"The days of turbine. Literary and historical notes of young technique Days of turbine play

On October 5, 1926, the premiere of the Piesen MA was held on the stage of the Moscow Art Academic Theater (MHAT) Bulgakov "Turbine Days".

Perhaps, in the history of Russian-speaking drama of the 20th century, it is difficult to find a play with a more dramatic, but interesting fate. None of the works of MA Bulgakov during the lifetime of the author did not receive such broad fame, nor recognition of the public as "turbine days." The performance of Mkhat has survived the anchlags and storm of ovations. Littlely known in 1926 of the playwright fell out true injury. However, while professional critics-literary critics and ideologically savvy censors have thrown into a play with abusive reviews, seeking her immediate prohibition, the audience truly lived the life of her heroes. Sincerely competing events on the stage, the audience gave free to emotions, cried and laughed, reflected, after Bulgakov, about the difficult fate of his country.

History of creating a play

April 3, 1925 M.A. Bulgakov received an invitation to the director Mkhat B. I. Verchilov to come to the theater, where he was offered to write a play on the basis of the novel "White Guard".

By that time, only the first part of the work was published, but the theater needed a modern play. At this point, the idea of \u200b\u200bsuch a play by the author already existed - he, as it were, continued the early play of Bulgakov "Brothers Turbines". The autobiographical heroes of the work (Turbine - Maiden named Grandma Bulgakov from the mother) were transferred during the 1905 revolution times. Being a head of the literary section, M. A. Bulgakov, M. A. Bulgakov, was produced by the "Turbine brothers" in Vladikavkaz (1920). According to the author himself, the play was "raw" and special success did not have a special success. The proposal of Verchilov made Mikhail Afanasyevich again appeal to memorable events in Kiev at the turn of 1918-1919. Work on the first edition of the new play "White Guard" he began in July 1925, and in September its initial version was already read. On reading in the theater, Konstantin Sergeyevich Stanislavsky (Alekseev), Verkhilov and other leading directions and actors of Mkat. In the first edition, almost all were repeated scene lines Roman and preserved its basic characters. Alexey Turbin still remained a military doctor among acting persons There were colonels Malyshev and Nagi-Tours. This option did not satisfy MCAT due to its "novelty" prolonity and the presence of duplicate characters.

The following edition, which Bulgakov read the MCAT troupe at the end of October 1925, Nagi Tours was eliminated and his replicas were transferred to Colonel Malyshev. And by the end of January 1926, when the final distribution of roles in the future performances were made, Bulgakov removed Malysheva, turning the Alexey Turbine in the personnel colonel-artilleryman, the actual expressant of the ideology of white movement. Now it is the turbines, and not Nah-Tours and Malyshev died in the gymnasium, covering the waste of junkers, and the camera's chamber of the turbine house exploded the tragedy of the death of his owner.

Due to the censorship requirements, the text of the play has become significant losses. A scene was removed in the Petlyorian headquarters, for Petliurovskaya Volnitsa in his fierce elements very much resembled redarmeys. The objection caused the name "White Guard". It seemed too caller. K. S. Stanislavsky under pressure of the chief designer suggested replacing it on the name "before the end", which Bulgakov categorically rejected. In August 1926, the parties agreed on the name of the "Turbine Days" (the "family of turbine" appeared as an intermediate version). On September 25, 1926, "Turbine Days" were permitted by the chief executioner only in Mkat. In recent days, before the premiere had to make a number of changes, especially in the final, where the growing sounds of "international" appeared, and Mumyuyevsky forced to pronounce the "toast" of the Red Army and express readiness to serve in it.

A large role in the negotiations on the permission of the play played, oddly enough, the People's Commissar of the Military and Maritime Affairs K. E. Voroshilov. On October 20, 1927, Stanislavsky sent him a letter of thanks to him: "Deep-discharged Clementy Efremovich, let me bring you heartfelt thanks to your help in the question of the permission of the" Turbine Days "," what you had a lot of support for us. "

Public reaction

"The days of turbine" with the premiere play enjoyed a unique success among the public. It was the only play in the Soviet theater, where the White Camp was shown not caricature, but with deep sympathy. Personal decency and honesty of opponents of the Bolsheviks were not questioned, and wines for defeat was entrusted to the headquarters and generals who failed to offer a political program acceptable for most people.

For the first season of 1926 - 1927, "Turbine Days" passed 108 times, more than any other performance of Moscow theaters.

Alexey Turbine was brilliantly played by N. Khmelev, Elena - O. Androvskaya (Schulz) and V. Sokolova, Lariosika - M. Yangsin, Mumyyevsky - B. Dobronravov, Shanvinsky - M. Prudkin, Nikolcu - I. Kudryavtsev. The director spoke to the young director I. Sudakov, the artistic guidance carried out by K. Stanislavsky himself.

"Turbine Days" became a sign production, a kind of "seagull" for the younger generation of actors and directories of the Art Theater.

The play enjoyed love from the widest layers of the population: both the intelligent non-partisan public and the military, and even party leaders gladly visited the spectacle.

The second wife of the playwright L. E. Belozerskaya in his memoirs reproduces the story of one familiar about the Mkatov play:

Piez MA Bulgakova "Turbine Days" was perceived by "Hurray" and Beloamigrants. Already in 1927-28, when abroad did not know anything about Bulgakov, either about his "White Guard" novel, the play of the play was rewritten from the hands of the former white warriors. In many centers of the cluster of Russian emigration: Berlin, Paris, Prague, Belgrade "Turbine Days" were delivered by Russian emigrant theaters and amateur teams.

A very emotional correspondence of one of the heroes of the play is the hetman of the Skatman - with the head of the II department of the Department of Ross (the Russian Union, the largest military organization Emigration) Major General A.A. background lamp. Ex-Getman lived at this time in the suburb of Berlin Vazee. It quickly reached him that the Committee for Assistance to Students, among which there were many officers of the White Army and Junkers, carried out in Berlin the production of the play M. Bulgakov "Turbine Days". In his diary, General Background Lamp - the head of the Russian colony in Berlin - describes this inspiration caused by "turbine days" among the emigrant youth. The play was perceived with delight, both the audience and the performers themselves. Only the recent ruler of Ukraine did not perturb its content, as well as the fact of participation in the play of former white warriors. Scopadian spoke with sharp accusations against a background lamp, which made it, and himself acted as a military-historical consultant "of this disgrace." As a result, a cross was put on the good personal relations of correspondents. The case almost reached the call to the duel, but in his exhaustive response to the scorpin (though not sent to the addressee), the general expressed a common idea for all emigration: a wonderful play, and it must be placed and watch. Background Lamp wrote Scorepad in November 1928:

His play MA Bulgakov achieved how we see impossible: he managed to please both red military leaders (Stalin, Voroshilov, Budyan) and the most irreconcilable white generals.

However, the party public sometimes tried to arrange the obstruction of the White Guard. On October 2, 1926, on the day of the public general rehearsal of "Turbine Days", the dispute "Theatrical Policy of Soviet power" was organized. Vladimir Mayakovsky is a literary competitor and a fierce critic of creativity M. Bulgakov - made a rather sharp speech in which he suggested not to prohibit (which would achieve for prohibitions?), And just disrupt the Bulgakov play ...

True, no specific attempts to disrupt the submission of "travel days", according to Bulgakov's biographers and Mayakovsky, the proletarian poet did not. It is still unknown exactly, if V. Mayakovsky saw this play in general. On the performances of Mkhat, his rather noticeable figure in the season of 1926-27 did not appear. According to the memories of Belozerskaya, the indignant spectators of the parties often left the performance, but no special excesses were observed on their part in the hall.

Curious fact: when the "Turbine Days" in the Chamber Outlock was on duty at once, two ambulance carriages were on duty at the Chamber Opera. People so hotly emphasized what is happening on the stage, which do not have to sit in physicians.

Opinion critics

Almost all the criticism of the turbine days together. The People's Commissar of Enlightenment A. V. Lunacharsky claimed (in Izvestia, October 8, 1926) that the "Atmosphere of a dog wedding around some kind of red wives reigns" the atmosphere of a friend ", he considered her" semi-capology of whitebar ". Later, in 1933, Lunacharsky called the Bulgakov's play "drama discreet, even if you want a delicious capitula." The rest of the communist critics and censors also did not hesitate in expressions. O.S. Lithuanian (we remember the Criticism of the Latowsky from the "Master and Margarita"), I did a lot to the expulsion of the Bulgakov plays from theatrical layoffs. Here is one of his reviews that we bring in the abbreviated form:

"Maximum sincerity with which young actors depict the experiences of the" knights "of white ideas, evil punishers, the executioner's executioners, caused sympathy of one, the most insignificant part of the auditorium, and the indignation of the other. I wanted or did not want this theater, but it went out so that the performance called us to regret, humanly treat the lost Russian intellectuals in shape and without form.

Nevertheless, we could not see that the scene comes out on the stage, the young french artists of the artistic theater, which had every reason to stand in one row with glorious old men ... In the evening, the premiere literally miraculously seemed to all participants in the play: and Yanishin, and Prudkin, and Stalitsan, and Khmeleov, and especially Sokolov and Dobronravov ... Mumylaevsky - Dobronravov was much smarter and more considerable, deeper than his Bulgakov prototype. Of incomparably tragic created by the author of the melodramatic image was Khmelev as Alexey Turbine. And in general, theater turned out to be much smarter than the plays. And yet I could not overcome it! "

In a letter to the government, on March 28, 1930, the dramaturg noted that 298 "hostile and abusive" feedback and 3 positive, and 3 positive, and the vast majority were devoted to the "turbine days" in his album.

The only positive response on the play was the review of N. Mukhvishnikov in Komsomolskaya Pravda dated December 29, 1926. It was a response to a crucial letter of the poet of Alexander Slessmansky (1898-1973), who called Bulgakov "New-bourgeois grown." Manduts tried to convince Bulgakov opponents that "on the threshold of the 10th anniversary October revolution... It is absolutely safe to show the viewer of living people that the viewer is decently faced and cosmatic priests from the agitatus, and the pushed capitalists in the cylinders, "but did not convince any of the critics.

Criticism collapsed on Bulgakov for the fact that in the "Days of Turbines", the White Guards appeared by tragic Chekhov heroes. O. S. Litovsky dartbed the Bulgakovskaya play by the "White Motion Cherry Garden", questioning rhetorically: "What is the case of the Soviet viewer to the suffering of the Ranevskaya's landowners, who ruthlessly cut down the cherry garden? What is the case to the Soviet viewer to the sufferings of external and internal emigrants about the untimely deceased white movement? "

A. Orlinsky dropped the drama accusation that "all commanders and officers live, fight, die and marry without a single twenty, without servants, without the slightest contact with people from any other classes and social messages."

On February 7, 1927, the dispute in the Meyerhold Theater, Bulgakov answered critics: "I, author of this play" Turbine Days ", who was in Kiev during the hetmans and petrol rails, who saw White Guards in Kiev from within the cream curtains, argue that the twins in Kiev in Kiev That time, that is, when events occurred in my play, it was impossible to get the weight of gold. "

"Turbine days" in much more than It was a realistic work than it was allowed by his critics, representing reality, unlike Bulgakov, in the form of a given ideological schemes.

Heroes and prototypes of the "Turbine Days"

Talberg

The play is displayed not only the best, but also the worst representatives of the Russian intelligentsia. The latter includes Colonel Talberg, concerned about only his career. In the second edition of the play "White Guard", he quite shurredly explained his return to Kiev, which was about to take the Bolsheviks: "I am perfectly informed. Hetmanschi was a stupid lap. I decided to return and work in contact with the Soviet authorities. We need to change political milestones. That's all".

His prototype Talberg had Bulgakovoy son-in-law, her husband of Sister Vary, Leonid Sergeevich Karuma (1888-1968). Personnel officer of the Tsarist Army, despite his former service at the hetman of the Scoropads and in the White Army of General Denikin, became a teacher of the Krasnoarmeysian rifle school. Because of Talberg, Bulgakov raised himself with the Karum family. However, for censorship, such an early "replacement" of such a non-patious character turned out to be unacceptable. In the final text, His return to Kiev, Talberg had to be explained by a business trip to the Don to General P. N. Krasnov. It looks strange: why doesn't Talberg chose such a risky route? The city has yet occupied hostile petturovtsy and are about to take the Bolsheviks. The return of the deceived husband directly to the wedding of Helena and Shervinsky needed Bulgakov to create a comic effect and the final response of Vladimir Robertovich.

The image of Talberg in the "Days of Turbines" went down much more repulsive than in the "White Guard" novel. L.S. Karum wrote about this in the memoir book "My life. Roman without lies ":

"... Bulgakov could not refuse himself in pleasure so that someone would hit me on the play, and the wife married another. Only Talberg is going to the Denikin army (negative type), the rest are diverged, after taking Kiev by Petlisters, who is where. I was very excited because the familiar learned in the novel and play by the Bulgakov family, had to learn or suspect that Talberg was me. This Bulgakov leaving had an empirical - practical meaning. He strengthened me about the conviction that I am a hetman officer, and at the local Kiev OGPU ... I wrote an excited letter to Moscow Nest (sister M.A. Bulgakov - E.Sh.), where I called Mikhail "Scoundrel and Scound" and requested to transfer the letter Mikhail ... And, however, I regret that I did not write a small story in Chekhovsky style, where I would tell about marriage because of money, and about choosing the profession of a Venusic doctor, and about morphine and drunkenness in Kiev, and on insufficient cleanliness in cash relation ... "

For marriage because of the money here is meant the first marriage of Bulgakov - with T. N. Lappa, the daughter of a valid Stat advisor. Also, the profession of a venereal doctor, according to Karuma, the future writer chose exclusively from material considerations. Being a Zemsky doctor in the Smolensk province, Bulgakov was addicted to Morphia. In 1918, in Kiev, he managed to overcome this ailment, but, if you believe Karuma, it was addicted to alcohol. Perhaps alcohol replaced the Bulgakov drug for some time and helped distract from shocks caused by the collapse of the former life.

Karum, of course, did not want to recognize himself a negative character. But in many ways, the Colonel Talberg written off him was one of the strongest, although very repulsive places images. To bring such a service in the Red Army, according to censors, it was impossible. Therefore, Bulgakov had to send Talberg on a business trip to Don to Krasnov.

Mumylaevsky

Under the pressure of the Chief Design and MCAT, a substantial evolution towards replacement and efforts Soviet power Captain Mumylayevsky has undergone. In the "White Guard" novel, this character had a completely real prototype - a neighbor and a friend of Bulgaki someone Viktor Sangaevsky. However, in the play, the ramp and the drinker, but the honest small musical "olde" for ten years and acquires completely different features. For the development of the image, the author was used by a literary source - Roman Vladimir Zzabrina (Zutovova) "Two Worlds" (1921). His hero, the lieutenant of the Kolchakov army of Ragimov so explained his intention. Go to Bolsheviks: "We fought. Honestly razz. Our not Bareet. Let's go to those whose Bareth ... in my opinion, and the birthplace, and the revolution is just a beautiful lie, which people cover their skin interests. So people are arranged that whatever meanness they do, will always find an excuse. "

Mumyyevsky in the final text speaks of his intention to serve the Bolsheviks and break with a white movement: "Pretty! I'm fighting with nine hundred fourteenth year. For what? For Fatherland? And this is the Fatherland when they threw me on a shame?! And again go to these bodies?! Well no! Have you seen? (Shysh.) Shish! .. What am I, Idiot, is indeed? No, I, Victor Mumylayevsky, I declare that I don't have anything more with these bastards of the generals. I finished! .. "

Compared to Ragimov, Mumylayevsky was very angry in his motives, but the vitality of the image is fully preserved.

After the premiere of the play in Mkhate Bulgakov received a letter signed by Viktor Viktorovich Multilavsky. Fate unknown Author The civil war was completely coincided with the fate of the Bulgakov Hero, and in the following years it was as utter as the creator of the "Turbine Days". At the end of this strange letter, a person called the name Mumylayevsky wrote:

"Recently, or under the influence of a passionate desire, fill out a mental emptiness, or, indeed, it is, but sometimes I hear a little catchy notes of some kind of new life, real, truly beautiful, not having anything in common with the royal nor with Soviet Russia. I appeal to the great request for you on my own behalf and on behalf, I think, many other are the same as me, empty soul. Tell me from the scene, whether the pages of the magazine, right or an esopov language, as you wish, but just let me know, do you hear these barely catchy notes and what they sound about? Or all this self-deception and the current Soviet emptiness (material, moral and mental) is permanent phenomenon. Caesar, Morituri Te Salutant! (Caesar, doomed to death greet you (lat.). "

As the actual answer, "Mumylayevsky" can be viewed by the play "Bagrous Island", where Bulgakov, turning a parody of replacement in the "ideological" play inside the play, showed that in modern soviet Life Everything is determined by the All-Russian Creative Freedom of Officials and no spons of the new here. In the "Days of Turbines", he still had hope for some better future, because the Epiphany Christmas tree was introduced as a symbol of hope for spiritual revival.

Fate play

"Turbine Days", despite non-useful reviews of critics and excesses of the party public, successfully walked two seasons in Mkat. In February 1929, Dramatourg V.N. Biel-Belotserkovsky appealed to Stalin with a letter about permission to formulate a new Bulgakov play "Run". Stalin in its response described a new play as an "anti-Soviet phenomenon". Delivered and "day turbine":

"Why is Bulgakov plays on stage so often? - Wrought the leader. - Therefore, it should be that their plays, suitable for the production, is not enough. On the unbearable even "the days of turbine" - fish. "

In April 1929, "Turbine Days", like all the plays of Bulgakov, were removed from the repertoire. However, soon Stalin and himself admitted that he was no longer over with the "turbine days". The leader was ready to resolve and "Run" if the author agreed to do some ideological changes. Bulgakov did not agree. In 1930, he was seriously going to emigrate to France to reunite with his family. (Two younger brothers Bulgakov lived in Paris at that time).

"Everything is forbidden, I'm ravaged, seeded, in complete loneliness. Why keep the writer in the country where his works can not exist? .. "

In 1932, Stalin personally reviewed the request of M. A. Bulgakov about the departure from the USSR. Instead of departure permission, the opaire writer was hired to work in MCAT. On February 16, 1932, the play "The Days of Turbines" resumed. In a letter to his friend P. Popov Bulgakov reported on this:

"By virtue of the reasons that are unknown to me, I can not enter into consideration, the USSR government gave a remarkable order at the Moscow State University: the play" Turbine Days "to resume. For the author of this play, this means that to him - the author - a part of his life is returned. That's all".

Of course, the "remarkable order" was given by no government, but Stalin. At this time, he looked at the moss at the play of Athenogenova "Fear", which he did not like. The leader remembered Bulgakov and ordered the restoration of the "turbine days" - which was instantly fulfilled. The performance was maintained on the scene of the Art Theater until June 1941. In total in 1926-1941, the play took 987 times. According to the preserved information, Stalin watched the "turbine days" at least 20 times. What attracted the leader of the peoples in the Bulgakov heroes? Perhaps what was impossible to meet more in real life: Decency, personal courage, spiritual freedom of those former Russian people who diligently styling in powder skating rink of Stalinist repression ...

It may very well be that the "turbines" retained the life of Bulgakov himself. If it were arrested, the performance would have to take off. It is also possible that only due to the author who loved Stalin the author was not released abroad. I will stay in Paris in Paris - and the performance would also be banned. Stalin could lose his beloved spectacle.

Neither of Bulgakov, nor in the life of Stalin's play "Turbine Days" was not printed. For the first time it was published in the Soviet Union only in 1955.

In the late 1920s of the 1930s, in circles of Russian emigration in France and Germany, the play was published only in the form of manuscript scenarios. White warriors often subjected her text "ideological processing" (the final monologue of Mumylayevsky, as a rule, was reflected or thrown at all, and at the end sounded the appeal to everyone to go to Don). In 1927, K. Rosenberg appeared in Berlin, the translation of the second edition of the "Turbine Days", which carried the name "White Guard" in the Russian original. The publication had a double name: "Turbine days. White Guard. There were other translations that distributed in the form of manuscripts in the emigrant circles in the 1930s. In 1934, two translations of the play on Boston and New York were published english, performed by Y. Lyons and F. Blokh.

In 1976, the three-metery feature film "Turbine Days" (director V. Basov) was published in the USSR. In the 1990s, the play was restored under the name "White Guard" in a number of Moscow theaters. The most successful, in our opinion, the formulation of Homsky in the theater named after the Mossovet collects the Achlags to this day.

Elena Shirova

Based on:

Sokolov B.V. Three lives of Mikhail Bulgakov. - M.: Ellis Lak, 1997.

Garf.F.5853. ("Major General A.A. von Lamp") OP.1.D.36. L. 73-79.

Bulgakovskaya encyclopedia. - Academician. 2009.

"The days of turbine" - Piez M.A. Bulgakov. In the materials of the writer, a certificate was preserved that on January 19, 1925, he "began to throw" a play based on the "White Guard" novel, which at that time was published by the magazine "Russia". These first sketches of the Bulgakov did in its own aspire, i.e. Before in April 1925, he receives a proposal from the art theater to write a drama based on the novel. The first edition of the play was completed in September of the same year and was called, like the novel, "White Guard". In January 1926, Bulgakov finishes the second edition; In August-September of the same year, the third is created, which has become final. This edition arose in the rehearsal process when the author's text was subjected to numerous corrections. According to memories P.A. Markova, the Mkat, the replica of the play was preparing "at least 15 persons." The name of the play, similar to the novel, was rejected on ideological considerations. The final name was chosen from many options discussed during the production: "White December", "1918", "Taking the city", "White Buran", "Family of Turbines".

Premiere of production implemented by the director I.Ya. Sudakov under the leadership of K.S. Stanislavsky, took place on October 5, 1926. The first performers of the main roles were N.P. Khmelev, V.V. Sokolova, B.G. Dobronravov, M.I. Prudkin, M.M. Yanshin and others. The first edition of the play appeared in Germany - translated into German (1927). In the Soviet Union, "Turbine Days" were first published only in 1955.

The early dramatic experiments of the writer belong to the 1920-1921, when he, living in Vladikavkaz, wrote several plays for the local theater. However, it was in the "Days of Turbines" there was the birth of Bulgakova-playwright. It was accomplished in the process of working on the play, as a bulky dramatization of the novel, almost literally followed the fabulous source, turned into an original dramaturgical work.

During the creation of the play "The Days of Turbine", Bulgakov experienced a double pressure: from the head of the head of the White Guardian ", and from Mkhattsev, who sought to make a play in their concepts more scenic and bring it closer to the next theater of the aesthetics of Chekhov Drama. As a result, the original author's text was covered with outsiders. This is the open question as far as organic for Bulgakov was the final edition, which was brought into the play from the outside, and which was the result of the inner prompting of the writer who mastered the aesthetics of dramatic art.

The novel and the play connect the place and time of action - Kiev in the "terrible year at Christmas of Christ 1918, from the beginning of the second revolution." The fall of the hetman government, the capture of the city of Petlisov, the onset of the Red Army constitute the historical canvas of both works. Against this background, the drama of the turbine family unfolds. However, the plot and images of the novel in the play have undergone significant changes. The lyreepic nature of the narration disappears, and with him the lyrical hero of Bulgakov, Dr. Turbin, the Chronicle and the observer of unfolding events, in many respects close to the main character of the "Note of the young doctor". In the "day of turbine" the reflective intellectual, which has become a victim of circumstances, replaces the tragic hero, colonel of turbines, from the decision of which the fate of officers entrusted to him and junkers, forced to make a choice, rather moral than political, the hero, whose death is inevitable for the author. This face is acting, literally scenic and plot. People acting in war are the military. Those that act on the side of the defeated are the most doomed. He dies Colonel Turbin - Dr. Turbin survived.

In the artistic world of the novel and the play, the central place is occupied by the image of a family hearth, turbine houses with cream curtains on the windows. The whirlwind of revolutionary events will carry people, but the house remains. It remains the only place where it is possible to warm up from the journey in the silent felt of the sink, where the "cream curtains" can be hidden from the onslaught of events broaching life and fate. This utopia of the house will find a continuation in the final of the novel "Master and Margarita", in the form of the "eternal shelter", in which the heroes of Bulgakov found peace.

In the process of creating a play, from the same edition to the other, many characters left the plot, new, focused on traditional stage masks and roles appeared: for example, a spacecraft (Laro), Plut (Schchervinsky). In the third edition (compared with the first), a layer of literary reminiscence and historical and cultural associations has decreased; Significantly changed the genre and style structure of the work. If in the first version of the play of the play for the tragifars, then the household psychological drama is prevailing in the final editorial office - "Family Drama". Some important features of Bulgakov poetics are lost in the play, later brightly manifested in the "Run" drama (1926-1928), "eight dreams" of which tell about the fate of white movement: mystical flavor, the ghostly atmosphere of phantasmagoria and sleep, whose symbols permeate reality and It is often indistinguishable from it. In the border situation between sleep and wakefulness there are other heroes of Bulgakov (Maksudov "Distribution Notes", Master).

The concessions of the playwright, the tricks of the director (replica: "The people are not with us. He is against us"; Internationale, ruling in the final), did not protect the play and the play from the attacks "left" criticism: about three hundred painful reviews against one or two sympathetic, according to the calculations of the very Bulgakov. A.V. Lunacharsky, although he did not obstruct the production, however, the play assessed as "politically wrong." The newspapers of 1926 Drew the headlines of "Bulgakov is distorted with the remnants of the White Guard", "Give the Bulgakovshchina." The author was accused of meshness ("the desire for a cozy drink"); Kirshon's playwright saw in the play "Mock of the Russian Chauvinist over Ukrainians." Sigor opponents of the play performed V.E. Meyerhold, A.Ya. Tairov, B.V. Mayakovsky. The last in the comedy "Klop" (scene of the future) included the name of the playwright in the dictionary of the dead words: "Bohemia, Bubliki, Buz, Bulgakov", and in the play "Banya" mentioned some "Uncle Turbine" - a hint of the play "Uncle Vanya", echoes The opinions of the "left" that the drama Bulgakov was written "in the Chekhovsky Stampa".

Despite the sharp attacks of critics, the performance of Mkhat had a deafening success. The theater fate of the play as a whole turned out to be happy: in the first season it was played more than a hundred times, which became a legendary performance remained in the repertoire until June 1941, withstanding 987 views. The scenic life of the play resumed from the decree of the dramatic theater. K.S. Stanislavsky (1954), implemented by M.M. Yanishin, who played the role of Lari driver in the mhatal performance. This role was now performed by the young E.P. Leon. From the 60s "Turbine Days" Bulgakov become one of the most repertoire works of the Russian theater.

Post inspired by the play by Mikhail Afanasyevich Bulgakov "Tour Bins". This play was either in school ProgramThat was recommended as extracurricular reading, but I did not read it at school, although I heard about her. Hands reached here just now.

Summary "Tourbina Days" Mikhail Afanasyevich Bulgakov
The action of the play occurs in Ukraine in 1918. Ukraine is in the hands of the German troops and hetman Scoropads. White movement in Ukraine is the ally of the Germans and Hetman. In connection with the exit of Germany from the war, the position of the hetman becomes shaky, as well-armed and numerous nuclear troops are approaching Kiev. Shortly before the capture of Kiev Petlura, throwing everything, runs up to Germany Hetman. Together with him, Vladimir Robertovich Talberg runs, the husband of Elena Vasilyevna Talberg. The Brothers Elena Vasilyevna, Colonel Alexei Turbin and Nikolai, together with his colleagues and friends by the captain Mumylayevsky, guarantor of Shervinsky, the captain of Studials are fragments of white movement in Ukraine, and after the flight of the hetman - almost the only one, albeit very small, strength opposing the Bolsheviks.

The unit who commanded the Colonel Alexei Trinube stands and prepares for defense against the troops of Petlyura. Shortly before the arrival of the enemy, Alexey Torubin gives the team to make epaulets and hide, as it does not understand who to protect him now. He himself dies, covering the waste of comrades, his brother Nicholas gets a serious injury, but survives.

Two months later, the Bolsheviks are driven by the troops of Petlyura from Kiev, and the life of the main characters again gives a steep turn: Elena Vasilyevna decides to divorce with a fizzly husband and marry the Shervinsky, who became a singer. Mumyevsky and Studially think that to do next and whose side accept. One thing is clear one thing: life will never be the same.

Meaning
The "Turbine Days" Mikhail Bulgakov show the collapse of the old life for several not the worst representatives of the old royal regime, now the White Guards. Not wanting to have anything to do with the Bolsheviks, they are served in the allies to the Germans and hetman, but also there they quickly find that they have nothing to protect, and that their life will never be the same.

Output
I do not recommend reading the "Turbine Days" Pieces M.A. Bulgakov, as:
- The topic of the Civil War is not close to me, because almost a hundred years have passed (of course, if the topic is close to you, then read the Nazis);
- I am not a fan of plays;
- not particularly love the creativity of MA Bulgakov (especially "Masters and Margarita").

Michael Bulgakov

Days of turbine

Piece in four actions

Characters

T u r b and n and l c with e in and with and l b and h - Colonel-artillerist, 30 years old.

T u r b and n n and k about l and y - his brother, 18 years old.

There is also a sister, 24 years old.

There is a b e r r in l and d and m and r r about b e r o v and h - Colonel of the General Staff, her husband, 38 years old.

Mi sh l and e in with to and y in and to about r in and to about r about in and h - headquarters-captain, artillerist, 38 years old.

Sh e r in and n with to and l e n and d y r b and h - lieutenant, personal adjutant hetman.

S t u d z and n with to and y and l e to and with a n d r b r about n and c l in about in and ch - captain, 29 years old.

L and r and about with and to - Zhytomyr cousin, 21 years old.

Mr. T M and N in S E I K R A and N s.

B o l b o t u n - commander of the 1st equestrian Petlyurian division.

Mr. Satnik-Petlyurovets, former Ulan Rothmist.

Hurricane.

To and p and t s.

F about n w r a t t - German general.

F about N D S T - German Major.

In the r and h r e r m and n s k o y and rm and and.

D EY R T and Rr C..

Chi e l about in and n about th.

K a m e district.

Ma to C and M is a gymnasium, 60 years old.

G and d and m and to - telephonist.

Po r in y about f and c er.

In t about r about y about f and c er.

T r e t and y about f and c er.

P e p in y y nk e r.

In t about r about y y nk e r.

T R E T and Y Y N K E R.

Yu NK E R A and G and Y D A M A K and.

The first, second and third action occurs in the winter of 1918, the fourth action - in early 1919.

The place of action is the city of Kiev.

First action

Picture first

Turbine apartment. Evening. In fireplace fire. When opening the curtain, the clock beat nine times and gently play Minuet Bikekerini.

Alexey bent over the papers.

N and k about l to a (plays the guitar and sings).

Worse than rumors every hour:
Petlyura goes to us!
Machine guns we charged
On Petliere we paled,
Chicken machine gunners ...
Doves-Chiki ...
You got out of us, well done.

Alexei. Damn you know what you sing! Kitchers songs. Sing something decent.

N and k about l to a. Why is the kitchen kitchen? This is me composed, Alyosha. (Sings.)

Hasha you sing, do not sing,
Your voice is not like that!
There are such voices ...
End the hair will be ...

Alexei. This is just to your voice and belongs. N and k about l to a. Alyosha, that's you in vain, by God! I have a voice, however, not like Shervinsky, but still quite decent. Drama, the most correct thing - Bariton. Lenochka, and Lenochka! How do you think I have a voice?

Elena (from your room). Who? By you? No.

N and k about l to a. It was upset, because it answers. And by the way, Alyosha, I said a teacher singing: "You would," say, Nikolai Vasilyevich, in Opera, in essence, could sing if not a revolution. "

Alexei. Fool your teacher singing.

N and k about l to a. I knew it. Full breakdown of nerves in the turbine house. Teacher singing - fool. I have no voice, and yesterday was still, and in general pessimism. And I'm more prone to optimism by my nature. (Strings touches.) Although you know, Alyosha, I start worrying myself. Nine hours already, and he said that in the morning he would come. Was there anything happened to him?

Alexei. You have fun talking. Understood?

N and k about l to a. Here is the Commission, the Creator, to be a married sister brother.

Elena (from your room). What time is it in the dining room?

N and k about l to a. E ... nine. Our clock is ahead, Lenochka.

Elena (from your room). Do not compose please.

N and k about l to a. You are worried. (Sens.) Foggy ... Oh, how foggy! ..

Alexei. Do not listen to me soul, please. Sing fun.

N and k about l to a (sings).

Hello, dachas!
Hello, summer residents!
Shots have been started for a long time ...
Gay, my song! .. Favorite! ..
Bul-Bul Boule, Bottle
State wine !!.
Cooks tonny
Boots shaped,
That Juncker-Guardsmen go ...

Electricity suddenly goes out. Behind the windows with the song is a military unit.

Alexei. Chert knows what! Every minute goes like. Lenochka, please give candles.

Elena (from your room). Yes Yes!..

Alexei. Some part passed.

Elena, leaving the candle, listens. Far cannon strike.

N and k about l to a. As close. The impression is as if under the sacrifice shoot. I wonder what's going on there? Alyosha, maybe you will learn me to find out what is the matter in the headquarters? I would go.

Alexei. Of course, you are still missing. Sit, please feel it.

N and k about l to a. I listen, Mr. Colonel ... I, Actually, therefore, you know, inaction ... It's a shame, a little ... There are people fighting ... At least, our division was rather ready.

Alexei. When I need your advice in the preparation of the division, I will tell you myself. Understood?

N and k about l to a. Understood. Blame, Mr. Colonel.

Electricity flashes.

Elena. Alyosha, where is my husband?

Alexei. Will come, the hearth.

Elena. But how so? He said that he would come in the morning, and now nine hours, and it is still not. Was there anything happened to him?

Alexei. Lenochka, well, of course, this can not be. You know that the Germans are guarded to the West.

Elena. But why is it still not?

Alexei. Well, obviously stand at each station.

N and k about l to a. Revolutionary ride, lenochka. You go for an hour, two are standing.

Well, and he, I spoke! (Runs to open the door.) Who's there?

N and k about l to a (imparts a lot in the front). Yes, you are you, vitenka?

M s w and e in with to and y. Well, I, of course, so that I crushed me! Nikol, take a rifle, please. Here, the devil mother!

Elena. Victor, where are you from?

M s w and e in with to and y. From under the red restaurant. Carefully hang, Nicol. In my pocket a bottle of vodka. Do not break. Let, Lena, spend the night, will not reach home, completely frozen.

Elena. Oh, my God, of course! Go more like fire.

Go to the fireplace.

M s w and e in with to and y. Oh oh oh...

Alexei. What are they, boots you could not give, or what?

M s w and e in with to and y. Felt boots! These are such bastards! (Rushes to fire.)

Elena. This is what: there the bath is now token, you strip it as soon as possible, and I will prepare his underwear. (Goes out.)

M s w and e in with to and y. Blue, take off, take off, take off ...

N and k about l to a. Now. (Removes with a lot of boots.)

M s w and e in with to and y. Lighter, brother, oh, easier! Vodka would have a drink, vodka.

For the first time he felt very awkward when the light was lit and everyone began to disperse on an intermission. And I sat and did not understand why he was here? The performance is so emotional, which looks at one breath, and I want to, in a rush, jump out, and at least support the White Guard (well, it is for patriots). This is where the energy is felt, where youth, incendiary and permeables feel. Does not compare any movie, especially the scene, when Alexey dies in the hands of Nicholas. It goes out the light (oh, the game of light in the theater is generally separate!). Then ignites again. And you sit and feel that the tragedy occurred, gradually returning to the real world.

To tears

Bravo

Art therapy

Great placing play

After the "master and margarita" in the original, unusual interpretation, I was happy to see the theater of M. Bulgakov, a performance on the work of Mikhail Afanasyevich, which was simple perfect. These are "Turbine Days" - a play, written on the basis of the "White Guard" novel. I read the novel at school, but before the play, confess, the hands did not reach.

What is the life of the family "white" intellectuals after the revolution, in the terrible 1918, when did the civil war started? It was very strange to remember that Nikolka (T.Caratayev / Gizhov) 18 years old, Elena (E. Kazarina / K.Momenkov) - 24, and Colonel Alexei Turbin (M. Markyanov) - only 30. Here are these people Seemed with such adults, your peers. Young artists also play them, and this is a plus.

The tension increases along the play of the play: At the beginning we see the "military", but still calm, the usual way of life of turbines (everything is overshadowed by the delayed husband of Elena, Talberg (P. Grebanknikov / A. Pirive) - Nikolka sings, Alexei fouls over him, Elena Prepare dinner. But then the events are growing like a snowball. What is Elena will do if the husband suddenly decides to escape from the deposited Kiev to Germany? Raisen - and not take it with me, is unknown for what time? Yes, it still makes the ugly scene of jealousy because Communication wife with guarantor Shervinsky (A.Drivenny / E. Vakhunov). When the snow fell on the head completely unsuitable for the life of the cousin Laro (D. Beroev) from Zhitomir, and it is necessary to follow him too? And in Kiev, the army of Petlyura comes in Kiev , And every time you do not know, returning the alive Nikolka with Alexey or not.

How interesting to observe the disclosure of characters throughout the action. Actors game at height. Alexei Turbin remains unbending faithful to his debt, no matter what. Elena, such a strong woman - despite the betrayal of her husband, found the strength to live quietly further and build new happiness. But her cry, when she found out about Alexey's death, still standing in her ears: "Senior officers! All home came .. and the commander was killed?! " Nikolka, such a cheerful balalague at the beginning, after the tragedy becomes disabled, as a couple of months as if aged for many years, and he no longer want to sing and have fun. Laro, funny, clumsy, quickly adapts to life in a besieged city, and now he is a faithful comrade, ready and bandage to bring, and vodka, if necessary.

Secondary heroes are also beautiful. The heavy plot introduces notes of fun Shervinsky - the general love of the public, judging by the reaction of the audience. Another colorful character is the headquarters-captain Vitya Multilavsky (M.Fomenko), family friend. A lover of drinking, seemingly frozen and unleashed - in fact, he is a faithful military and the mountain stands for the family of turbines. Mumylaevsky is so tired of the aimlessness of the service, especially after the flight of the hetman, as the news of the delivery of Kiev Bolsheviks does not scare him - he is glad to serve the country, homeland, and no matter who is "at the helm". But the opposite opinion adheres to the Captain Studial (D. Sididenko). He wants to run for the Don, continue to fight on the side of the White. About the coming of the Bolsheviks, he says: "To whom - a prologue (to a new play), and to whom - Epilogue." And, although the "Turbine Days" end on the stage of the celebration of the New Year in a family circle, which hesitates the hope of a bright future, you understand that the former no longer returns, there will be a new life, and good or not - is unknown.

By cons: I can only attribute very strong stuffiness: I usually sat in the first half of the hall, where, apparently, so much. But on the last rows was terrible. One man even became bad and he was forced to leave in the middle of the performance. Of course, constantly open the door to the street and ventilate - not a way out, so it is worth thinking about improving the air conditioning system by the summer, perhaps :)

The performance is definitely at the moment - the most loved to me from the viewed repertoire of the theater named after Bulgakov. I recommend for viewing necessarily - 10 out of 10. By the way, there were many guys in the hall for 14-15 years, clearly led by whole groups. And the performance is really perfect for familiarization with the work.

Just a miracle!

Pearl, born back in the institute walls, not only found a wide viewer, but continues to collect full halls!
Of course, the full halls here are not good.
And the merit of such success of the performance is not only director, but also the whole team. Young actors playing so I want to tell about each!
Laconic but full of bright details and images, scene design - artist - Vera Nikolskaya.
Oh, this long hanger with hooks! Sinels, overcoat ... she is like a door with curtains, then the curtain, then the wall, then like the gallows ...
And the costumes are selected so that the image of each is maximized.

But the main value of the performance is that he is in fact about the days of turbine, he and about the revolution, and the war, and about the catastrophe, but above all he is about people. So coming to the performance, you will find yourself an invisible guest in this amazing family!
This is a terrific feeling of your own presence within what is happening on the stage does not leave throughout the performance.
As if you were also treated with tea with jam, and a crispy cucumber, and even gave me out of a glass.
And of course, you can not feel your involvement in the fate of the heroes, live by the joys and the sorrows, to try on themselves, to evaluate, to think about the fact that you have entered this or that moment.
And thinking, suddenly you understand that each of these people is delivering admiration. Admiration, respect and huge sympathy.
The unconditional success of the performance is precisely in this - there are no minor heroes and sulfuric images. Strong, bright, so different, but invariably beautiful people.
Well, about Mr. Talberg, as the only negative character involved in this house, we will not be tactfully ..)
How not to sharpen attention on the hetman, Fedor and others. Although these roles played perfectly.

Only about turbine, their relatives and friends.
Talberg Elena Vasilyevna (Tatiana Timakova) - Just Queen! The only woman in the play, which with ease copes with the role of home and the hostess of the house, and a caring wife and sister, and the queen. Small, beautiful, aristocratic. At the same time, emotional and completely lively! Pretty! Bravo!
It is next to such women men bloom!
Even Shervinsky - Oleg Rebrove, Handsome, Talent and Balagur only a diamond frame next to her.
By the way, it is Shervinsky more often than others who have fun at the audience, taking the palm of the championship of the Larosika.
What kind of kind Ironia was reacting in the play for this character! Shervinsky multifaceted and very sympathetic!
However, Lariosik (Ivan Makarevich) is also a miracle as good!
For a couple with Mumyevsky Yuri Thagalegov, they certainly add and pepper, and the paints of this spectral.
And for the scene with Talberg just three times Bravo Mumylaevsky-Thagalegov. Very messenger. Scoop. Military. But how cool!
"Leave. Gives a divorce. Talked very nice."
Bravo!
Alexey Turbin (Alexander Bobrov), who forced the whole hall to slow down his breath at the end of the first branch.
Nikolay Turbin (Oleg Polyanztsev), pretended, perhaps, the most striking change attached by life, but not crushed it, and so similar to his brother. The cane in his hands is also not good (another brilliant find of the director, I think)
And of course, Studzinsky (Dmitry Warsaw) Oh, what kind of Studially here!
God! I also wanted to run on the stage in the final, shake Elena Vasilyevna for the shoulders and scrup:
- Well, don't you see that you need to marry Studzit?!

I would have done it myself in her place. Although ... survive and adapt in the country that was then born, with Shervinsky chances of it, of course, more. Rights of Bulgakov.

Go to the theater!

Beautiful ensemble of actors

I continue to discover new theaters (in this sense, Moscow is just Klondike, here, no matter how try, everything is not reconsidered). This time I was simply fabulously lucky - a new place turned out to be simply excellent and in entourage, and in content, and by execution. And all this about the theater. MA Bulgakov!
I sincerely liked everything, starting from the location of the location, internal let and be crowded, but because of more cozy decoration, communication with the audience workers of the theater, to the very formulation and playing of actors, to the atmosphere of the auditorium and (Aliluia!) Of the cultural behavior of all (no rustling of wrappers From chocolates, no launches and conversations along the course of action, no strokes about places). I honestly tried to find face for something so that the story would not work so much, but did not find it. Although no, found! I sat on an inlet chair for 3 hours, he was tough, but I understood it only after exiting the theater, in the process I absolutely did not bother me.
On narrow corriders of the theater Through the crowd of visitors, a girl in a suit of the beginning of the 20th century, and happily masters all the ballots and doves, persuading to go to the hall, not to crowded in the aisles and ... reports that in the intermission will work club lonely hearts, where every single can work Find your happiness. But what about, you can not lose a minute in this crazy world!
Among the audience there was a flock of youth (I think the senior class of some kind of school), they definitely call each other for a long time for a long time, because in the intermission and after the performance I heard only such an appeal from them)))
Now about the performance. "Turbine Days", if someone does not know, put on the novel by Bulgakov "White Guard". And here the story makes the turn - the action is happening in Kiev in troubled times - Hetman, Petlyura, Bolsheviks. As in the unforgettable "wedding in Malinovka" - "Power is changing." And on this background, the story of a separate family - meeting, parting, love and hatred, betrayal and heroic deeds. Someone saves their skin, and someone does not gear it for the sake of principles and ideals. In general, everything is repeated, indeed, the wheel of history is spinning and falls on the same rake. civil War. But I do not want to retell the play or novel - it is better to look or read it yourself, but better, both.
Acting ... You know, there are performances where everything is working out, and do not play, it happens when some actors are beautiful, and the rest is just the background. In this performance, surprisingly harmony is like a common choir, nor notes of falsehood, otherwise it would be very highlighted. Just not a game in the family of turbines, but the life of the family itself and their friends, interaction with the surrounding world. I do not want to allocate anyone separately, I want to allocate everyone at once. Great accommodation on stage.
But I will say that, on reading the book, I didn't really like a lot, but after the performance I realized that this hero was one of my favorites. I have already mentioned the atmosphere in the hall, at the end of the play, the hall got up and applauded standing.
Artists were called for bows more than two times.
Many thanks to theater, actors, director Tatyana Marek, theater employees - for a beautiful evening and immersion in that epoch so easily and truly.