-Stalinists, and their opponents, the Stalinists.
In fiction, contradictions within the framework of traditionalism were reflected in the confrontation between conservatives (F. Kochetov - the magazines “October”, “Neva”, “Literature and Life” and the adjacent magazines “Moscow”, “Our Contemporary” and “Young Guard”) and democrats (A. Tvardovsky - Yunost magazines). The magazine “New World”, whose editor-in-chief was A.T. Tvardovsky, plays a special role in the spiritual culture of this time. It revealed to the reader the names of many major masters; it was in it that “One Day in the Life of Ivan Denisovich” by A. Solzhenitsyn was published.
Art exhibitions of Moscow neo-avant-garde artists and literary “samizdat” of the late fifties meant the emergence of values that condemned the canons of socialist realism.
Samizdat arose in the late 50s. This name was given to typewritten magazines created among creative youth who were opposed to the realities of Soviet reality. Samizdat included both the works of Soviet authors, which for one reason or another were rejected by publishing houses, as well as the literature of emigrants and poetry collections from the beginning of the century. Detective manuscripts were also passed around. The “thaw” samizdat began with lists of Tvardovsky’s poem “Terkin in the Other World,” written in 1954, but not permitted for publication and ended up in samizdat against the will of the author. The first samizdat magazine “Syntax”, founded by the young poet A. Ginzburg, published the prohibited works of V. Nekrasov, B. Okudzhava, V. Shalamov, B. Akhmadulina. After Ginzburg’s arrest in 1960, the first dissidents (Vl. Bukovsky and others) picked up the samizdat baton.
The sociocultural origins of anti-socialist art already had their own basis. Characteristic in this sense is the example of the ideological evolution of B. Pasternak (M. Gorky considered him the best poet of socialist realism in the thirties), who published the novel “Doctor Zhivago” in the West, where the author critically rethinks the events of the October Revolution. Pasternak's expulsion from the Writers' Union drew a line in the relationship between the authorities and the artistic intelligentsia.
Cultural policy during the “thaw”. N. Khrushchev clearly formulated the task and role of the intelligentsia in public life: to reflect the growing importance of the party in communist construction and to be its “machine gunners.” Control over the activities of the artistic intelligentsia was carried out through “orientation” meetings of the country’s leaders with leading cultural figures. N.S. himself Khrushchev, Minister of Culture E.A. Furtseva, the main ideologist of the party M.A. Suslov were not always able to make a qualified decision regarding the artistic value of the works they criticized. This led to unjustified attacks against cultural figures. Khrushchev spoke sharply against the poet A.A. Voznesensky, whose poems are distinguished by sophisticated imagery and rhythm, film directors M.M. Khutsiev, author of the films “Spring on Zarechnaya Street” and “Two Fedora”, M.I. Romm, who directed the feature film “Nine Days of One Year” in 1962.
In December 1962, during a visit to an exhibition of young artists in Manezh, Khrushchev scolded the “formalists” and “abstractionists,” among whom was the sculptor Ernst Neizvestny. All this created a nervous atmosphere among creative workers and contributed to the growth of distrust in the party’s policy in the field of culture.
The time of Khrushchev’s “thaw” directly and indirectly divided and disoriented the creative intelligentsia: some overestimated the nature of superficial changes, others failed to see their “hidden subtext” (external influence), others were no longer able to express the fundamental interests of the victorious people, others were only capable of propaganda of the interests of the party and state apparatus. All this ultimately gave rise to works of art that were inadequate to reality and dominated by the ideals of democratic socialism.
In general, the “thaw” turned out to be not only short-lived, but also quite superficial, and did not create guarantees against a return to Stalinist practices. The warming was not sustainable, ideological relaxations were replaced by crude administrative interference, and by the mid-60s the “thaw” had faded away, but its significance went beyond brief bursts of cultural life.
General characteristics of Soviet culture during the period of “stagnation”. For more than twenty years in Soviet history there was an era of “stagnation”, which in the field of culture was characterized by contradictory trends. On the one hand, the fruitful development of all spheres of scientific and artistic activity continued, and thanks to state funding, the material base of culture was strengthened. On the other hand, the ideological control of the country's leadership over the work of writers, poets, artists and composers has increased.
During this long period of time, serious changes occurred in all areas of social life:
thanks to scientific, technological and information progress, there was a split and reorientation of public consciousness, especially among young people, towards the traditional values of Russian culture and Western patterns of life;
the fuzzy disunity that was observed among the creative intelligentsia acquired quite clear outlines of the confrontation between two cultures - the official nomenklatura (part of the creative elite merged with the highest echelons of power) and the national democratic (the emergence and development of a new people's intelligentsia both in the Great Russian and in the Union republics, autonomies and regions).
It is worth noting the evolution of the forms of this confrontation - from sharp rejection to the establishment of a certain mutual agreement and interaction, which was dictated by the vital need to change the guidelines for internal and external development. Thus, the logic of the development of the subject of reflecting reality by official culture was associated with an attempt to maintain its dominant position in the public consciousness, which caused a transition from the obvious “varnishing” of the phenomena of surrounding life to the traditions of neo-Stalinism, thereby reviving the spiritual values of Russian culture through military-patriotic and cultural historical themes (for example, the films “War and Peace” and “Andrei Rublev” directed by S. Bondarchuk and A. Tarkovsky).
Despite all the difficulties and contradictions, the literary and artistic life of the 70s was distinguished by diversity and richness. The ideals of humanism and democracy continued to live in literature and art, and the truth about the present and past of Soviet society was heard.
Acute social problems, especially of the Soviet countryside, were raised by writers V.G. Rasputin (stories “The Deadline”, “Live and Remember” and “Farewell to Matera”); V.A. Soloukhin (“Vladimir Country Roads”); V.P. Astafiev (“Theft” and “Tsar Fish”), F.A. Abramov (the trilogy “Pryasliny” and the novel “Home”), V.I. Belov (1 "Carpenter's Stories", novel "Eves"), B.A. Mozhaev (“Men and Women”). The content of most works did not leave anyone indifferent, because they dealt with universal human problems. The "village writers" not only recorded profound changes in the consciousness and morality of the village man, but also showed the more dramatic side of these shifts, which affected the change in the connection of generations, the transfer of spiritual experience of older generations to younger ones.
The work of national writers was very popular in the country and abroad: Kyrgyz Ch. Aitmatov (stories “Dzhamilya”, “Farewell Gyulsary”, “White Steamer”, “And the day lasts longer than a century”, etc.), Belarusian V. Bykov (stories “It Doesn’t Hurt the Dead”, “Kruglyansky Bridge”, “Sotnikov”, etc.), Georgian N. Dumbadze (stories “I, Grandmother, Iliko and Hilarion”, “I See the Sun”, novel “White Flags”), Estonian I Cross (novels “Between Three Crashes”, “The Imperial Madman”).
The 60s saw the work of the Russian poet N. Rubtsov, who passed away early (1971). His lyrics are characterized by an extremely simple style, melodious intonation, sincerity, and an inextricable connection with the Motherland.
Composer G.V. dedicated his musical works to the theme of the Motherland and its destinies. Sviridov (“Kursk Songs”, “Pushkin’s Wreath”), suites “Time, Forward”, musical illustration of the story by A.S. Pushkin "Blizzard").
The 70s were the time of the rise of Soviet theatrical art. The Moscow Taganka Drama and Comedy Theater was especially popular among the progressive public. “The Good Man from Szechwan” by B. Brecht, “Ten Days That Shook the World” by J. Reed, “And the Dawns Here Are Quiet...” by B. Vasilyeva, “The House on the Embankment” by Y. Trifonov, “The Master” were staged on its stage. and Margarita" by M. Bulgakov. Among other groups, the Lenin Komsomol Theater, the Sovremennik Theater, the E. Theater stood out. Vakhtangov.
The Academic Bolshoi Theater in Moscow remained the center of musical life. He was glorified by the names of ballerinas G. Ulanova, M. Plisetskaya, E. Maksimova, choreographers Yu. Grigorovich, V. Vasilyev, singers G. Vishnevskaya, T. Sinyavskaya, B. Rudenko, I. Arkhipova, E. Obraztsova, singers Z. Sotkilava , Vl. Atlantova, E. Nesterenko.
In the 70s, the so-called “tape revolution” began. Songs of famous bards were recorded at home and passed from hand to hand. Along with the works of V. Vysotsky, B. Okudzhava and A. Galich, the works of Y. Vizbor, Y. Kim, A. Gorodnitsky, A. Dolsky, S. Nikitin, N. Matveeva, E. Bachurin, V. Dolina were very popular. Youth amateur song clubs arose everywhere, and their all-Union rallies began to be held. Pop vocal and instrumental ensembles (VIAs) increasingly won the sympathy of young people.
In general, artistic culture was able to pose a number of pressing problems to Soviet society and tried to solve these problems in its works.
7. Domestic culture and “perestroika”
The renewal of the system of state socialism, begun by the party leadership led by M.S. Gorbachev in 1985 had great consequences for all branches of culture. During “perestroika” (1985 - 1991), an intensive breakdown of established stereotypes unfolded in all areas of sociocultural life. Over the course of six years, the situation in cultural life has changed radically. The monolith of “Soviet culture”, artificially held together by ideological dogmas, has disappeared. Cultural life has become incomparably more complex, more diverse, and more varied.
Perestroika as a process of transformation of Soviet society is closely connected with culture, which played a huge role in the spiritual preparation of changes. Culture has become the core of the ideological reconfiguration of society.
The policy of glasnost was decisive for changes in the cultural life of society. Reformers viewed openness as a necessary condition for the course towards democratization and acceleration of socio-economic development. The postulates of the official ideology were softened or partially revised. The class approach with its ideological intransigence was gradually replaced by the idea of the priority of universal human values and “socialist pluralism” of opinions. However, the pluralism of opinions allowed from above very quickly went beyond the socialist framework.
“Perestroika” was characterized by ideological disagreements and political divisions among the artistic intelligentsia, which split the once united creative unions. From ceremonial official events, congresses of the creative intelligentsia turned into discussions. New groups emerged, although their organizational development was hampered by the difficulty of dividing property belonging to the unions.
The instability of the political and economic situation and the easier exit procedures led to a new wave of emigration from the country. The normalization of relations with the Russian Abroad and modern means of transport and communication helped maintain the unity of Russian culture. Emigrant periodicals began to be sold freely in the USSR.
The weakening of censorship caused a rapid flow of publications on previously taboo topics. The discussion and condemnation of the “deformations of socialism”, which had accumulated quite a lot over the 70 years of the existence of Soviet power, came to the fore. Among the authors of highly critical journalistic articles, the “sixties” prevailed.
The 80s were a time when artistic culture concentrated around the idea of repentance. The motive of universal sin, the scaffold, forces one to resort to such forms of artistic figurative thinking as parable, myth, symbol (“The scaffold” by Ch. Aitmatov, the film “Repentance” by T. Abuladze).
The softening of ideological dictates made it possible to expand the cultural and information space in which society lived. The mass reader gained access to literature that had been hidden in special storage for decades. In two or three years, thick literary and artistic magazines returned to readers dozens of works by previously banned authors. The line between censored literature and samizdat became blurred. Shelf films (not passed by censors in their time) returned to screens, and “old new” plays returned to theater stages. The rehabilitation of dissidents has begun.
A characteristic phenomenon of spiritual life at the end of the 80s was the rethinking of the history of the Soviet period. Once again I found a kind of confirmation of the idea that in Russia not only the future is unpredictable, but also the past.
The most important feature of the artistic situation of the eighties is the emergence of a powerful flow of returned artistic culture. The Russian public had the opportunity to discover names and works that had previously been deliberately expelled from Russian culture and were widely known in the West: Nobel Prize laureates B.L. Pasternak, A.I. Solzhenitsyn, I. Brodsky, as well as V.V. Nabokov, E. Limonov, V. Aksenov, M. Shemyakin, E. Neizvestny.
In terms of the variety of creative styles, aesthetic concepts, and predilections for one or another artistic tradition, the culture of the late 80s and early 90s is reminiscent of the beginning of the 20th century in Russian culture.
Domestic culture, as it were, is reaching a failed natural moment of its development (calmly passed by Western European culture of the 20th century) and forcibly stopped by well-known socio-political events in our country.
At the same time, the elimination of censorship and the “open door” policy in cultural exchange also had a negative side. Hundreds of preachers of various confessions, religious schools and sects flocked to the country and formed their branches in the USSR. The ideological dictates in art have been replaced by the dictates of the market. Low-quality domestic products were poured into the flow of Western mass culture.
By the end of perestroika, state cultural policy had to solve fundamentally new problems: how to ensure support for a high level of domestic culture in market conditions and regulate the spread of mass culture through civilized measures.
Conclusion
Russia in the twentieth century acted as a catalyst for sociocultural processes on the planet .0 the October Revolution led to a split of the world into two systems, creating an ideological, political and military confrontation between the two camps . 19 The year 17 radically changed the fate of the peoples of the former Russian Empire. Another turn, which initiated significant changes in the development of human civilization, began in Russia in 1985. It gained even greater momentum at the end of the twentieth century. Russian culture developed very intensively during the Soviet period. The political regime directed the development of culture; one or another cultural event directly depended on it. This is the uniqueness of the Soviet era: for most of this period, its cultural life was closely intertwined with political life. This also resulted in the enormous influence of cultural activity not only on the mood in society, but also on the fate of specific people. All this must be taken into account when assessing sociocultural processes in modern Russia and Russia of the Soviet period.
Kondakov I.V. Introduction to the history of Russian culture: textbook. Manual, /Kondakov I.V. - M., 1997. 65 p.
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