Mayakovski

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Mayakovski (1893 ~ 1930) was a Soviet poet and playwright. Born into the family of a forestry official in Georgia. 19 12 began to write poetry, which was deeply influenced by futurism. His religious farce is the first drama with high ideological and artistic level in the Soviet Union. Then there is the long poem "Good!" Satire comedies Bug and Bathhouse. He is a drama innovator who advocates that the stage should be dramatic and hypothetical, and opposes the naturalistic description of life. His drama theory had a lasting influence on the later Soviet drama. [ 1]

Chinese name

Mayakovski

nationality

the Soviet Union

birthplace

Georgia

date of birth

1893

date of death

1930

occupation

Poet playwright

representative works

"good!" Religious farce "

Mayakovski

Mayakovski (1893- 1930), a talented poet in the Soviet Union, lived only 37 years. He is free and smart. Up to now, he is still wrapped in many mysteries: first, his suicide; Second, it is his love.

Mayakovski was never married, but in his suicide note before committing suicide, he listed two women who had nothing to do with him as family members. These two women, Lilia and Veronica, are his lovers and companions. In fact, Mayakovski loved more than two women. He never hides his love for women in his poetry creation, which brings him infinite happiness and joy and inspires him to have a dazzling spark of inspiration; At the same time, it also caused him to fall into endless distress and sadness. As a poet, Mayakovski's creation, life and death are closely intertwined with women and love.

Mayakovski made a lyric confession to the audience. Because of his social significance and incitement, his confession turned into propaganda and the author became an orator. Mayakovski showed his basic pursuit of drama in his first play, which he later said was "turning the theater into a pulpit".

Mayakovski staged this tragedy in peterborough in June 19 13 and played the leading role. This tragedy was out of tune with the atmosphere and interest of the theater at that time, and the bourgeois public opinion was madly vilified, calling it "* * *" script and "the dream of mental patients". In Mayakovski's words, it is: "The bourgeois's nose smells that we are soldiers with bombs."

Mayakovski has been interested in drama since he was a child. In the stormy days of the 1905 revolution, 12-year-old Mayakovski watched a drama staged by a Georgian troupe calling on people to resist social oppression and was deeply fascinated by the drama.

It is natural for Mayakovski to turn from poetry creation to drama creation, because his poems are dramatic. One of the characteristics of his poems is a brief introduction to Meierkholid, that is, you can really understand it only when you listen to the recitation at the end. Mayakovski's poetic dramas use the speaker's language, and the lines are full of sighs, many calls and questions. Because the content itself shows the action, the rhythm of the poem is full of changes, and Mayakovski's poems have great action. Mayakovski is well aware of this. He said that every one of his works can be performed on the stage.

Mayakovski's posters and illustrations for his books are also full of action. His "Window of Rasta" has a strong political color, with poems and pictures. Although simple, it is often dramatic. The characters in the painting are lifelike, which is used to match the simplicity and vividness of the picture, and can be easily converted into text descriptions in the script to describe the actions of the characters and specific scenes. Therefore, it can be said that Mayakovski's creation has obvious dramatic tendency, and drama runs through almost all his activities and plays an important role in them.

Rational drama

Mayakovski is one of the most representative playwrights of European rationalism in the first half of the 20th century. Great writers represented by rational drama include Gorky, Bernard Shaw, Capec, Brecht and others. Compared with these great writers, Mayakovski's plays have a prominent feature, that is, they have the most distinctive political tendency. In Meierkholid's view, tendentiousness is the most fundamental feature of Mayakovski as a playwright. Mayakovski also said that the essence of his plays is to "make the stage a forum". He bluntly claimed that literature should "put the purpose first" and that "art is a tool of class struggle".

Bathhouse, which reflects the October Revolution, praises laborers, criticizes exploiters' religious farce, criticizes the bugs of ordinary citizens' habits, and exposes bureaucracy, has a very distinct political tendency.

In order to explain the macro-political theory and "materialization" thought, the background of Mayakovski's plays often has a global scope, adopting an epic open perspective and using gorgeous extreme exaggeration. The religious farce used 350 actors, and the plot ranged from "the whole world" to Noah's Ark, to heaven as hell, and finally to heaven. The time-space jump transformation is the largest. People from all walks of life performed on the same stage with "saints" and "future people" such as the devil, angels, God and the late Tolstoy, as well as dozens of anthropomorphic objects such as bread, salt and sugar in the paradise. Politics and art, poetry and songs, sublime and funny "concrete" are combined. In the Bug, time spans 50 years, and a frozen body miraculously resurrects after half a century. Its harmful effects are transmitted to dogs like a plague, and from dogs to people. Groups of girls are collectively crazy ... In Bathhouse, modern people are mixed with future "phosphorescent women", and acrobatics and fireworks are interspersed in the play. People use Einstein's theory of relativity to build a "time locomotive" and rush to 2030. In the new century, the birth of communism has become history.

If we make a horizontal comparison, it is not difficult to find that Mayakovski and Brecht are the most similar representatives of European rational drama. The time when they started writing plays was very close, and the rational and conceptual factors were the most prominent in the play. It can be said that Brecht enriched Mayakovski's tendentious drama, and Mayakovski anticipated many things in Brecht's drama. Mayakovski used drama to serve the revolutionary struggle earlier than Brecht. 19 18, he wrote a "communist drama" praising the October Revolution-"Religious farce". Brecht didn't accept Marxism until 1927. In a sense, it can be said that Mayakovski was Brecht's religious pioneer.

Modern drama

Mayakovski's plays can be classified as European rationalist plays in content orientation, but there are many similarities with European futurism and expressionism in form and technique innovation.

Mayakovski has a particularly close relationship with futurism. He has repeatedly claimed that he is a futurist. In 19 13' s Drama, Film and Futurism, he claimed that he would "wreak havoc" in all departments of the United States, and drama was no exception. He opposed "lyrical * * *", opposed the installation of exquisite scenery and props, and advocated "drama going to the future". Mayakovski believes that modern life requires speeding up the pace of language, making it "fast, economical and simple", replacing long complex sentences with short sentences, and creating a language with "telecom theme". Words should be replaced, destroyed and updated every day. In characterization, Mayakovski advocates depicting "new people", that is, "future people"; This newcomer is not an isolated individual hero in the past literature and art, but a strong man who lives in "groups" and "mobs", has a sense of unity and responsibility, and is brave and optimistic. Mayakovski, like a futurist, is extremely interested in modern science and technology. He is obsessed with Einstein's theory of relativity. 1920 He listened to a course about Einstein's theory. The "locomotive of time" in Bathhouse is a vivid metaphor.

Although Mayakovski has a lot in common with futurists, he belongs to left-wing futurism. He said: "Futurism is a traditional name of our country. Our abbreviation is "Camfrog" (Communist Futurist). Ideologically, we have nothing in common with Italian futurism, only the handling of materials. "

Mayakovski and expressionism also have similarities. Themes of his plays are often added and specified. The author's conception obviously and artificially runs through the whole plot. When talking about the creation of Bug, Mayakovski bluntly said that he condensed and summarized the "facts" in the two central figures of comedy, and translated the "facts" into an action and fascinating drama language. Some of his expressions are also expressionist. For example, at the end of Bug, Prisupokin is kept in a cage in the zoo and associates with an "ordinary bug", which is almost the same as O 'Neill's expressionist drama Hairy Ape.

Mayakovski can be said to have created a brand-new type of drama on the basis of actively drawing lessons from futurism, expressionism and symbolism, which shocked even the most famous Russian artists at that time and was used to praise the October Revolution, laborers and criticize the habits and bureaucracy of ordinary citizens. His plays can be said to be a bridge from symbolism at the end of 19, futurism and expressionism at the beginning of the 20th century to Brecht's narrative plays, which is an indispensable link in the history of European drama development.

Meierkholid system

Just as Chekhov was the playwright of Stani Lavschi system, Mayakovski was the playwright of Meierkholid drama system. Together with Meierkholid, he laid the foundation for the new political drama of the Soviet Union in the 1920s. This new type of drama was later named from different angles, called epic drama, narrative drama, metaphorical drama, imaginary political drama, rational drama, montage drama, dialectical drama and so on. [2]

The exploration and innovation of Mayakovski's and Meierkholid's plays have several characteristics that deserve our attention:

First, oppose "indoor" dramas that depict personal psychology. Mayakovski repeatedly emphasized "opposing indoor art and psychological speculation". He believes that psychological realism drama is "hiding in a cage-like home" to "guess other people's psychology" and advocates that drama should shake "individual" out of "Taoist robe". Mayakovski and Meierkholid pointed their finger at the tradition of psychological realism followed by the Moscow Art Theatre headed by Stani Lavschi. They even mocked "Mo Yi" in the script lines, making the actors tear the poster of "Mo Yi" to pieces. This tendency to oppose psychological description has its inevitability after the October Revolution. As some critics have concluded, the so-called art of expressing people's secret psychology cannot be tolerated in the revolutionary era.

Although Mayakovski's and Meierkholid's thoughts are one-sided, this tendency of ignoring personal psychological portrayal and focusing on expressing people's social attributes is precisely the outstanding feature of the Soviet political dramas and narrative dramas represented by Brecht. In other words, it has formed the basic characteristics of a new type of drama.

Second, the high hypothesis. Mayakovski resolutely opposes the drama of "conveying a photographic description of life", and thinks that the "dead background" of realistic scenery props can only bind the actor's art. He admires Shakespeare's plays without scenery devices and appreciates virtual performances. The "time locomotive" in Bathhouse is also virtual, and the script shows that this "invisible locomotive" was actually moved by the characters in the play with virtual performances. It can be seen that Mayakovski's view of drama is quite close to that of Meierkholid. Meierkholid spoke highly of Mayakovski's plays in opposition, and found valuable originality where critics thought it was flawed, because they all praised hypothetical plays.

Mayakovski is good at breaking genre boundaries and combining many opposing factors. In his plays, there are both critical and ironic themes and heroic themes. There are not only satirical objects of bugs Prisupojin and Bayan, but also professors and professors of "Resurrection Institute". In the poster of Bug, it is said that this comedy makes people both "laugh" and frown ... All this shows that Mayakovski is the boldest and most thorough pioneer in drama innovation. The high synthesis of various opposing factors has created a new drama genre, created conditions for Meierkholid's stage art innovation, and provided an example for the development of Soviet political drama.

Following the reappearance of Bug and Bathroom in Moscow in 1950s, Mayakovski fever arose in the world theatre in 1960s and 1970s. Mayakovski's plays have been staged in Italy and France, Stockholm, London and Tokyo, Eastern European countries and as far away as Cuba. History has proved that Mayakovski occupies an important position in the world literary world, whether as a poet or a playwright.

19 13 years, Mayakovski first set foot in the field of drama. The 20-year-old poet published three articles about drama and movies, criticized the old rules and customs of the theater at that time, and called for the creation of new forms of drama. This year, Mayakovski wrote his first play, Vladimir Mayakovsky. The play portrays a very sensitive poet who can't stand Russia's autocratic rule and shows his tragic experience. The script foreshadows the revolutionary storm that is forming, but the protest against society is expressed in a rather strange image. The playwright himself plays the protagonist of the same name. He plays some fictional characters, such as "an old man with a group of black and thin cats (thousands of years ago)," a faded man with no eyes ","a man with two kisses "and so on. In these eccentric characters, people's mental pain, hatred of capitalist city life and desire for pure love are all reflected in real life.