Oberiuty is ... Literary group "Association of real art"

Art, like science, has never stood still, and proof of it can serve not only the achievements of the creators of our time. At the beginning of the twentieth century, society renounced many of the foundations of the old life, this trend was traced in fashion, in laws, in social trends and, of course, in literature. In this industry, one of the most non-standard and innovative at that time were Oberiut. This is an association of writers who completely abandoned the traditional forms of art, and now we will figure out what they took as a substitute.

Acquaintance with the group and its creativity

So, a poetic association called OBERIU originated in Soviet Russia, in the city of Leningrad. January 24, 1928 in the House of Printing passed a meeting, dubbed "Three Left Hours", all participants of which announced their entry into the niche of "left" art. This abbreviation stands for "Combining real art", with the letter "y" added here only as an add-on. Many believe that this detail clearly demonstrates the worldview of these poets. On the same day, the first (and last) manifesto was published, which set out the rejection of the usual forms of art and fixed new literary views. Henceforth, the creativity of the Oberiuts became avant-garde, a new semantic load appeared in the poems, which was oriented towards existentialism and other global issues of mankind.

History of creation

Oberiuty is a collective name, which was officially assigned to poets in 1928, but it should be noted that these trends in literature appeared long before this time. The formation of the group began in 1925, when the poets Harms, Vvedensky, Zabolotsky and Bakhterev united under the common pseudonym "Chinari". A year later this name was changed to "Left Flank", and even later was changed to "Academy of Left Classics". In 1928, on January 24, the "Three Left Hours" meeting took place in the House of Printing, at which the name "Poets-Oberiuty" was finally selected, and a list of participants was also fixed.

• The first hour - poets join the group: A. Vvedensky, N. Zabolotsky, D. Harms, I. Bakhterev, K. Vaginov.
• The second hour is the production of the play based on the story "Elizabeth Bam", written by Daniil Harms.
• Hour three - viewing of the mounted film "the Meat mincer" which Alexander Razumovsky has created.

Participants and supporters of avant-garde creativity

The meeting "Three Left Hours" documented the core of the Oberiu, its basis. Later the composition was formed, the participants of which officially joined this group. So, since 1928 Oberiutians are D. Harms, I. Bakhterev, K. Vaginov A. Vvedensky, N. Zabolotsky, J. Vladimirov, and Doyvber Levin. Creativity of these people was based primarily on the rejection of "abstruse" language, from complex literary turns and techniques. The basis was grotesque, absurdity and alogism. Of course, among the public masses, such tendencies evoked a negative reaction, especially among the ruling elite of the country. However, among the creative people the group of Oberiutians found support. Share their creative views: writer Eugene Schwartz, poet Nikolai Oleinikov, philologist Nikolai Khardzhiev, philosophers Leonid Lipavsky and Yakov Druskin. Support was also found on the part of artists: Pavel Mansurov, Kazimir Malevich, Pavel Filonov, Vladimir Sterligov, as well as the canoe of the MAI community, the artist Alisa Poret and Tatyana Glebova.

Philosophy

In their manifesto, the oberiuty writers publicly declared: "Who are we? Why us? ... We are poets of a new art and a new attitude. The meaning of art and words in our work deepens and significantly expands, but does not collapse. Any object is first cleaned of husks, literary and everyday, and only afterwards it becomes a creation. "

The basis for the poets were such principles as the lack of logic, speech and language anomalies, grammatical errors, fragmentation, self-denial or relativity. The essence of the last reception was that each subsequent fragment of the text refuted the previous one, which, in turn, was not withdrawn. As an example, you can consider the story "Blue Notebook Number 10", written by Daniil Harms. The beginning of it is: "There was one red-haired man ...". After it becomes known that this man had no hair, no ears, no nose - nothing.

"The fifth meaning"

Literators are reliably aware that there are four meanings of the subject, among them emotional, descriptive, aesthetic and target. However, it was necessary to create something that would ensure the very fact of the existence of the object - so the oberioths reflected. It should have been such a value that would free the object from various conditioned connections and make it independent. In theory, this aspect is difficult to comprehend, since this work is based on absurd theories, so now we will consider a concrete example. Poem Vvedensky "For the tip of the letter taking, I raise the word closet" clearly demonstrates the presence of the "fifth meaning". Here any word can be considered as a separate subject, and the subject, in turn, as an independent word.

Creation

Experiments Oberiutov in the field of literature are quite diverse in their approach. Each individual author has his own "chips", his style and direction. Unites poets, perhaps, the widespread alogism, which completely destroys the stereotypes of perception of literature. This tendency forces us to look at the overall picture through the lens of the grotesque, to see it quite differently than in the classical version. In addition, the lack of sequence of events, atypical literary devices and numerous "mistakes" make the reader's brain to independently compare all the parts in the overall picture. Well, now it's time to get acquainted with the peculiarities of the creativity of some of the most prominent representatives of this group of writers.

Alexander Vvedensky is a poet-o'eriut

This author is the most outstanding among the representatives of this trend, and all thanks to the fact that his work is as close to the classics and easy in perception. Mostly Vvedensky works with the structure of the language itself. His creations have the usual dimensions (as in Pushkin, for example), they do not have complex rhymes, ragged phrases and abstruse terms. The vocabulary is simple, the speech structures are very common, the words rhyme to the pain simply, and it is easily remembered. It seems that everything in his verses is transparent, competent and understandable, but something elusive does not allow the reader to finally realize the essence of what is happening. The fact is that the poet uses absolutely unintended speech, he combines words that never before stood side by side, thus forming an unformulated, elusive meaning.

Alas, there was a deplorable chair,

On the chair sat aul,

He was sitting on a large sick man,

Sitting to the living with his back.

He saw the river and the forest,

Where the fox is racing.

Harms

The work of this poet, who is no less popular than the previous one, is based primarily on semantic nonsense. In many respects Daniel Kharms is similar to Vvedensky - he also unites incongruous words, creates an illusion of meaning. Reading his poems, at first glance it seems that everything is clear and understandable. But as soon as you finish the last line, the content is lost, you have to reread, and not once, in order to catch at least a fraction of what the author was trying to convey. The second feature, characterized by the work of Kharms, is "zaum". He creates new words, inscribes them into poems, and, finding those in one or another line, one can guess their meaning.

I walked in winter along the swamp
In galoshes,
In Hat
And with glasses.
Suddenly, someone swept along the river
On metal
Hooks.

I ran faster to the river,
And he ran into the forest at a run,
Attached to the feet two boards,
He sat down,
Has jumped up
And disappeared.

Prose Harms

This oberiut was known in his time not only as a poet, but also as a writer of plays and stories. Like poems oberiutov, prose Kharms was absurd, was based on meaningless phrases, events that are not related to each other, and frequent mood changes. A notable feature of his stories was a household theme. Before the grotesque, various life situations were brought about, which could take place in a shop, at a railway station, during a supper or a social event. Any dialogue in works the author represented in a genre that did not have a name, but was clearly opposite to the usual style of presentation.

Nikolay Zabolotsky

Zabolotsky's literary works unite in themselves unaccustomed and even slightly ridiculous metaphors, which, however, combine in a clear sense. After reading his poem to the end, the reader realizes his essence and object, understands what the author's pen was aimed at. However, the work itself is literally filled with hyperboles, atypical comparisons, anthropomorphic not only animals, but also objects of everyday life, phenomena of nature. It is also worth noting that the final thought or the meaning of the verse is not always predictable. Zabolotsky's works are one of those that will keep you in suspense until the last minute, and only in the end you will be able to understand what all the higher semantic forms were written for.

Look: do not ball, do not masquerade,
Here the nights go wrong,
Here we do not recognize wine,
The parrot laughs with laughter.

Nikolay Oleynikov

The poetry of this oberiut has a very deep and quite understandable meaning to the reader. Despite allegories, metaphors and symbolism, the author competently conveys the whole essence of his thought and shapes it into simple rhymed drains. In many respects Oleinikov's work can be characterized as a parody in which he ridicules various weaknesses of people or systems, or shows us the underside of being, raises extremely important and even tragic questions. The most striking of his works is the "Cockroach". This is a poem that tells us about the tragic fate of an insect that has become the subject of experiments. The cockroach is insignificant for the person, however the author tells us that he is also alive, also has a soul and wants to live.

- The cockroach is sitting in a glass,
The leg of the red sucks.
He was caught. He's in a trap.
And now he is waiting for execution.

- The cockroach pressed to the glass

And he looks, hardly breathing.

He would not be afraid of death,
If I knew that there is a soul ...

Criticism of contemporaries

The existence of the unification of real art jeopardized the new political and social tendencies of Soviet Russia. In the leading publishing houses of Leningrad, the participants of this group received numerous refusals, the press kept silent about their existence, and subsequently called traitors, enemies and spies. In 1930, the last public speech took place, on which poems of Oberiutians were read, as well as an entertaining program with the participation of magician Pastukhov. In honor of him came a devastating article in the newspaper "Smena", in which this action was called "abstruse juggling," and all involved in it - opponents of the proletariat and conspirators. It was followed by such negative reviews and reviews, prompting state authorities to move to decisive action.

Repression and Persecution

In 1931, the unification of real art officially ceased to exist. Kharms, Vvedensky and Bakhterev were arrested on a state case, after which they were exiled without the right to further return. The remaining members of the group continued to cooperate, but no longer acted and did not publish as previously. In conclusion, in 1941-1942 Vvedensky and Harms died, and the war that came to our land took the lives of Levin and Lipavsky. It is worth mentioning that Nicholas Oleynikova was shot back in 1937. The remaining Oberiutians were in a blocked Leningrad, which was constantly subjected to assault and attacks from the fascists. Under these conditions, the author's numerous achievements were lost, whole pieces were burned and lost, collections of poems and individual developments. Because of these events, the only adult writing of Yuri Vladimirov, which has survived to this day, was the "Athlete". Levin's non-children's works were completely lost, as were the prose works of Vvedensky, including the cultic story "Murderers are Fools".

"Thaw"

After 1956, the people gradually began to resurrect the once-ruined creativity of great poets and writers. The children's poems of Harms and Vvedensky began to be published. They were printed not only in Russia, but also in the West thanks to the efforts of Vladimir Earle and Mikhail Meilakh. Finally, the ban on Oberiut's work was lifted in the years of perestroika, when Soviet censorship lost its meaning and the creative range expanded considerably. It is worth noting that one of the poets of this group - Igor Bakhterev, managed to stretch all these years and retained his creative skills until his death in 1996. His work began to be published as far back as the 1970s, with not only old work but also new works being printed. In the 80's and in the first half of the 90's he continued to compose, without changing the avant-garde style.

Oberiuty for children

Due to the fact that writers of the association of real art were constantly under the hood of threats and repression by the government, many of them moved, so to speak, into the children's niche of creativity. In particular, Vvedensky, Harms, Bakhterev, Vladimirov and Zabolotsky wrote poems for children that were more simple and understandable than creations for the adult public. But, strangely enough, even in so innocent at first glance the creation was a tragic or satirical idea of the authors. Later this became one of the reasons for arresting the main activists of the literary group.