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The question of the chronological framework of this phenomenon remains controversial. If researchers are quite unanimous in defining the beginning of the “Silver Age” - this is a phenomenon at the turn of the 80s - 90s of the 19th century, then the end of this period is controversial. It can be attributed to both 1917 and 1921. Some researchers insist on the first option, believing that after 1917 with the outbreak of the Civil War, the “Silver Age” ceased to exist, although in the 1920s those who created this phenomenon with their creativity were still alive. Others believe that the Russian Silver Age was interrupted in the year of the death of Alexander Blok and the execution of Nikolai Gumilyov, as well as the emigration of many poets and writers from Russia in the early 1920s. Finally, there is a point of view that the end of the “Silver Age” can be considered the turn of the 1920s - 1930s, associated with the suicide of Vladimir Mayakovsky and the strengthening of ideological control over literature. Thus, the time frame for this period is about thirty years.

Literary movements

Symbolism

The new literary movement - symbolism - was the product of a deep crisis that gripped European culture at the end of the 19th century. The crisis manifested itself in a negative assessment of progressive social ideas, in a revision of moral values, in a loss of faith in the power of the scientific subconscious, and in a passion for idealistic philosophy. Russian symbolism arose during the years of the collapse of Populism and the widespread spread of pessimistic sentiments. All this led to the fact that the literature of the “Silver Age” does not pose topical social issues, but global philosophical ones. The chronological framework of Russian symbolism is the 1890s - 1910. The development of symbolism in Russia was influenced by two literary traditions:

• - domestic - poetry of Fet, Tyutchev, prose of Dostoevsky;
• - French symbolism - poetry of Paul Verlaine, Arthur Rimbaud, Charles Baudelaire. The symbolism was not uniform. It distinguished schools and movements: “senior” and “junior” symbolists.

Symbolism - the largest of the modernist movements that emerged in Russia. The beginning of his theoretical self-determination was laid by D. S. Merezhkovsky. He gave symbols a central place in poetry.

a) At the initial stage of its existence, symbolism reflected decadent tendencies - despondency, fear of life, disbelief in human capabilities:

We are steps above the abyss,

Children of darkness, waiting for the sun,

We will see the light and, like shadows,

We will die in its rays.

The group of decadent poets included Z. Gippius, V. Bryusov, N. Minsky, K. Balmont, F. Sologub.

b) But then new poets joined symbolism, significantly updating the appearance of the movement: A. Blok, A. Bely, Vyach. Ivanov and others. With their arrival, many of the symbolists revised their views on literature, and symbolism became an important factor in Russian cultural and spiritual life. The work of the symbolists of the new school is characterized by the desire for a higher ideal, belief in the high purpose of art and a call for the unification of people. They preached the unity of creativity and religion, the cult of form (symbol), and the musicality of verse:

Among the worlds, in the twinkling of the luminaries

I repeat the name of One Star...

Not because I loved her,

But because I languish with others...

Making dreams come true

Almighty game

This world of enchantment

This world is made of silver!

Senior Symbolists

• § St. Petersburg symbolists: D. S. Merezhkovsky, Z. N. Gippius, F. K. Sologub, N. M. Minsky. At first, the work of the St. Petersburg symbolists was dominated by decadent moods and motives of disappointment. Therefore, their work is sometimes called decadent.
• § Moscow Symbolists: V. Ya. Bryusov, K. D. Balmont.

The “older” symbolists perceived symbolism in aesthetic terms. According to Bryusov and Balmont, a poet is, first of all, a creator of purely personal and purely artistic values.

Junior Symbolists

A. A. Blok, A. Bely, V. I. Ivanov. The “younger” symbolists perceived symbolism in philosophical and religious terms. For the “younger”, symbolism is a philosophy refracted in poetic consciousness.

The 19th century, which became a period of extraordinary growth of national culture and grandiose achievements in all spheres of art, was replaced by a complex 20th century, full of dramatic events and turning points. The golden age of social and artistic life gave way to the so-called silver age, which gave rise to the rapid development of Russian literature, poetry and prose in new bright trends, and subsequently became the starting point of its fall.

In this article we will focus on the poetry of the Silver Age, consider it and talk about the main directions, such as symbolism, acmeism and futurism, each of which was distinguished by its special verse music and a vivid expression of the experiences and feelings of the lyrical hero.

Poetry of the Silver Age. A turning point in Russian culture and art

It is believed that the beginning of the Silver Age of Russian literature falls on the 80-90s. XIX century At this time, the works of many wonderful poets appeared: V. Bryusov, K. Ryleev, K. Balmont, I. Annensky - and writers: L. N. Tolstoy, F. M. Dostoevsky, M. E. Saltykov-Shchedrin. The country is going through difficult times. During the reign of Alexander I, first there was a strong patriotic upsurge during the War of 1812, and then, due to a sharp change in the previously liberal policy of the tsar, society experienced a painful loss of illusions and severe moral losses.

The poetry of the Silver Age reached its peak by 1915. Social life and the political situation are characterized by a deep crisis, a turbulent, seething atmosphere. Mass protests are growing, life is becoming politicized, and at the same time personal self-awareness is strengthening. Society is making intense attempts to find a new ideal of power and social order. And poets and writers keep up with the times, mastering new artistic forms and offering bold ideas. The human personality begins to be perceived as a unity of many principles: natural and social, biological and moral. During the years of the February and October revolutions and the Civil War, the poetry of the Silver Age was in crisis.

A. Blok’s speech “On the appointment of a poet” (February 11, 1921), delivered by him at a meeting on the occasion of the 84th anniversary of the death of A. Pushkin, becomes the final chord of the Silver Age.

Characteristics of literature of the 19th - early 20th centuries.

Let's look at the features of the poetry of the Silver Age. Firstly, one of the main features of the literature of that time was a huge interest in eternal themes: the search for the meaning of the life of an individual and all of humanity as a whole, the mysteries of national character, the history of the country, the mutual influence of the worldly and spiritual, human interaction and nature. Literature at the end of the 19th century. becomes more and more philosophical: the authors reveal themes of war, revolution, personal tragedy of a person who, due to circumstances, has lost peace and inner harmony. In the works of writers and poets, a new, brave, extraordinary, decisive and often unpredictable hero is born, stubbornly overcoming all adversities and hardships. In most works, close attention is paid to how the subject perceives tragic social events through the prism of his consciousness. Secondly, a feature of poetry and prose has become an intensive search for original artistic forms, as well as means of expressing feelings and emotions. Poetic form and rhyme played a particularly important role. Many authors abandoned the classical presentation of the text and invented new techniques, for example, V. Mayakovsky created his famous “ladder”. Often, to achieve a special effect, authors used speech and language anomalies, fragmentation, alogisms, and even allowed

Thirdly, the poets of the Silver Age of Russian poetry freely experimented with the artistic possibilities of the word. In an effort to express complex, often contradictory, “volatile” emotional impulses, writers began to treat words in a new way, trying to convey the subtlest shades of meaning in their poems. Standard, formulaic definitions of clear objective objects: love, evil, family values, morality - began to be replaced by abstract psychological descriptions. Precise concepts gave way to hints and understatements. Such instability and fluidity of verbal meaning was achieved through the most vivid metaphors, which often began to be built not on the obvious similarity of objects or phenomena, but on non-obvious signs.

Fourthly, the poetry of the Silver Age is characterized by new ways of conveying the thoughts and feelings of the lyrical hero. Poems by many authors began to be created using images, motifs from various cultures, as well as hidden and explicit quotes. For example, many word artists included scenes from Greek, Roman and, a little later, Slavic myths and legends in their creations. In the works of M. Tsvetaeva and V. Bryusov, mythology is used to build universal psychological models that allow us to comprehend the human personality, in particular its spiritual component. Each poet of the Silver Age is brightly individual. You can easily understand which of them belongs to which verses. But they all tried to make their works more tangible, alive, full of colors, so that any reader could feel every word and line.

The main directions of poetry of the Silver Age. Symbolism

Writers and poets who opposed realism announced the creation of a new, modern art - modernism. There are three main poetry of the Silver Age: symbolism, acmeism, futurism. Each of them had its own striking features. Symbolism originally arose in France as a protest against the everyday reflection of reality and dissatisfaction with bourgeois life. The founders of this trend, including J. Morsas, believed that only with the help of a special hint - a symbol - can one comprehend the secrets of the universe. In Russia, symbolism appeared in the early 1890s. The founder of this movement was D. S. Merezhkovsky, who proclaimed in his book three main postulates of the new art: symbolization, mystical content and “expansion of artistic impressionability.”

Senior and Junior Symbolists

The first symbolists, later called the elders, were V. Ya. Bryusov, K. D. Balmont, F. K. Sologub, Z. N. Gippius, N. M. Minsky and other poets. Their work was often characterized by a sharp denial of the surrounding reality. They portrayed real life as boring, ugly and meaningless, trying to convey the subtlest shades of their feelings.

Period from 1901 to 1904 marks the advent of a new milestone in Russian poetry. The poems of the Symbolists are imbued with a revolutionary spirit and a premonition of future changes. Younger symbolists: A. Blok, V. Ivanov, A. Bely - do not deny the world, but utopianly await its transformation, chanting divine beauty, love and femininity, which will certainly change reality. It was with the appearance of younger symbolists in the literary arena that the concept of symbol entered literature. Poets understand it as a multidimensional word that reflects the world of “heaven,” the spiritual essence and at the same time the “earthly kingdom.”

Symbolism during the Revolution

Poetry of the Russian Silver Age in 1905-1907. is undergoing changes. Most symbolists, focusing on the socio-political events taking place in the country, reconsider their views on the world and beauty. The latter is now understood as the chaos of struggle. Poets create images of a new world that replaces the dying one. V. Ya. Bryusov creates the poem “The Coming Huns”, A. Blok - “The Barge of Life”, “Rising from the Darkness of the Cellars...”, etc.

The symbolism also changes. Now she turns not to the ancient heritage, but to Russian folklore, as well as Slavic mythology. After the revolution, the Symbolists split into those who wanted to protect art from the revolutionary elements and, on the contrary, those who were actively interested in the social struggle. After 1907, the Symbolist debate exhausted itself and was replaced by imitation of the art of the past. And since 1910, Russian symbolism has been going through a crisis, clearly displaying its internal inconsistency.

Acmeism in Russian poetry

In 1911, N. S. Gumilyov organized a literary group - the “Workshop of Poets”. It included the poets O. Mandelstam, G. Ivanov and G. Adamovich. This new direction did not reject the surrounding reality, but accepted reality as it is, affirming its value. The “Workshop of Poets” began to publish its own magazine “Hyperborea”, as well as publish works in “Apollo”. Acmeism, which originated as a literary school to find a way out of the crisis of symbolism, united poets who were very different in their ideological and artistic attitudes.

Features of Russian futurism

The Silver Age in Russian poetry gave birth to another interesting movement called “futurism” (from the Latin futurum, that is, “future”). The search for new artistic forms in the works of the brothers N. and D. Burlyuk, N. S. Goncharova, N. Kulbin, M. V. Matyushin became a prerequisite for the emergence of this trend in Russia.

In 1910, the futuristic collection “The Fishing Tank of Judges” was published, which collected the works of such outstanding poets as V.V. Kamensky, V.V. Khlebnikov, the Burliuk brothers, E. Guro. These authors formed the core of the so-called Cubo-Futurists. Later V. Mayakovsky joined them. In December 1912, the almanac “A Slap in the Face of Public Taste” was published. The cubo-futurists' poems "Lesiny Bukh", "Dead Moon", "Roaring Parnassus", "Gag" became the subject of numerous disputes. At first they were perceived as a way to tease the reader's habits, but a closer reading revealed a keen desire to show a new vision of the world and a special social involvement. Anti-aestheticism turned into a rejection of soulless, fake beauty, the rudeness of expressions was transformed into the voice of the crowd.

Egofuturists

In addition to cubo-futurism, several other movements arose, including ego-futurism, led by I. Severyanin. He was joined by such poets as V. I. Gnezdov, I. V. Ignatiev, K. Olimpov and others. They created the publishing house “Petersburg Herald”, published magazines and almanacs with original titles: “Sky Diggers”, “Eagles over the Abyss” , “Zakhara Kry”, etc. Their poems were extravagant and were often composed of words they themselves created. In addition to the ego-futurists, there were two more groups: “Centrifuge” (B. L. Pasternak, N. N. Aseev, S. P. Bobrov) and “Mezzanine of Poetry” (R. Ivnev, S. M. Tretyakov, V. G. Sherenevich).

Instead of a conclusion

The Silver Age of Russian poetry was short-lived, but it united a galaxy of the brightest, talented poets. Many of them had tragic biographies, because by the will of fate they had to live and work in such a fatal time for the country, a turning point of revolutions and chaos in the post-revolutionary years, civil war, collapse of hopes and revival. Many poets died after tragic events (V. Khlebnikov, A. Blok), many emigrated (K. Balmont, Z. Gippius, I. Severyanin, M. Tsvetaeva), some committed suicide, were shot or perished in Stalin’s camps. But they all managed to make a huge contribution to Russian culture and enrich it with their expressive, colorful, original works.

The emergence of new directions, trends, styles in art and literature is always associated with an understanding of the place and role of man in the world, in the Universe, with a change in man’s self-awareness. One of these turning points occurred at the end of the 19th and beginning of the 20th centuries. Artists of that time advocated a new vision of reality and searched for original artistic means. The outstanding Russian philosopher N.A. Berdyaev called this short but surprisingly bright period the Silver Age. This definition primarily applies to Russian poetry of the early twentieth century. The Golden Age is the age of Pushkin and Russian classics. It became the basis for revealing the talents of the poets of the Silver Age. In Anna Akhmatova’s “Poem without a Hero” we find the lines:

And the silver month floated brightly above the silver age.

Chronologically, the Silver Age lasted one and a half to two decades, but in terms of intensity it can safely be called a century. It turned out to be possible thanks to the creative interaction of people of rare talents. The artistic picture of the Silver Age is multi-layered and contradictory. Various artistic movements, creative schools, and individual non-traditional styles arose and intertwined. The art of the Silver Age paradoxically united the old and the new, the passing and the emerging, turning into a harmony of opposites, forming a culture of a special kind. During that turbulent time, a unique overlap occurred between the realistic traditions of the outgoing golden age and new artistic movements. A. Blok wrote: “The sun of naive realism has set.” It was a time of religious quest, fantasy and mysticism. The synthesis of arts was recognized as the highest aesthetic ideal. Symbolist and futurist poetry, music pretending to be philosophy, decorative painting, a new synthetic ballet, decadent theater, and the “modern” architectural style arose. The poets M. Kuzmin and B. Pasternak composed music. Composers Scriabin, Rebikov, Stanchinsky practiced some in philosophy, some in poetry and even prose. The development of art occurred at an accelerated pace, with great intensity, giving birth to hundreds of new ideas.

By the end of the 19th century, symbolist poets, who later began to be called “senior” symbolists, loudly declared themselves - Z. Gippius, D. Merezhkovsky, K. Balmont, F. Sologub, N. Minsky. Later, a group of “young symbolist” poets arose - A. Bely, A. Blok, Vyach. Ivanov. A group of Acmeist poets was formed - N. Gumilyov, O. Mandelstam, S. Gorodetsky, A. Akhmatova and others. Poetic futurism appears (A. Kruchenykh, V. Khlebnikov, V. Mayakovsky). But despite all the diversity and variety of manifestations in the work of artists of that time, similar trends are observed. The changes were based on common origins. The remnants of the feudal system were disintegrating, and there was a “ferment of minds” in the pre-revolutionary era. This created a completely new environment for the development of culture.

In poetry, music, and painting of the Silver Age, one of the main themes was the theme of freedom of the human spirit in the face of Eternity. Artists sought to unravel the eternal mystery of the universe. Some approached this from a religious position, others admired the beauty of the world created by God. Many artists perceived death as another existence, as a happy deliverance from the torment of the suffering human soul. The cult of love, intoxication with the sensual beauty of the world, the elements of nature, and the joy of life were unusually strong. The concept of “love” was deeply labored. Poets wrote about love for God and for Russia. In the poetry of A. Blok, Vl. Solovyov, V. Bryusov, Scythian chariots rush, pagan Rus' is reflected in the canvases of N. Roerich, Petrushka dances in the ballets of I. Stravinsky, a Russian fairy tale is recreated (“Alyonushka” by V. Vasnetsov, “The Leshy” by M. Vrubel).

Valery Bryusov at the beginning of the twentieth century became a generally recognized theorist and leader of Russian symbolism. He was a poet, prose writer, literary critic, scientist, encyclopedic educated person. The beginning of Bryusov’s creative activity was the publication of three collections “Russian Symbolists”. He admired the poetry of the French symbolists, which was reflected in the collections “Masterpieces”, “This Is Me”, “The Third Watch”, “To the City and the World”.

Bryusov showed great interest in other cultures, in ancient history, in antiquity, and created universal images. In his poems, the Assyrian king Assargadon appears as if alive, the Roman legions and the great commander Alexander the Great pass through, medieval Venice, Dante and much more are shown. Bryusov headed the large Symbolist magazine “Scales”. Although Bryusov was considered a recognized master of symbolism, the principles of writing of this direction had a greater impact on early poems, such as “Creativity” and “To the Young Poet”.

Idealistic thinking soon gave way to earthly, objectively significant themes. Bryusov was the first to see and predict the onset of the cruel industrial age. He praised human thought, new discoveries, was interested in aviation, and predicted space flights. For his amazing performance, Tsvetaeva called Bryusov a “hero of labor.” In the poem “Work” he formulated his life goals:

I want to experience the secrets of Life wise and simple. All paths are extraordinary, The path of labor is like a different path.

Bryusov remained in Russia until the end of his life; in 1920 he founded the Institute of Literature and Art. Bryusov translated the works of Dante, Petrarch, and Armenian poets.

Konstantin Balmont was widely known as a poet, enjoyed enormous popularity in the last ten years of the 19th century, and was an idol of youth. Balmont's work lasted more than 50 years and fully reflected the state of transition at the turn of the century, the fermentation of the minds of that time, the desire to withdraw into a special, fictional world. At the beginning of his career, Balmont wrote many political poems, in which he created a cruel image of Tsar Nicholas II. They were secretly passed from hand to hand, like leaflets.

Already in the first collection, “Under the Northern Sky,” the poet’s poems acquire grace of form and musicality.

The theme of the sun runs through the poet’s entire work. For him, the image of the life-giving sun is a symbol of life, living nature, with which he always felt an organic connection: Material from the site

I came into this world to see the Sun and the blue horizon. I came into this world to see the Sun. And the heights of the mountains. I came to this world to see the Sea and the lush color of the valleys. I made peace. In one glance, I am the ruler...

In the poem “Bezverbnost” Balmont brilliantly notices the special state of Russian nature:

There is a tired tenderness in Russian nature, The silent pain of hidden sadness, The hopelessness of grief, voicelessness, vastness, Cold heights, receding distances.

The very title of the poem speaks of the absence of action, of the immersion of the human soul in a state of wise contemplation. The poet conveys various shades of sadness, which, growing, pours out in tears:

And the heart has forgiven, but the heart has frozen, And it cries, and cries, and cries involuntarily.

The poets of the Silver Age were able to use bright strokes to add capacity and depth to the content of poems that reflected the flow of feelings and emotions, the complex life of the soul.

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On this page there is material on the following topics:

• Briefly about the Silver Age
• Russian literature of the late 19th century
• the theme of freedom in poetry
• Russian literature early 19th century summary
• brief description of the Silver Age

The Silver Age of Russian poetry dates back to the beginning of the 20th century, although its beginning is the 19th century, and all its origins are in the “Golden Age”.
In fact, this is not even a century, it is a grandiose layer, in terms of the quantitative and qualitative composition of poets, which no other century can compare with.
The term “Silver Age” itself is figurative and very conventional. It was proposed (perhaps even as a joke) by the philosopher N. Berdyaev,
but they picked it up and firmly entered the literary community in the 60s of the twentieth century. The main feature is mysticism, a crisis of faith, inner spirituality, and conscience.
Poetry was the sublimation of internal contradictions, mental disharmony, mental illness.
All the poetry of the “Silver Age”, fully embodying the heritage of the Bible, the experience of world literature, ancient mythology, in heart and soul, turned out to be closely connected with Russian folklore, local folk tales and ditties, songs and laments. However, there is an opinion that the “Silver Age”- a Western phenomenon. Perhaps he embodied the pessimism of Schopenhauer, the aestheticism of Oscar Wilde, something of Alfred de Vigny, Nietzsche's superman. There is also an assumption that this is a “quality” name. There is a golden age with A.S. Pushkin, and there is a silver age, which did not reach the golden age in quality.

Works of poets of the Silver Age.

It was a creative world full of sunshine, thirsting for beauty and self-affirmation. And although the name of this time is “silver”, undoubtedly, it was the most striking and creative milestone in Russian history.
The names of the poets who formed the spiritual basis of the Silver Age are known to everyone: Sergei Yesenin, Valery Bryusov, Vladimir Mayakovsky, Alexander Blok, Maximilian Voloshin, Andrei Bely, Konstantin Balmont, Anna Akhmatova, Nikolai Gumilev, Marina Tsvetaeva, Igor Severyanin Boris Pasternak and many others.
In its most intense form, the essence of the Silver Age burst out at the beginning of the twentieth century. It was the rise of poetry in a variety of colors and shadows - artistic, philosophical, religious. Poets fought against attempts to link human behavior with the social environment and continued the trend of Russian poetry, for which a person was important as he is, important in his attitude to the Creator, in his thoughts and feelings, his personal attitude to eternity, to Love and Death in all manifestations and meanings. Six poets of the Silver Age especially succeeded in this - V. Mayakovsky, N. Gumilyov, S. Yesenin, A. Blok, A. Akhmatova, I. Severyanin.

They firmly believed in art, in the power of words. Therefore, their work is a deep immersion in the element of the word and is puzzled by the search for new means of word expression. They respected not only the meaning, but also the style - sound, word form and complete immersion in the elements were important to them.
It was expensive. Almost all the poets of the Silver Age were unhappy in their personal lives, and many of them came to a bad end. Although, by and large, almost all poets are not very happy in their personal lives, and in life in general.
“The Silver Age of Russian Poetry” is a surprisingly complex, but at the same time amazing canvas, with origins from the 90s of the 19th century.

What is the Silver Age? What is its chronological framework? Modernism and features of modernist movements of the early 20th century. The most prominent representatives of Acmeism, Futurism and Symbolism. Literary associations of the turn of the century.

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At the turn of the 19th and 20th centuries, dramatic changes took place in all areas of Russian life, and this could not but affect literature. Poetry developed especially dynamically at this time. Later, this period of literary development would be called the “Silver Age”. This phrase arose by analogy with the “Golden Age,” which denoted the Pushkin period of Russian literature.

The concept of “Silver Age” characterizes not only the literature of this period, but also philosophy and art (at the turn of the 19th-20th centuries). The chronological framework of this period is not strictly defined. Beginning of "S.V." - 90 years of the 19th century, when the first representatives of modernist movements appeared in Russia (the forerunners of symbolism).

The end of the Silver Age: 1917-1919 - the beginning of the Civil War and Revolution. 1921 - death of A. Blok and execution of N. Gumilyov 1920-1930 - the beginning of repressions and the first full of Russian emigration.

The Silver Age is characterized by a variety of poetic movements, the leading place among which is occupied by representatives of a new (newest) direction in literature - modernism. Modernist movements: SYMBOLISM ACMEISM FUTURISM

Modernist movements SYMBOLISM ACMEISM FUTURISM sumbol - the sign of acme - the tip of the spear, the highest point of development ... futuro - the future

SYMBOLISM ACMEISM FUTURISM The current came to Russia from France The current originated and developed in Russia The current came to Russia from Italy depicted the other world depicted the real world Depicted the world of the future Mysticism - silver Harmony - gold Revolution - aluminum

SYMBOLISM Dmitry Merezhkovsky, Zinaida Gippius, Valery Bryusov, Konstantin Balmont, Fyodor Sologub, Alexander Blok, Andrei Bely, Innokenty Annensky... The central place in poetry is given to the symbol. Discovery of the polysemy of the word Inviting the reader to co-creation Depiction of the world of shadows, dreams, dreams, fantasies The hero is a passive contemplator

REAL WORLD BEYOND WORLD SYMBOL

SYMBOLISTS SENIOR SYMBOLISTS

Senior Symbolists: K. Balmont, V. Bryusov

“Young Symbolists” A. Bely, A. Blok

ACMEISM Nikolai Gumilyov, Osip Mandelstam, Mikhail Kuzmin, Mikhail Zenkevich, Anna Akhmatova... Art for the sake of art, beauty for the sake of beauty itself The desire to speak in simple language, to return the word to its original meaning Poetry in everyday details Longing for world culture The hero is the organizer of earthly beauty...

Acmeists A. Akhmatova and N. Gumilyov

Acmeist poets O. Mandelstam and M. Kuzmin

FUTURISM Brothers Burliuk, Velimir Khlebnikov, Igor Serevyanin, Vladimir Mayakovsky... The creative task is to create the art of the future. The desire to decompose the world into its component parts, into atoms. Refusal of the traditions of world culture and literature Introducing multi-story metaphors, staircase versification, neologisms Scandalousness, shockingness

FUTURISTS CUBO-FUTURISTS EGO-FUTURISTS

Futurists I. Severyanin and V. Mayakovsky

Representatives of various literary movements of a modernist orientation organized numerous creative evenings, choosing colleagues’ apartments, cabarets, small restaurants, museums, and university auditoriums as places for their meetings. Gradually, these circles and interest groups are forming full-fledged literary associations with their own charters and programs.

Literary associations “THE TOWER” “STAY DOG” “GILEYA” “SHOP OF POETS” “JACK OF DAMAINS” “DONKEY TAIL” “POETIC ACADEMY” “CENTRIFUGE”

Prepare reports on literary associations of the early 20th century (according to the diagram). Association name. Meeting place. Participants of the association Association program. Manifestos. Collections