Good evening, dear readers of the Sprint-Answer website. In this article you can find out the correct answer to the twelfth question in the TV game "Who want to be a millionaire?" January 6, 2018. This was a repeat of the November 19, 2016 issue. Marat Basharov and Anastasia Volochkova took part in the game. On the site you can find all the answers to questions in this game.
Who was expelled from the Literary Institute for "disciplinary action"?
A very difficult task, probably not even every writer will be able to answer it without prompting. So let's turn to brief biographies of these famous poets. It turns out that one of them was indeed expelled from the Literary Institute, and it was Yevgeny Yevtushenko.
Evgeny Alexandrovich Yevtushenko (surname at birth - Gangnus, July 18, 1932 [according to the passport - 1933], Zima; according to other sources - Nizhneudinsk, Irkutsk Region - April 1, 2017, Tulsa, Oklahoma, USA) - Soviet and Russian poet. He also gained fame as a prose writer, director, screenwriter, publicist, orator and actor.
He began to print in 1949, the first poem was published in the newspaper "Soviet Sport".
From 1952 to 1957 he studied at the Literary Institute. A. M. Gorky. He was expelled for "disciplinary sanctions", as well as for supporting Vladimir Dudintsev's novel "Not by Bread Alone".
In 1952, the first book of poems, Scouts of the Future, was published, later the author rated it as youthful and immature.
In 1952 he became the youngest member of the Union of Writers of the USSR, bypassing the stage of a candidate member of the Union.
A: Sergey Dovlatov
B: Andrei Voznesensky
C: Evgeny Yevtushenko
D: Vasily Aksenov
You can get at the Literary Institute. Gorky philological education in the specialty "literary worker" or "translator of fiction". You can work as a journalist, editor, teacher, proofreader, earn money with your creativity (everyone hopes that this will become real in the future). What you will work with depends, first of all, on you, a creative university here cannot give any guarantee. But in Literary you can feel something more important than a guaranteed job. This is the very special atmosphere that is so appreciated by creative people.
House of Herzen and MASSOLIT
The Literary Institute is located in the former estate of Herzen, which is located at Tverskoy Boulevard, 25. This is a very beautiful building in the quiet center of Moscow, one side of the estate overlooks Bolshaya Bronnaya, the other - on Tverskoy Boulevard. Everything is nearby - you can walk to Red Square, to Mayakovskaya, to the Arbat, to the Patriarch's Ponds. These routes have long been traveled by poets, prose writers and other literary citizens.
The mansion itself has a special atmosphere. It has remained, despite the modernization and repairs, and it is impossible not to feel it. A.I. was born in this classicist building. Herzen. In the 40s. XIX century, the owner of the estate D. Sverbeev gathered a literary salon, which was visited by N. V. Gogol, V. G. Belinsky, P. Ya. Chaadaev, S.T. and K.S. Aksakovs, A.S. Khomyakov, E.A. Baratynsky, M.S. Shchepkin. At the end of the 19th - beginning of the 20th century, the publishing house of the Granat brothers was located in the estate. In the 20th century, the building was occupied by many writers' organizations, literary evenings were held in the former house of Herzen, at which V. Mayakovsky, A. Blok, S. Yesenin performed. The same building is mentioned in the novel "The Master and Margarita" under the names "Griboedov's House" and "MASSOLIT's House".
The Literary Institute itself was founded in 1933 on the initiative of Maxim Gorky as the Evening Workers' University. The university brought up "new literary cadres from the workers and peasants." More than 70 years have passed since then, much has changed, but something has remained unchanged. Today, the institute educates writers not only from worker-peasant families, but the very essence of the institute is deeply conservative. It will attract someone, it will repel someone, but it is more correct to say that it is both good and bad.
At the institute, masters and teachers give preference to classical literature, Russian and foreign. If you choose this university, then you will be thoroughly introduced to Western European literature - from antiquity to the present day and Russian - from antiquity to the present. By the way, modern literature (current) is taught for three years. The churn workshops, as they call it here, are turning into an adjunct to the main creative workshop. For each lesson, a speaker is selected who talks about some well-known modern Russian work, and then everyone expresses their opinion about the author under discussion and his text. Scolded, praised, argued - the workshop turns into a fascinating and fruitful conversation about literature.
Do you have an extra ticket?
In general, they like to talk at the Literary Institute. Without conversations, discussions and disputes, how can there be a writer? After the second couple (by the way, classes at the institute begin at 10 am), future writers meet in the dining room. The dining room (jazz club in the evening) is located in the next building. She is very unusual at the Literary Institute. You can't buy anything in it! If you want to eat, go to the dean's office for a colored voucher, and then get in line and get your lunch on the voucher. This free system is great for those who live in a hostel, or just not too rich.
In the dining room they talk, read, discuss what they have read and prepare for seminars. A book on a tray with borscht is the most common thing. Continuation of conversations can happen on Tverskoy Boulevard. In any weather, on the heel of the fountain (opposite the Pushkinsky cinema, on the other side of Tverskaya Street) you can meet Lithuanians (emphasis on "and"!). Usually they read poetry with strong drinks or talk about their own, about poetry. Students of the Literary University are still talking animatedly in the hostel on Dmitrovskaya.
Building on Dmitrovskaya
There are many non-resident students at the Literary Institute. Creative works are sent from all over Russia (and even from other countries). All of them are read, moreover, many masters prefer children from the provinces, hoping to find the future of literature in them. By the way, there is no blat at the Literary University, which is unique for a Moscow university. Any talented person can do it. That is why the hostel is never empty. Two people are accommodated in rooms, amenities are on the floor, showers are downstairs. The hostel hosts physical education classes: table tennis, gymnastics. Keep in mind that the attitude to physical education in this institute is more than serious. You can’t skip - they will kick you out sooner than for "creative failure."
Security in the hostel is very serious: it is impossible to spend the night "once or twice with friends". Remains of Soviet severity. As well as the fact that it is impossible to skip classes, all absenteeism is counted and posted on the bulletin board. "Leaders" are excluded. And yet, cunning students manage to mess up sometimes and sneak into the hostel. Here they like to drink, talk and remember former residents, for example, Nikolai Rubtsov. And not only Rubtsov, almost all Russian writers of the 20th century are associated with the institute. K. Paustovsky, K. Fedin, M. Svetlov, L. Ozerov, L. Oshanin, S. Radtsig, A. Takho-Godi, G. Vinokur and many other famous personalities taught there.
About admission
Those who are devoted to literature go to Literary, or those who are looking for a suitable environment for their creative personality. I must say that both those and others find what they are looking for here. Studying at Literary, you communicate with many unusual, strange, extraordinary people. When you meet someone, it is considered good manners to ask them to read a text. When the texts are mutually read, it is supposed to honestly express one's opinion, and only then friendly communication begins.
To enter the Literary Institute, you will have to go through two stages. The first entrance test has existed for many decades. And it is called "creative competition". Passed this test - consider enrolled. Previously, only a published work or a text recommended by a member of the Writers' Union could be submitted to a creative competition. Now they usually go to college after school. Naturally, it would be foolish to demand publications from yesterday's schoolchildren. And what are they for? If a person is talented, and he has room to grow, something to strive for, the institute will try to help him.
Works can be submitted to the creative competition for the departments of poetry (350 lines), prose, dramaturgy, journalism, criticism, children's literature, literary translation (25-35 pages).
Exams
If you feel the need for thorough preparation, you can enroll in the Lyceum (1 year) or preparatory courses (6 months). What do you need to hand over after the creative competition is passed? The first exam is another creative test. You need to write an essay on a given topic. An etude is a short story, an interesting sketch, a discussion on a topic, an essay. There is a similar exam, by the way, at the screenwriting department at VGIK. But there, future screenwriters are required to write a detailed essay with a well-structured plot.
Exam topics can be the most unexpected. There are even funny ones. "The president's last secret", "In the pantry under the stairs", "Dangerous path", "Red flower at night" or less abstract ones, for example, "What discovery did Chekhov make in dramaturgy". Topics will come up with your future master. They may depend on the focus of your workshop: poets may have topics related to poetry, critics may have topics related to criticism, and so on. Your future master will evaluate the sketch on a 5-point scale. "5" will increase your chances of admission.
What other exams are to be taken? Russian language - presentation or USE. Russian literature - in writing, you will need to answer two questions. Foreign language - testing and translation (only translators take it).
The last entrance test is no less specific than the first. You need to pass an interview. There is nothing terrible in it, especially since all the exams are over. However, imagine... You enter a small, wood-panelled room. In the center is a huge oval table at which the rector, your master, and future teachers sit. You are kindly invited to sit down, and here it begins ... Everyone who wants to ask you absolutely any question. Usually they ask about the reason for admission, about creativity, about the city from which you came, about your favorite and generally famous writers. Poets like to be asked to read their poems. Be confident, answer boldly and witty. The interview is also graded. If you were more silent or said frank nonsense, got angry, cried (and this happens) - they can put "3".
And so, all the points received are summed up - and the winners are announced. The list of applicants will be read, and flashes of unprecedented joy and wild cries of despair will immediately follow. Still, the results are pretty predictable. During the exams, you will know all your rivals, you will know who is in the lead, who is behind. Rumors will also circulate about how many people each master is gaining. Those who passed all the exams, but did not get points, often enter on a contract basis. Is it possible to transfer to the budget later? Such cases are known: if you study for one "five" and in everything else are an example to follow, you can be transferred. But if you did not pass the creative competition, there is little hope.
You and creative workshops
The vast majority of students are young guys and do not yet have stable views on creativity. Perhaps that is why it often happens that the authority of the master is too strong. Imagine that every Tuesday the master tells you: "Write sincerely, write what you have experienced. What is invented is bad and unnatural." In essence, such advice is correct, any writer writes about what is close to him, it is interesting what he knows well. But, on the other hand, doesn't the writer have the right to invent? Is everything invented necessarily to be insincere, false, unreal? After all, it may also turn out that the fictional, completely unrealistic will be felt by the author as deeply as the real events of his life were not felt. Therefore, each advice of the master must be able to correctly understand and try it on for yourself. It is quite obvious that when there are 20 people at the seminar, the master cannot indicate the only true path for everyone.
The practice of reading and discussing what has been written is an old one and is used not only in the Literary, but also at gatherings and forums of young writers. What is a creative seminar at the Literary Institute? The master or the students themselves choose who will be discussed, set a date. The student must distribute to all members of the seminar his selection (the so-called "recently written texts that are not ashamed to discuss"). By the next lesson, everyone will be familiar with the texts and will be able to express their opinion. This practice is commonly used in prose seminars. It is believed that prose can only be perceived when reading. At the seminar itself, the author can read a short story - this is useful if someone did not have time to familiarize themselves with the selection.
At poetry seminars, poems are also distributed in advance. But at the drama seminar, selections are not distributed in advance. The author will read his play aloud, from beginning to end. No reading by roles, even if there are a dozen characters in the play. Monotonously, evenly, with all the remarks, each time naming the names of the characters before the remarks - this is how the play should be read. After all, if your play is staged in the theater, it will be read in front of the actors. The actors themselves will play emotions where necessary. But there must be text, even monotonous reading will allow you to imagine how the same text will sound from the stage. When the reading of the play is over, everyone gives their opinion. Debates often flare up about what conflict should be, whether modern theater needs a pure genre, or whether comedy can be mixed with tragedy. The Faculty of Translators also has creative seminars where students, together with an experienced master translator, learn the art of translation. The last, as if summing up everything that has been said, is the master.
You can always visit a "foreign" seminar, but you should choose your own not according to the degree of celebrity of the master. It would be good before entering to find the works of the master, creative or critical, read them, reflect on whether you like them. After all, one way or another, the master will teach you his own style of writing. From a master realist, one should not expect calls for surrealism. Perhaps your master will be reasonable and will not insist on recognition of his literary tastes; but be prepared for the fact that this may not happen.
If you do not get along with the position of your master at all, there is always the opportunity to move to another seminar. To do this, you will need to show your work to the chosen master, and if he likes them, he will gladly take you to him. A good master is sincerely interested in recruiting talented students. First, they will later remember their teacher with gratitude and dedicate novels to him. Secondly, every real writer wants to pass on his experience to young talented guys. Therefore, do not be afraid - submit your work to several areas, attend various seminars, study, gain experience, write.
Yevgeny Yevtushenko is called the most "loud" poet of the galaxy of great representatives of the writing environment of the "thaw" period. His poems have long become classics of Russian poetry. The poet wrote his first poem about the desire to become a pirate at the age of four, and his grandmother was very alerted by its content. However, Eugene did not differ in exemplary behavior even in his school years. For disciplinary sanctions, he was later expelled from the Literary Institute
One thing has always been and remains undeniable - this is the literary talent of Yevtushenko. The author's works are distinguished by a bright and rich palette of emotions and genre diversity. The poet himself considers the anthological component to be the creative basis of his works. That is why his poetry is imbued with the spirit of creativity of many Russian poets, on the works of which, according to Yevgeny Aleksandrovich himself, he studied.
- Evgeny Alexandrovich, as you know, at the age of 17 we are all poets. And at this young age you even managed to publish your poem in Soviet Sport. When did you even start writing?
- At the age of 4, I wrote my first phrase in verse: “I woke up early, early, I began to think about who I should be. I wanted to be a pirate in order to rob ships. Hearing this, the grandmother threw up her hands: “Well, inclinations! ..”.
- You are called the sixties. And who do you think you are?
— I consider myself just one of the many Russian poets. And, if you ask me what poets I studied from, I will answer that I studied with all Russian poets, regardless of their literary direction. I tried to combine the features of poets who quarreled during their lifetime, for example, Yesenin, Mayakovsky and Pasternak, and thereby reconcile them. I loved all three of them. But during their lives they did not converge in many ways. And so I started writing anthologies. I even, as a professional poet, am an anthologist by nature. In all my poems you can find a reflection of everything that I have adopted from various poets, even from those whose names have not become widely known. But they can also have immortal lines. So there really are no little poets. There are poets and graphomaniacs.
- How do you feel about the 50s, when they began to actively print you, when fame came?
“I was just getting in shape back then. I experimented more with this component than I wrote seriously. From my point of view, poetry begins when it becomes a confession. This is a necessary first condition for a poet when something overwhelms you and you need to express your feelings. It can be a feeling of love, resentment, civic anger... But, most importantly, to express everything that was necessary for you inside. In poetry, the most important thing is the feeling that what you write about is not an accident. At first I was just a very faithful reader of poetry. If I had not become a poet, I would have remained a reader anyway. But it so happened that over time he began to write a little himself. And when I was in Siberia during the war (then all men were at the front), I, like other children, spent a lot of time and talked with women, helped them. We sang songs together, I watched how folklore was born, suggested a good line, rhyme.
- What are you working on now?
– Firstly, I continue to work on an anthology of ten centuries of Russian poetry called “A Poet in Russia is More Than a Poet” together with my editor Razdvizhevsky. Three volumes have already been published, but, unfortunately, in a very small edition. I have just returned from a huge trip to 28 cities in Russia. I was also on the Trans-Siberian Railway, and drove from St. Petersburg to Vladivostok and Nakhodka. We had a good brigade, like those that existed during the war. By the way, my mother worked in one of them at the front. Our team consisted of dramatic actors, performers: Dima Kharatyan, Sergey Nikonenko, Igor Sklyar... They performed songs of the war years, including my poems.
This trip was dedicated to the 70th anniversary of the Great Victory and the connection of times. In all this atmosphere of solidarity of creative people, I was just as happy as in the days of my youth, when I was friends with front-line poets. This trip was a step towards returning poetry to our people again. We have accomplished something that has never happened before: the absolute separation of the reader from the writer. And this is not so much the fault of the state and the rulers as the writers themselves, their passivity and the passivity of all institutions involved in culture. They simply forgot that literature should be looked after and cultivated just like a garden.
It is also necessary to loosen the soil, as good gardeners do. To my horror, the philharmonic society in almost all the regions we passed through has lost the profession of reading. And before we had subscription programs with special discounts for schools and pensioners. But at the same time, one cannot think that people who read poetry well have disappeared today. For example, in our team, along with veterans of the stage, young actors perfectly conveyed poetic lines to the audience.
And one of them is Boris Konstantinov. He played me in the film Stalin's Funeral. This actor brilliantly read the works of Pyotr Yakovlevich Chaadaev and the poems of Alexander Sergeevich Pushkin. And the audience with such enthusiasm perceived his performances, as if it was written about today. Because a classic is something that is always relevant. In those parts, on the Northern Highway, artists representing the classical direction in art are a rarity today. There, unfortunately, more and more pop goes. So I returned from this trip filled with faith in our future, if we do not break the ties of poets with the people.
During this trip, despite the physical difficulty, did you write something?
- I wrote only a few poems dedicated simultaneously to Che Guevara and Vladimir Vysotsky. Because I saw in all cities (which surprised me very much) portraits of these two friends of mine. They decorated the walls of many youth clubs. These seemingly dissimilar people have become the heroes of today's youth of the outback. The best monument to Vysotsky, by the way, is in Novosibirsk, not in Moscow.
Are you a collectivist by nature?
- My first job, for which I received money, was the work of a geologist. And they, as you know, are all collectivists. When I was kicked out of school, I went on an exploration expedition. By nature, I feel very good working with people. I had the opportunity to act as a director at one time. I made two films. Until now, all those who have worked with me want to continue this work.
What else do you have at work today?
The fourth and fifth volumes of my anthology will be coming out soon. But the tragedy of the situation is that there are no previous editions of this series anywhere along the Northern Highway. And I believe that they should be in every home, in every institute, in every school. This is a history of Russian poetry in five volumes. This edition should be a reference book for students and teachers of literature. And if we raise the issue of respect for literature, even dedicate a separate holiday to it in the year, then we need to revive the traditions of communication between readers and writers.
This is what the public has been asking us for in every city we've been to. In addition to ours, other creative teams should be organized that would travel around the country and renew this contact between the people and those who bring our rich literary heritage to them. In the Philharmonic, the profession of readers must be returned. Otherwise, we are waiting for the prospect of developing only entertainment literature and criticism of society.
— Every poet has his own Boldino autumn. Can you call such a period in your life the time when you worked as a geologist?
- Unfortunately, Boldino autumns are most often in the hospital for me. When I was on a geological exploration expedition, I spent a lot of time there on physical work, traveling, adventures, adventures, climbing mountains, penetrating difficult gorges. And in the hospital (God forbid, of course, to get there again), being in a situation where you cannot move, I have the most fruitful moments in my life. I can't do nothing. The writer must be able to measure the loneliness when he works, so that at the same time, not to go into this state from the readers. Because, I think, this gulf that has already formed between readers and writers is very dangerous for both of them. We need to destroy this distance. We, writers, need to go towards our people, and the people must go to us.
- By the way, what is it like to be the author of such a catchphrase as "A poet in Russia is more than a poet"? How do you feel when someone says something about it?
- Many poets in their time were dissatisfied with her. They said that by doing this I offend poetry, they say, is it not enough to be just a poet? No, not enough. And an example of this is the life of Alexander Sergeevich Pushkin, who was a historian, editor, researcher and reader of his own poems. He spent a lot of time in Mikhailovsky with his nanny Arina Rodionovna, who was no less a person of genius than he was. I thank God and Misha Zadorny for organizing a competition for the best sketch of a monument to this great woman. And he erected three monuments to Arina Rodionovna on the territory of Russia at his own expense. Isn't this more proof that a poet in Russia is more than just a poet!
Interviewed Vitaly KARYUKOV
The more refined the profession of a humanist, the more viable he himself should be. It won't be easy. Consider the profession of a writer - the most refined humanitarian profession.
Many of those who want to become writers are those who are afraid of not finding a place for themselves in our motley, changeable, cruel reality. They live in a world of literary fantasies and do not want to get into reality - to win their place under the sun. They consider themselves special. Doing anything - even journalism - is beneath their dignity. They live on parental funds and study diligently. They want to become famous, but only a few succeed. Most remain "widely known in a narrow environment." Then they publish books (sometimes without even paying for the publication) and participate in numerous readings and speeches. Then some go to work in editorial offices and publishing houses as cultural advisers. And some are retrained as correspondents, editors, librarians ... The rest, from time to time, work not in their specialty, scold the time and the society that ruined their talent, turn onto a crooked path.
Let us give the floor to those who have decided to pursue asceticism in the field of writing. Evaluate the authors "for the presence of survivability":
Oksana: I was offered to go to seminars, read my works and publicly criticize them. I was horrified and refused. It seemed to me directly that I was standing like a kind of Saint Sebastian, and the flesh of my poems - my living flesh - was mockingly and without hesitation pierced with spears. Therefore, I quietly published my little book and distributed it to trusted people - let them read in a calm evening alone with themselves and not yell at me in the face of insensitivity. If you get a higher education in the field of literature or journalism ... It does not create writers or journalists - but, at best, hones skills. (On the other hand, Baumansky does not create great physicists, all the same, there must initially be inclinations. But this is better seen in creative universities: without polishing from the outside, on your own, you cannot become a physicist, but, for example, you can become a poet if you wish.) When studying, a person runs the risk of succumbing to a pattern: writing like this is right, and this is wrong ... And I am for the flight of the soul, I myself write in a complete frenzy and love exactly those places where I can’t explain how it’s done. Sometimes I read, say, poems by someone famous and I think: well, this rhyme was probably invented on purpose in order to somehow balance the previous line, on which the whole verse is tied and for which it was written. And if (as it seems to me, of course) this is clearly visible, if there is no feeling that the whole work was created as if by a wave, then the artisan has already done it - maybe very good, but unable to cover up the traces of seams and welding ...
Laura: I started writing worse. Why? Don't know. Perhaps the fact is that I am taught on the principle that it does not matter what is written - it is important how. And this is initially wrong: both are important! Equally! And nothing but sadness, awareness of all this does not bring.
Rimma: A writer, in my opinion, can only be a person with rich life experience... Immediately after school, at sixteen, it is difficult to realize - is it yours or not yours? After all, as a rule, naive and love-carrot poems or superficial stories are written in youth. And journalism is just a good tool for writing overclocking.
Olga: And who is the “literary worker”?
The fact is that there is simply no qualification “writer” ...
It is interesting to write, to talk in books about the eternal and topical, anyone can learn - if he wants to. If he suddenly understands: “I can’t live without creativity!”. A modest psychiatrist from Alma-Ata is now the famous metropolitan science fiction realist Sergey Lukyanenko. Deep works are written by actors (for example, Vasily Livanov). Pelevin was expelled from the Literary Institute ... Petrushevskaya is a graduate of the Faculty of Journalism of Moscow State University. Ulitskaya is a genetic biologist from Bashkiria. Aksenov graduated from the medical institute.
I am for a broad liberal arts education. For the merging of all "book" specialties. For the fact that not only writers come to meetings with students at writing universities, not only actors and directors come to theater universities ... Then it will be easier for a graduate to choose his life path. Especially if friendly teachers help him, who, in addition to education, will be engaged in education - not extra person- “smart uselessness”, but a versatile personality, striving to make the world brighter and more sonorous, sensitive and attentive, thinking and moral. And, of course, a viable personality capable of accepting the specifics of the profession.
And now - a little about the specifics ...
The difference between a writer and a journalist and PR specialist
Let's imagine the following situation. Some very creative people got caught in very heavy rain...
Writer will return home and describe thin and resonant jets that pierce the light fabric of clouds, the sun's rays, bubbles in puddles that look like pot-bellied frogs ... The way the drops crawl over the glasses of the protagonist's glasses (80% of this hero is the author himself): romantically - or mockingly, distorting space - or time, depends on the mood of the writer. Most readers will run their eyes over this lyrical digression, so that later they can read more carefully about the love of the main character: after all, he probably goes on a date with a girl during a downpour ... He has no money for a taxi ... And even for flowers ... Rain is, by and large, a prelude . But the author carefully created this scene, even rewrote it a couple of times. And even if the book was published in a small edition at the expense of the creator ... But all the acquaintances liked the course of the story. Yes, and on the Internet, many praised.
Journalist rush to find out what problems arose in the city due to heavy rain. He will report his impressions, interview citizens and give comments to officials. After that, in the discussion of his material on the Web, several messages will appear on the topic “you’d better write about the dachas and cars of a deputy of such and such”, and a letter will come to the editor from his grandmother, a huge puddle at the entrance of which the correspondent accidentally did not take into account. However, the journalist will not be very upset: he needs to write a dozen more relevant articles within a week. Salary is not bad, but there should be fees ...
He will take a close look at a cheerful girl who is splashing through the puddles without an umbrella ... And she will come up with several slogans for this visual range, so that with the help of all this, she can promote almost any product or service to the target audience. By the way, this has already happened: “Look at the world like a child!”. Many will be imbued, they will quote - even if they forget what exactly they were offered along with this image and phrase ... Only few people will be interested in the personality of the author of the plot. However, a wealthy foreign company had already asked him to develop the image of its products, offering high wages.
And so - for years ... If you turn out to be viable - and if you're lucky.
