Who are the representatives of the creative intelligentsia forced. Formation of the historical memory of the creative intelligentsia and journalists who covered the Nuremberg trials
By chance this week I managed to see the program "First Studio" from 07/05/2017, I will not list everyone who was there, but I still want to return to one person. This is Joseph Reichelgauz. This figure, without batting an eye on the whole of our country, began to defend, not without the well-known to us Alexei Goncharenko, the very one who took selfies with the corpses of people in the burned-out House of Trade Unions in Odessa.
This bastard is shielded by Reichelgauz. He said about him that he was fighting for friendship with Russia and was preventing the introduction of visas. You and I remember what this creature said, removing the charred bodies of dead people. All this can be found on the net, no matter how hard these scum try to erase history.
Now let's look at the "creative" fate of Reichelgauz himself.
As Wikipedia informs us with reference to the Lyceum newspaper, “Joseph Reichelgauz was born and raised in Odessa. In 1962–1964 he worked as an electric and gas welder at a motor depot. In 1964 he entered the Kharkov Theater Institute at the directing department, but expelled within a week with the wording: "Professional incompetence" In 1965, Reichelgauz became an artist of the auxiliary composition of the Odessa Youth Theater. In 1966 he came to Leningrad and entered the directing faculty of LGITMiK. And again, in the same year, he was expelled for incompetence. In 1965–1966 he was a stage worker at the Leningrad Bolshoy Theater named after V.I. Gorky. In 1966 he entered the Faculty of Journalism of the Leningrad State University, where he was finally able to take up directing: he became the head of the student theater of the Leningrad State University. In 1968, Iosif Reichelgauz left the university and entered the directing department of GITIS, in the workshop of M.O. Knebel and A.A. Popov. At the same time, he worked as a director at the famous student theater of Moscow State University, in 1970 he led concert student teams to service the builders of Siberian hydroelectric power stations. In 1971, he had a directing practice at the Central Theater of the Soviet Army, but the performance “And I didn’t say a single word” based on the novel by G. Böll was not allowed to be shown. In 1972 he staged his pre-graduation performance, My Poor Marat, based on the play by A. Arbuzov, in his native Odessa. +
The luminary was twice taken out on kicks from theatrical universities, and, for the first time, from a provincial one. But Melpomene did not let go back to the electric and gas welders. He went into amateur performance, hitting William, you know, our Shakespeare. On the basis of amateur performance, he grew strong calluses on his buttocks and took GITIS to starvation. But he did not give up amateur performance - in the north, among harsh and well-earned people who yearn for culture, even in the form of amateur cultural enlightenment, this is sacred. Christmas trees feed the actor for a whole year, yes! The very first performance at the TsTSA was rejected. With his hack I was able to get out only in my native Odessa. Until 1993, he was widely known in narrow circles. He became a laureate and luminary only under the drunkard Yeltsin, when the titles of honored and popular people were handed out for a party card burned in front of witnesses. In short, a typical representative of the society "Down with routine from the opera stage!" Is it any wonder that Pinocchio from his theater are ready to work for food?
It's interesting indeed. what connects this figure Melpomene with Goncharenko? And here's what - his "Theater of the Modern Play" - a miserable and unprofitable institution. And if you quarrel with Goncharenko, then the faucet of the meager stream of pennies received by the theater from seasonal chess in Odessa, or other cities and towns of Ukraine, can be blocked at any time. In Ukraine, after all, they don’t know that the audience doesn’t go to the performances of Reichelgauz, but focuses on the fact that, “here is the director from Odessa, in Moscow he is in charge of the theater - you have to go!”... And you can also get into the “cotton” list - and this is completely zapadno for a director with a stable ahedzhaknuty worldview "oh, forgive us Bandera, ISIS and all-all-all!"
But that's not all, here's an excerpt from his interview on a very "free and democratic" radio station in Russia.
“There is the name Goncharenko, who is being shaken. But in fact, Aleksey Goncharenko is a clear, talented, competent, young, energetic, serious, deep, honest politician who is constantly trying to help his city, his people, and so on. I understand what's going on with the radios."
“There were pro-Russian tents that were waiting for ‘Donbass to be here.’ There were a lot of tents. And, starting from March, these tents came out with Russian flags, they walked along the central streets (this is Kulikovo Pole). They walked along the streets, broke shop windows , they pierced cars, shouted all sorts of things... And yet, they were not interfered with, because such was the situation - post-Maidan. Naturally, at that time, pro-Ukrainian people also walked, also shouted, also made noise.
This monstrous day came on May 2, when football was supposed to be, when the so-called westerners arrived, among whom, of course, were scumbags, fascists, scoundrels. But they were also among them. And Transnistria was, and the unemployed were, and those who were fueled for money from no one knows where. And these went to the center, those went to the center. These drove those - they ran into the house. These began to throw bottles with an incendiary mixture into the house - the house caught fire. Those from the house began to be thrown into tents - the tents caught fire. And it started!"
Well, how? Is being drawn?This is the People's Artist of the Russian Federation!!
I just want to ask what people he is from? And why didn't these people burn in the Odessa House of Trade Unions?
He is also a member of the Public Council of the Russian Jewish Congress. Isn't it some kind of monstrous grimace of the time, a representative of the people who are shouting about the Holocaust on every corner, is fighting to the death for a man who welcomed the burning of people in Odessa.
Persecution of Boris Pasternak for publishing his novel Doctor Zhivago in the West and awarding him the Nobel Prize
Aggressive criticism of a number of figures of literature and art by the party leadership during regular meetings
Persecution of artists
(B. Zhutovsky,
E. Unknown, etc.)
In 1962, a "temporary" increase in the price of meat was announced
(by 30%) and oil (by 25%)
Reasons for the growing dissatisfaction in society with the activities of N.S. Khrushchev in the early 60s
The struggle of the state with the subsidiary plots of collective farmers
New noisy anti-religious campaign. A sharp reduction in the number of active temples
The landslide reduction of the armed forces, which meant for hundreds of thousands of officers the loss of work and the deterioration of their financial situation
Ill-conceived reorganizations and constant staff shake-up
Loss of N.S. Khrushchev's support from the bureaucratic apparatus
Offset Organizers:
L.I. Brezhnev, M.A. Suslov, A.N. Shelepin, N.V. Podgorny, V.A. Semichastny and others.
The removal of N.S. Khrushchev from all posts at the October plenum of the Central Committee of the CPSU in 1964.
!!! The reformist efforts of N.S. Khrushchev, as well as his activities in general, albeit inconsistent and contradictory, and sometimes simply destructive, contributed to the advancement of society along the path of affirming universal values, the beginnings of democratization, glasnost.
Political development of the USSR in the mid-1960s - mid-1980s.
1964-1982- L.I. Brezhnev at the head of the CPSU and the USSR.
!!!The 18-year rule of L.I. Brezhnev became a "golden age" for the party-state nomenclature, which gladly supported the main slogan of L.I. Brezhnev "Ensure the stability of personnel." In fact, this meant not only the conservation of political structures, but also the lifelong occupation of nomenklatura
posts.
USSR Constitution 1977
The concept of developed socialism
Legislative consolidation of the leading role of the CPSU in society
(Article 6 of the Constitution)
The actual substitution of the party apparatus of the Soviet state authorities
Politic system
Strengthening the bureaucratization of the state machine
The rigidity of party-state structures
Crisis of interethnic relations
Gerontocracy
(the power of the elders)
Tighter repression against dissidents
Strengthening contradictions in the social class structure of society
Economic reforms of 1965.
Industry reform
!!! Initially, the reforms gave some positive results. However, they did not affect the foundations of the economic basis of the Soviet system. In the early 1970s, the country's leadership decided to return to a rigid administrative structure with detailed planning of products and other indicators, with restrictions on the rights of enterprises.
The consequences of curtailing the reform of 1965.
1966-1970 1981 - 1985
Growth rate of national income
Growth rates of labor production
Main indicators of economic development in 1965 - 1985 (in %)
SPEECH AT THE MEETING
with CREATIVE INTELLIGENCE
(1946)
Stalin. What do you want to tell me, Comrade Fadeev?
Fadeev (A. A. - in 1946-1954, Secretary General of the Union of Writers of the USSR. - Ed.). Comrade Stalin, we have come to you for advice. Many believe that our literature and art have, as it were, reached a dead end. We do not know which way to develop them further. Today you come to one cinema - they shoot, you come to another - they shoot: everywhere there are movies in which heroes fight endlessly with enemies, where human blood flows like a river. Everywhere they show the same shortcomings and difficulties. The people are tired of fighting and blood.
We want to ask for your advice on how to show a different life in our works: the life of the future, in which there will be no blood and violence, where there will be no those incredible difficulties that our country is going through today. In a word, there is a need to tell about our happy and cloudless future life.
Stalin. In your reasoning, Comrade Fadeev, there is no main thing, there is no Marxist-Leninist analysis of the tasks that life now puts forward for literary workers, for artists.
Once Peter 1 cut a window to Europe. But after 1917, the imperialists thoroughly nailed it down and for a long time, fearing the spread of socialism to their countries, before the Great Patriotic War, they presented us to the world through their radio, cinema, newspapers and magazines as some kind of northern barbarians - murderers with a bloody knife in their teeth. This is how they pictured the dictatorship of the proletariat. Our people were depicted dressed in bast shoes, in shirts, belted with a rope and drinking vodka from a samovar. And suddenly backward "bastard" Russia, these cavemen - subhuman, as the world bourgeoisie portrayed us, utterly defeated two powerful forces in the world - fascist Germany and imperialist Japan, before which the whole world trembled in fear.
Today the world wants to know what kind of people they are who have accomplished such a great feat that saved humanity.
And mankind was saved by ordinary Soviet people who, without noise and cod, under the most difficult conditions, carried out industrialization, carried out collectivization, radically strengthened the country's defense capability and, at the cost of their lives, led by the Communists, defeated the enemy. After all, in the first six months of the war alone, more than 500,000 communists died in battles on the fronts, and more than three million in total during the war. They were the best of us, noble and crystal clear, selfless and disinterested fighters for socialism, for the happiness of the people. We don't have enough of them now... If they were alive, many of our current difficulties would already be behind us. It is today's task of our creative Soviet intelligentsia to comprehensively show this simple, wonderful Soviet man in their works, to reveal and show the best features of his character. This is the general line in the development of literature and art today.
What is dear to us about the literary hero, created at one time by Nikolai Ostrovsky in the book "How the Steel Was Tempered", Pavel Korchagin?
He is dear to us above all for his boundless devotion to the revolution, to the people, to the cause of socialism, and to his unselfishness.
The artistic image in the cinema of the great pilot of our time, Valery Chkalov, contributed to the education of tens of thousands of fearless Soviet falcons - pilots who covered themselves with unfading glory during the Great Patriotic War, and the glorious hero of the film "A Guy from Our City" tank colonel Sergei Lukonin - hundreds of thousands of heroes - tankers.
It is necessary to continue this established tradition - to create such literary heroes - fighters for communism, whom the Soviet people would like to emulate, whom they would like to imitate.
I have a list of questions that, as I was told, are of interest to the Soviet creative intelligentsia today. If there are no objections, I will answer them.
Shouts from the hall. Please, Comrade Stalin! Answer please!
Question. What are the main shortcomings, in your opinion, in the work of modern Soviet writers, playwrights and film directors?
Stalin. Unfortunately very significant. Recently, in many literary works, dangerous tendencies are clearly visible, inspired by the corrupting influence of the decaying West, as well as brought to life by the subversive activities of foreign intelligence services. Increasingly, works appear on the pages of Soviet literary magazines in which Soviet people, the builders of communism, are portrayed in a pitiful caricature. The positive hero is ridiculed, servility to foreigners is promoted, the cosmopolitanism inherent in the political dregs of society is praised.
In theater repertoires, Soviet plays are being replaced by vicious plays by foreign bourgeois authors.
In films, pettiness appeared, a distortion of the heroic history of the Russian people.
Question. How ideologically dangerous are the avant-garde trends in music and abstractionism in the works of artists and sculptors?
Stalin. Today, under the guise of innovation in the art of music, the formalist trend is trying to break through in Soviet music, and in artistic creativity - abstract painting. Sometimes you can hear the question: "Do such great people as the Bolsheviks-Leninists need to deal with trifles - spend time criticizing abstract painting and formalistic music. Let psychiatrists do this."
In such questions, there is a lack of understanding of the role in ideological sabotage against our country and especially the youth that these phenomena play. After all, with their help, they are trying to oppose the principles of socialist realism in literature and art. It is impossible to do this openly, so they act undercover. In the so-called abstract paintings, there are no real images of people whom one would like to imitate in the struggle for the happiness of the people, in the struggle for communism, along the path of which one would like to follow. This image has been replaced by an abstract mysticism that obscures the class struggle of socialism against capitalism. How many people came during the war to be inspired by the exploits to the monument to Minin and Pozharsky on Red Square! And what can inspire a pile of rusty iron, given out by "innovators" from sculpture as a work of art? What can inspire abstract paintings of artists?
This is the reason why modern American financial tycoons, propagandizing modernism, pay fabulous fees for such "works", which the great masters of realistic art never even dreamed of.
There is a class background in the so-called Western popular music, the so-called formalist direction. This kind of, so to speak, music is created on rhythms borrowed from the sects of "shakers", whose "dances", bringing people to ecstasy, turn them into uncontrollable animals capable of the wildest deeds. Rhythms of this kind are created with the participation of psychiatrists, built in such a way as to influence the subcortex of the brain, the human psyche. This is a kind of musical addiction, having fallen under the influence of which a person can no longer think about any bright ideals, turns into cattle, it is useless to call him for a revolution, for building communism. As you can see, music also fights.
Question. What exactly is the subversive activity of foreign intelligence agents in the field of literature and art?
Stalin. Speaking about the further development of Soviet literature and art, one cannot but take into account that they are developing under conditions of an unprecedented scale in history, the scope of the secret war that the world imperialist circles have launched today against our country, including in the field of literature and art. Foreign agents in our country have been tasked with infiltrating the Soviet bodies in charge of cultural affairs, seizing the editorial offices of newspapers and magazines, exerting a decisive influence on the repertoire policy of the theater and cinema, and on the publication of fiction. To prevent in every possible way the publication of revolutionary works that instill patriotism and rouse the Soviet people to communist construction, to support and promote works that preach disbelief in the victory of communist construction, propagandize and praise the capitalist mode of production and the bourgeois way of life.
At the same time, foreign agents were given the task of promoting pessimism, every kind of decadence and moral decay in works of literature and art.
One zealous US senator said: "If we could show our horror movies in Bolshevik Russia, we would certainly thwart their communist construction." No wonder Leo Tolstoy said that literature and art are the most powerful forms of suggestion.
It is necessary to seriously think about who and what inspires us today with the help of literature and art, to put an end to ideological sabotage in this area, until the end, in my opinion, it is time to understand and assimilate that culture, being an important component of the ideology prevailing in society, always class and is used to protect the interests of the ruling class, we have to protect the interests of the working people - the state of the dictatorship of the proletariat.
There is no art for the sake of art, there is not and cannot be any "free" artists, writers, poets, playwrights, directors, journalists who are independent of society, as if standing above this society. They just don't need anyone. Yes, such people do not exist, cannot exist.
Those who cannot or do not want, due to survivals, the traditions of the old counter-revolutionary bourgeois intelligentsia, due to rejection and even hostility towards the power of the working class, to faithfully serve the Soviet people, will receive permission to leave for permanent residence abroad. Let them see for themselves what the statements about the notorious bourgeois "freedom of creativity" mean in practice in a society where everything is bought and sold, and representatives of the creative intelligentsia are completely dependent on the money bag of financial magnates for their work.
Unfortunately, comrades, due to an acute shortage of time, I am forced to end our conversation.
I hope that to some extent I have answered your questions. I think that the position of the Central Committee of the All-Union Communist Party of Bolsheviks and the Soviet government on the further development of Soviet literature and art is clear to you.
(According to the book: Zhukhrai V. Stalin: truth and lies. M., 1996. FROM. 245-251)
On Friday, August 12, a conference of cultural workers of the Samara region was held in Samara for the first time. Cultural figures, representatives of municipalities, creative unions, public organizations discussed the results of the work, identified existing problems and outlined plans for the active and meaningful development of the cultural sphere of the region. Governor Nikolai Merkushkin took part in the forum.
The Minister of Culture of the region Sergei Filippov opened the conference. He noted the priority task that President Vladimir Vladimirovich Putin set for creative people.
"Our main task is to strengthen the spirituality and culture of our country. In the current difficult socio-political situation, culture is the spiritual and moral core that allows us to maintain our identity and look confidently into the future. To do this, we must keep pace with the times and not lag behind the trends of modern society," the minister said.
Sergei Filippov stressed: "If we do not introduce new forms of work, use modern technologies that will attract people to us, we will not be able to fulfill the tasks."
The head of the Ministry of Culture noted that in recent years much has been done to develop culture in the region. Serious work is underway on the territory aimed at preserving the classical theatrical heritage. Bright premieres, dramatic and opera performances, tours of the leading domestic theaters, festivals stimulate Samara residents' interest in cultural institutions. Creative teams of the region successfully defend the honor of the region at major festivals, including the Golden Mask.
The museum direction is developing thanks, among other things, to active joint activities with the largest museums in Russia. One of the brightest examples is that now works from the collection of the Samara Art Museum are exhibited as part of the Ivan Aivazovsky exhibition at the Tretyakov Gallery.
Dozens of festivals are held in the region to support talented youth, young Samara residents take part in hundreds of all-Russian forums and training events. As a rule, they do not return without awards. Gifted children receive nominal scholarships from the governor, and in general, up to 10% of graduates of the Samara region choose creative universities.
The most important direction of the work of the Ministry of Culture is the national-cultural organizations of the region. As a rule, festivals and national holidays in the region are celebrated by all confessions together. "We show an example of how to organize a life that excludes mutual conflicts," Sergei Filippov said.
The minister also noted the problems, first of all, personnel: the average age of cultural workers is more than 50 years, about 25% of people of retirement age are employed in the industry. However, support for young professionals - creative scholarships, governor's awards and grants - is gradually changing the percentage. The average salary of cultural workers has increased by 2-3 times in recent years and is the highest in the Volga Federal District.
1 billion rubles were allocated for the overhaul of 115 municipal cultural institutions. Work has been completed at the Syzran Drama Theatre, at the Neftyanik CDC in Neftegorsk, the art school in Chapaevsk and the library in Dubovy Umet have been restored.
The restored "SamART", children's art schools in Otradnoye and Kinel-Cherkassy will open soon, a puppet theater and a large cultural and health center in Bolshaya Glushitsa will open soon. And this is only a small part of what was done with the support of the governor of the Samara region, the government of the region, and philanthropists, Sergei Filippov noted.
Summing up, the Minister of Culture addressed his colleagues: “We are faced with the task of reaching a new level of development of the culture of the region. We, as creative workers, must not only improve our activities, but also have an active life position, consciously participate in public life, shape public opinion and be an example for fellow citizens. Cultural workers, along with teachers and doctors, have always formed the basis of civil society. They have always been believed, they have been followed."
“Our work resonates with you,” Nikolai Merkushkin addressed the creative intelligentsia. “We do one thing — we educate the younger generation and form culture as a whole. It is this culture that determines the level of development of our society.”
The head of the region drew attention to the fact that the lion's share of the requests and wishes of Samara residents is always associated with art and creativity. "This is a feature of our mentality. That is why we are leaders in the district and the country in the most important areas of culture. We must support the craving for beauty in every possible way," the governor said.
He noted that each restored or built cultural institution "should expand our understanding of the beautiful and attract young people to art." Cultural objects, according to Nikolai Merkushkin, should correspond to their intended purpose and bring joy for many years.
Nikolai Merkushkin also said that grant support for gifted children and children's art schools would continue. As for the latter, the head of the region offered to support not only the best, but also promising institutions: "This will be an incentive for them and an opportunity to develop more actively."
He stressed that support for culture is essential for society: “Step by step, we will do everything possible to bring up a well-bred, creative, educated, healthy and competitive generation. Without this, it is impossible to count on the success of the country, native land. We must keep the bar high.” culture of the Samara region at a high level".
Iraida Zyulmanova, director of the Children's Art School of Otradnoye, noted from the stage that "at all times, culture has been at the forefront in the struggle for the souls and hearts of people."
“Ascetics work in culture, devoted to their work with a soul, ready to put personal passions on the altar of their profession,” she said and turned to the head of the region: “Nikolai Ivanovich, you protect the Samara province and its people, find truly creative, extraordinary solutions in difficult situations. I can say: you are ours, you are a man of culture. Only creative people are able to work as selflessly as you."
The folk ensemble "Shentalinka" on behalf of all the amateur groups of the region thanked Nikolai Merkushkin for the provincial festival "Born in the Heart of Russia": "Nikolai Ivanovich, you do not let us get bored and always keep us in a creative tone."
As part of the cultural forum, the governor awarded representatives of the creative intelligentsia and presented grant certificates for new projects. The badge of honor "For work for the benefit of the land of Samara" was given to Honored Artist of the Russian Federation Rudolf Baranov, People's Artist of the RSFSR Anatoly Ponomarenko, and writer Ivan Nikulshin.
SamART Deputy Director Olga Shapiro also received the award. “I want to say thanks to everyone who has been around these years: the actors, the audience, the Ministry of Culture and you, Nikolai Ivanovich, for understanding the importance of our theater for the province,” she said with tears in her eyes.
The ballet soloist Ksenia Ovchinnikova became the Honored Artist of the Samara Region, and the president of the Volga Historical and Cultural Fund Maria Serkova and the representative of the national cultural autonomy of the Kazakhs "Ak Zhol" Aigul Zhalelova became the honored workers.
The memorial sign "Kuibyshev is a spare capital" was presented to the Samara Academic Opera and Ballet Theatre.
General Director Natalya Glukhova received the award. She noted that there were many bright pages in the history of the theater. In particular, creative teams evacuated to our city during the war not only performed on stage, but also donated blood and looked after the wounded. "This was the position of the people. The badge of honor is the relay race of that time. It is worth a lot. We have a high mission - we have been and remain the center of the cultural, musical and social life of the city," said the head of the theater.
At the end of the conference, the head of the region noted that the peculiarity of creative people is to pass everything through themselves. “When this happens, you give out things that touch the soul. Thank you for that!” he said.
After the end of the forum, the governor was not released for another half an hour. Nikolai Merkushkin was asked to support the Samarskaya Luka magazine, as well as to help strengthen friendship between the Samara region and Uzbekistan: "Let's do this, and then we will invite their delegation to the Samara land, to the Volga."
The head of the region received special gratitude from representatives of the cultural and educational center "Heritage" from Chapaevsk. Natalia Shirokova and Marina Kirillova expressed their common opinion: "The creative intelligentsia is always with you!"
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