Cultural Center of the Armed Forces of the Russian Federation. M.V. Frunze

The country Russia Moscow Suvorovskaya Square,
House 2 Project author Ukhomsky D.V. First mention Status Object of cultural heritage State Satisfactory

Cultural Center of the Armed Forces of the Russian Federation named after Mikhail Vasilievich Frunze (abbr. KTs Armed Forces of the Russian Federation) - the head cultural institution of the Armed Forces of the Russian Federation (scientific and methodological center), a federal state institution.

The Cultural Center of the Armed Forces of the Russian Federation is a subdivision of the Ministry of Defense of the Russian Federation - a military unit and has a conditional (open) name of the military formation, used with a digital index (HF No.). (Formerly the Red Army, USSR Ministry of Defense).

Tasks

Awards

The merits of the RF Armed Forces Command Center in the development of cultural and leisure work with the personnel of the army and navy, active participation in the military-patriotic education of citizens of our country are marked by high state awards and other incentives at the highest level.

In 1968, the Center was awarded the Order of the Red Star, and in 1978, the Order of the October Revolution. In 1995, the Cultural Center of the Armed Forces of the Russian Federation received a commendation from the President of the Russian Federation.

Chiefs

• Mutnykh Vladimir Ivanovich (1895 - 11/25/1937), brigade commissar, member of the All-Union Communist Party of Bolsheviks since 1918, head of the Central House of the Red Army. Repressed (arrested April 20, 1937, VKVS sentenced November 25, 1937). Rehabilitated 15 August 1956
• Rodionov Fedor Efimovich (1897 - December 9, 1937), head of the Central House of the Red Army, corps commissar, member of the CPSU (b) since 1919 anti-Soviet military-fascist conspiracy and was shot on the same day). Rehabilitated 28.7.1956

team

Currently, 21 Honored Workers of Culture of the Russian Federation, 1 Honored Art Worker of the Russian Federation, 6 Honored Artists of the Russian Federation, 6 Doctors and Candidates of Sciences are fruitfully working here.

• "Red Banner Hall"- the perfection of the compositional solution of the interior makes this hall elegantly solemn. Freedom is the first feeling experienced by everyone who enters here. Festive elation is felt in everything. The hall can accommodate up to 600 guests.

• "Fireplace Hall". The constructiveness of the decorative solution, a high sense of style are inherent in this room. The hall impresses with the clear rhythm of space and the plasticity of the drapery on the huge windows. The hall can accommodate up to 120 guests. Meetings of the club of the highest officers of Russia are usually held here.

• "Cinema Hall"- this is high style in the literal and figurative sense. Soaring columns, as it were, enhancing the dynamics of space, the nobility of colors give a good mood. This beautiful hall is equipped with the latest lighting and sound technology. Hall capacity - 400-600 guests.

• "Malachite Living Room". Favorite range of colors from emerald to turquoise. Up to 100 people can be accommodated in this living room.

• "Golden Living Room"- this is the splendor of decoration and the radiance of gold in the interiors. The living room is designed for 20 people.

• "Red Living Room"- a unique place for official meetings, salon music evenings. Since ancient times, the red color in Russia was considered the color of human love. The bright colors of the decoration and the golden scale of the parquet fill this living room with true Russian comfort. The living room can accommodate up to 80 people.

• "White Living Room". The composition and plot completeness of the interior, white color and bright light, the nobility and poetic charm of the living room - all this contributes to the positive event that can be held in this unique place of the Cultural Center. The living room is designed for 100 people.

• "Chamber Hall" quite modest and even ascetic, at first glance. The hall can accommodate up to 200 guests.

Central House of the Russian Army. M.V. Frunze designed to meet the spiritual needs, education, education and cultural leisure of military personnel, civilian personnel of the Armed Forces of the Russian Federation and their families, other individuals, providing methodological and practical assistance to Officers' Houses, clubs, libraries, other cultural institutions of the Armed Forces, power ministries and departments Russian Federation.

This is told by our website of the central house of the Russian army, which is the legal successor CDKA-CDSA-KC VS.

The Central House of the Army has always been and remains one of the best places in the capital for cultural, leisure and educational events of any level and degree of complexity. The architectural ensemble of the center has the status of a unique architectural monument of the 18th century, within the walls of which a festive evening will never be forgotten!

The TsDRA is located in an ensemble of buildings classified as architectural monuments of the second half of the 18th - early 19th centuries, which are under state protection. These buildings were repeatedly rebuilt by prominent Russian architects. The most significant changes were made in 1927-1928 in connection with the placement of the Central House of the Red Army here. The grand opening of the CDKA took place on February 28, 1928. In the prewar period, active work was carried out here to raise the military, general educational and cultural level of command personnel, cultural and artistic services for the troops, and dissemination of military knowledge among the civilian population. During these years, such collectives as the Academic Song and Dance Ensemble of the Russian Army named after A.V. Aleksandrov, the Central Academic Theater of the Russian Army, the Separate Military Demonstrative Orchestra of the Ministry of Defense of the Russian Federation, the Central Sports Club of the Army, the Central Chess Club of the Armed Forces.

From 1928 to 1965, the Central Museum of the Armed Forces of the USSR (now the Central Museum of the Armed Forces) was located in the building of the Central Museum of the Armed Forces of the USSR. For more than 70 years, the TsDKA-TsDSA-TsDRA-KTs of the Armed Forces of the Russian Federation have been linked by strong friendship with the Studio of Military Artists named after M.B. Grekov, formed in November 1934 in memory of this outstanding battle painter. During the Great Patriotic War of 1941-1945. The CDKA has become a kind of headquarters for the cultural and artistic service of the troops of the army in the field. From here, artistic brigades of theaters, philharmonic societies, concert and touring associations from different regions of the country were sent to the front. In 1946, the CDKA was renamed the Central House of the Soviet Army named after M.V. Frunze (CDSA), and in February 1993 - the Central House of the Russian Army (TsDRA). Since November 1997, the Central House of Arts has been called the "Cultural Center of the Armed Forces of the Russian Federation" named after M.V. Frunze.

The successes achieved in the cultural and leisure activities of the Central House of Arts are the result of the friendly, intense, complex work of the entire staff of the institution. 21 Honored Workers of Culture of the Russian Federation, 1 Honored Art Worker of the Russian Federation, 6 Honored Artists of the Russian Federation, 6 Doctors and Candidates of Science work fruitfully here. The merits of the Central House of Arts in the development of cultural and leisure work with the personnel of the army and navy, active participation in military-patriotic education in our country are marked by high state awards and other incentives at the highest level.

In 1968, the CDRA was awarded - Order of the Red Star, and in 1978 - Order of the October Revolution.

In 1995, the CDRA was declared Gratitude of the President of the Russian Federation.

Leads the CDRA Honored Worker of Culture of the Russian Federation Vasily Ivanovich Mazurenko.

named after M.V. Frunze

____________________________________________________________________
M o d o d i c e D e p e r

Information - methodical issue

"ROAD TO THE STARS"

(to the 50th anniversary of the first manned spacewalk)

Moscow

2015

The cosmos is infinitely varied. As people penetrate into interplanetary space, people will increasingly encounter such phenomena,

about which nothing was known before.
The Voskhod-2 stellar flight was one of the greatest achievements on the path of mankind to space exploration.
This collection is intended to assist employees of army cultural institutions in holding events dedicated to Cosmonautics Day.
Responsible for release -

head of methodological department

Khrobostov D.V.

Compilers of the collection:

head of methodology group

cultural and leisure work

Honored Worker of Culture of the Russian Federation

Ivanov Yu.E.,

methodologists: Skitybog A.O., Stulova N.V.
Computer processing of material:

Stulova N.V., Skitybog A.O.

Feedback, suggestions and wishes please send to:

129110, Moscow, Suvorovskaya Square, 2

Cultural Center of the Armed Forces of the Russian Federation, methodological department

Phones: 681-56-17,681-28-07,

Fax: 681-52-20

From the shore of the universe

which became sacred

the land of our motherland,

more than once will go into the unknown

gave the Soviet ships,

raised by powerful

launch vehicles.

And every flight and return

will be a great holiday

the Soviet people

all advanced humanity

- a victory of reason and progress!

Academician S. P. KOROLEV

ROAD TO THE STARS

For thousands of years, different countries and different peoples have dreamed of flying to the stars. But these were only fantasy, dreams, beautiful legends. Only at the beginning of the 20th century did the first scientifically based projects of interplanetary ships begin to appear. It took another half a century for the first artificial satellite of the Earth, created by man, to take off into space.

This happened on October 4, 1957, the world witnessed an outstanding event in the history of mankind - the first artificial Earth satellite was successfully launched in the Soviet Union. The message of this lightning reached all corners of the globe. The flight of the satellite was recorded by many observatories and observed by tens of thousands of people on all continents of our planet.

The significance of this event cannot be overestimated. The history of human civilization contains many brilliant discoveries and major achievements, which served as a kind of impetus and basis for the further development of science and technology. The difference between the launch of the first satellite of the Earth as a turning point in the development of scientific and technical research is that it was the first practical step on the path of mankind to the stars.

And it is not for nothing that the day of the launch of the world's first Soviet satellite of the Earth became the birthday of practical cosmonautics, since up to this significant event, the problems of space navigation were developed only theoretically.

Since ancient times, powder rockets have been known to people. They served as a means of entertainment during folk festivals. In the Middle Ages, rockets were already used in military affairs.

For the first time, in 1903, the Russian scientist K.E. Tsiolkovsky, who rightfully became one of the founders of astronautics. In one of his works, he wrote: “Reactive devices will conquer boundless spaces for people and give solar energy two billion times greater than that which mankind has on Earth.” The significance of numerous works and the ideas expressed in them by K.E. Tsiolkovsky for the development of astronautics is invaluable. They opened the way to space for humanity and served as a kind of impetus for the beginning of theoretical and practical research on rocket science in different countries of the world.

The perseverance and perseverance of the first rocket technology enthusiasts made it possible in the 1920s and 1930s to create and launch the first liquid-propellant rockets. Among the first organizations that played a fundamental role in the development of domestic rocket and space technology in this period are: gas dynamic laboratory (GDL), jet propulsion study group (GIRD), jet research institute (RNII). Such enthusiasts as N.I. Tikhomirov, F.A. Zander, B.S. Petropavlovsky, I.T. Kleymenov, S.P. Korolev, V.P. Glushko, G.E. Langemak, N.A. Rynin, Yu.A. Pobedonostsev, V.A. Artemiev, M.K. Tikhonravov and others.

During the Great Patriotic War, successful experiments were carried out on the use of the first rocket boosters for aircraft. The first flights of aircraft with jet engines also belong to this time. The famous Katyushas, ​​self-propelled launchers with rockets, played a big role in defeating the enemy. If in the thirties rockets rose relatively low above the Earth, then already at the end of the forties the ceiling of their flight was about five hundred kilometers, and in the mid-fifties it exceeded a thousand.

Our Motherland became a pioneer in the exploration of outer space, and its scientists, engineers, technicians, workers, astronauts were the first who paved the way for humanity into space.

Soviet researchers were pioneers on the difficult path of conquering space, and, as you know, the most difficult tests fall to the share of the pioneers.

The creation of remarkable samples of new space technology, brilliant victories in space became possible thanks to the latest achievements of Soviet science, metallurgy, electronics, instrument and machine building, the vast experience of our talented working class, the high knowledge and technical courage of designers, scientists, engineers and technicians.

The breadth of scientific research, innovation, deep, organic connection with today's and tomorrow's needs of science and the national economy - these are the characteristic features of the Soviet space exploration program.

All space flights carried out in the Soviet Union showed that our cosmonautics served the lofty goals of peace and progress. Soviet scientists, designers, cosmonauts, engineers and workers are fulfilling the noble mission of the century, mastering the routes of the universe in order to put the acquired knowledge at the service of all progressive mankind.

As a result of the launches of artificial satellites of the Earth, the flights of automatic stations to the Moon and into deep space, a great deal of scientific and technical experience was accumulated, which allowed Soviet scientists and engineers to begin direct preparations for a manned flight into outer space.

In order to carry out the first manned space flight and the first manned spacewalk, it was necessary to preliminarily work out a powerful launch vehicle to the required level of reliability to deliver a ship of the required weight into near-Earth orbit; to create a spacecraft with complex equipment capable of maintaining normal living conditions for a person during flight and ensuring the processes of control and orientation of the spacecraft in outer space; solve the problem of the successful return of a ship entering the earth's atmosphere with the first cosmic velocity; create a safe landing system, as well as develop means of reliable and stable communication in flight, a ground-based flight control system for the ship, etc. As a result of the fruitful work of Soviet scientists, engineers, technicians and workers, a set of preparatory work was completed in our country in a short time and created technical means for manned space flight.

The Voskhod-2 spacecraft was launched from the Baikonur Cosmodrome on March 18, 1965 at 10 am. On board it was a crew consisting of the ship's commander Pavel Ivanovich Belyaev and co-pilot Alexei Arkhipovich Leonov. The objectives of the flight were: exit of the co-pilot from the cockpit into outer space with a number of experiments outside the spacecraft; carrying out medical and biological research, solving a number of problems of space navigation, observing and studying the Earth's atmosphere.

The launch of Voskhod-2 was preceded by a lot of work on the creation of a spacesuit and the modernization of the Voskhod spacecraft, a long and painstaking crew training. Unlike the Voskhod, the Voskhod-2 descent vehicle is equipped with an airlock that allows the co-pilot, dressed in a special suit with an autonomous backpack life support system, to enter outer space and return to the spacecraft without cabin depressurization. The design of the lock chamber has two hatches with sealed covers. One hatch connects the lock chamber with the cabin, the other - with open space. The ship's equipment makes it possible to fill the internal cavity of the chamber with an artificial atmosphere with pressure equalization in the lock chamber and the ship's cabin. The airlock is controlled from the control panel in the cabin or from the control panel in the lock chamber. The astronaut holds a special halyard in space, which allows him to move away from the spacecraft at a distance of up to 5.35 meters. The creation of a spacesuit in which an astronaut could not only stay outside the ship for some time without harm to health, but also freely operate and work, presented enormous technical difficulties. Significant efforts of designers, doctors, physicists, engineers and technicians were required. The thin shell of the suit was supposed to protect the cosmonaut from the destructive effects of the cosmic vacuum, from sudden temperature changes reaching hundreds of degrees, from cosmic rays, micrometeors and dangerous solar radiation. Special requirements were also imposed on the suit in terms of reliability. After all, even a slight depressurization could lead to the death of an astronaut. The space suit of the astronauts of the Voskhod-2 spacecraft is essentially a pressurized cabin reduced to the size of a man. The designers of the spacesuit created their own atmosphere with a controlled climate in such a small volume, provided the required comfort for the astronaut to work normally. The required temperature, humidity, gas composition, and pressure were maintained inside the suit. The suit is a set of outerwear, thermal insulation, shell, helmet, removable boots and gloves. The spacesuit shell consists of two sealed (main and reserve) and power shells. The sealed shell ensures the preservation of the atmosphere in the suit, preventing gas leakage. The design of the power shell determines the shape and size of the suit, prevents the hermetic shell from inflating under the action of internal pressure. Special hinges ensure the mobility of the astronaut's arms and legs. Outerwear is made in the form of overalls from a very durable and heat-resistant white fabric. It protects the astronaut from overheating by the sun's rays. From the cold during the astronaut's stay in the shadow of the Earth or the spaceship, the astronaut is protected by thermal insulation - overalls worn over the spacesuit shell under outerwear and consisting of several layers of the thinnest metallized film. The entire multi-layer suit set, supplemented with special gaskets, serves as protection against impacts of possible micrometeors. The helmet has double sealed glass with a light filter, which not only protects the eyes from blinding light, but also does not let in harmful ultraviolet rays. A helmet is used as a headgear. The main elements of the headset are: a lightweight helmet, small phones placed in rubber plugs, microphones with holders and communication inputs. Both crew members had space suits so that the commander could, if necessary, assist the astronaut who went into outer space. In outer space, the suit was supplied with oxygen from the cylinders of the dorsal pack.

When preparing for the flight of the Voskhod-2 spacecraft, cosmonauts took part in the development of a draft design of the spacesuit, airlock, airlock control systems, all additional systems and equipment that the first spacecraft of this type did not have. The cosmonauts took part in the testing of new gear and equipment, made suggestions necessary for their improvement. The cosmonauts, dressed in space suits, trained in a laboratory aircraft, where there was a full-size model of Voskhod-2 with an airlock. Under conditions of short-term weightlessness, they consistently worked out all operations for leaving the cabin into space, approaches to the ship and departure from it in unsupported space. The satellite ship "Voskhod-2" was launched into an orbit close to the calculated one. The maximum flight altitude on the first orbit was 498 kilometers, the minimum altitude was 174 kilometers. The period of revolution of the ship around the Earth was 91 minutes, the angle of inclination of the orbital plane to the plane of the Earth's equator was 65 degrees.

Preparations for the exit of the co-pilot into outer space began immediately after the launch of the spacecraft into orbit. When Voskhod-2 flew over Africa, Belyaev helped Leonov to put on his back pack. The astronauts checked the spacesuits. Then the hatch to the lock chamber was opened and A. Leonov “floated” into it. "Sailing out" from the spacecraft, the astronaut saw the Black Sea and the mountains of the Caucasus. In unsupported space, Leonov made five withdrawals and approaches to the ship. The very first departure was made to a minimum distance - about a meter, in order to find out the possibilities of orientation in new conditions for a person. In subsequent retreats, the cosmonaut moved away from the ship to the full length of the halyard - five meters. Leonov performed all movements in space in the same sequence as in training. He moved away from the ship with his back, and approached head first with outstretched arms to prevent a possible blow to the ship with the glazing of the pressure helmet. When moving, the astronaut was guided in space by the ship and the Sun, which was either above his head or behind his back. At one point, Leonov pushed off the ship, he was spinning. The starry sky was replaced by views of the earth's surface and the Sun. Due to the twisting of the halyard, the rotation slowed down. Although Leonov did not see him, the astronaut had a complete idea of ​​his own whereabouts. He judged his position by the stars moving in the field of view, the Sun and the Earth. The halyard was also a good guide when it was fully stretched. The first experience showed that a person can quite navigate in unusual conditions of unsupported space. While in outer space, Alexei Leonov did not experience fear. He was confident in the reliability of the suit, all the equipment installed on the ship. This confidence was strengthened in him during the long months of preparation for the flight. Parachute training played an important role here. Parachute training allowed A. Leonov to easily step into space. "Floating" in unsupported space, the co-pilot was in telephone conversations with the ship's commander and ground communication points. The instruments installed in the cockpit allowed P.I. Belyaev to control the pulse and breathing of A.A. Leonov, the work of his autonomous life support system. When Voskhod-2 was flying over Siberia, Belyaev gave the command to Leonov to return to the cockpit. Approaching the ship, the cosmonaut removed from the bracket a movie camera, which captured his stay in outer space, and entered the airlock. Soon he was in the cockpit of the ship. Out of the cockpit, in the conditions of outer space, Alexei Leonov spent almost 24 minutes, of which 12 minutes he freely "floated" in outer space. Having again taken his workplace, the co-pilot wrote down his impressions in the logbook. Then the cosmonauts moved on to other sections of the program. They carried out navigational experiments initiated by the Voskhod crew, observed meteorological processes in the earth's atmosphere, and studied its optical characteristics. P. Belyaev and A. Leonov also performed a significant amount of medical research, continued research on the vestibular apparatus. With the spacecraft oriented and unoriented, the cosmonauts determined the sensitivity threshold of the vestibular analyzer. They conducted experiments related to the study of the reaction of the human nervous system under conditions of weightlessness.

According to the Voskhod-2 program, it was supposed to land on March 19 at a latitude of 51 degrees. The spacecraft was supposed to deorbit on the 17th orbit using an automatic control system. Preparing for landing, the astronauts noticed some deviations in the operation of the spacecraft's orientation system to the Sun. At the request of the crew, the Mission Control Center allowed the commander to perform the orientation of the ship on the 18th orbit using manual control. All previous manned spacecraft are known to have been de-orbited to descend to Earth by automatic means. P. Belyaev manually performed the pre-landing maneuver of the ship - its orientation in relation to the earth's surface and turned on the engine to reduce the flight speed. The spacecraft left orbit and at 12:02 pm landed 180 kilometers from Perm. The duration of the flight from the moment of launch to the moment of landing was 26 hours 2 minutes. The astronauts felt good.

The Voskhod-2 flight with the co-pilot's spacewalk showed that a man in a spacesuit with an autonomous life support system can live and work in outer space. All doubts about the possibility of performing various operations in unsupported space conditions were removed. The solution of the problem of the life and work of an astronaut outside the ship showed how great the possibilities are for manned flights to the Moon and the planets of the solar system, for the creation of manned orbital stations of national economic importance. The Voskhod-2 stellar flight was one of the greatest achievements on the path of mankind to space exploration.
FROM THE MEMORIES OF ALEXEY LEONOV
“When they created a ship for spacewalks, they had to solve many problems, one of which was related to the size of the hatch. In order for the lid to open inward completely, the lodgement would have to be cut. Then I would not fit in it in the shoulders. And I agreed to reduce the diameter of the hatch. Thus, there was a gap of 20 mm from each shoulder between the suit and the edge of the hatch.

On Earth, we carried out tests in a pressure chamber with a vacuum corresponding to an altitude of 60 km ... In reality, when I went into outer space, it turned out a little differently. The pressure in the suit is about 600 mm, and outside -10 -9; such conditions on Earth could not be simulated. In the vacuum of space, the spacesuit swelled, neither the stiffening ribs nor the dense fabric could withstand it. Of course, I assumed that this would happen, but I did not think that it would be so strong. I tightened all the straps, but the suit was so swollen that my hands came out of the gloves when I grabbed the rails, and my legs out of my boots. In this state, of course, I could not squeeze into the airlock hatch. A critical situation arose, and there was no time to consult with the Earth. As long as I report to them... as long as they consult... And who would take responsibility? Only Pasha Belyaev saw this, but he could not help. And then I, violating all the instructions and not informing the Earth, switch to a pressure of 0.27 atmospheres. This is the second mode of operation of the spacesuit. If by that time nitrogen had not been washed out of my blood, then nitrogen would have boiled - and that's it ... death. I figured that I had been under pure oxygen for an hour and there should not be any boiling. After I switched to the second mode, everything "sat down" to its place.

Nervous, he put a movie camera into the airlock and, violating the instructions, went into the airlock not with his feet, but with his head forward. Grabbing the handrail, I pushed myself forward. Then I closed the outer hatch and began to turn around, since you still need to enter the ship with your feet. Otherwise, I would not have been able to, because the lid, which opens inward, ate 30% of the volume of the cabin. Therefore, I had to turn around (the inner diameter of the airlock is 1 meter, the width of the suit at the shoulders is 68 cm). Here was the biggest load, my pulse reached 190. I still managed to roll over and enter the ship with my feet, as expected, but I had such a heat stroke that, violating the instructions and not checking the tightness, I opened the helmet, not closing the hatch behind him. I wipe my eyes with a glove, but I can’t wipe it off, as if someone is pouring on my head. Then I had only 60 liters of oxygen for breathing and ventilation, and now Orlan has 360 liters ... I was the first in history to go out and immediately move 5 meters away. Nobody else did this. But it was necessary to work with this halyard, to put it on hooks so that it would not hang out. There was a huge amount of physical activity.

The only thing I didn't do on the way out was I couldn't take a picture of the ship from the side. I had a miniature Ajax camera that could shoot through a button. It was given to us with the personal permission of the KGB chairman. This camera was remotely controlled by a cable; due to the deformation of the suit, I could not reach it. But I did filming (3 minutes with the C-97 camera), and two television cameras constantly watched me from the ship, but they did not have a high resolution. Based on these materials, they later made a very interesting film.

But the worst thing was when I returned to the ship - the partial pressure of oxygen (in the cabin) began to grow, which reached 460 mm and continued to grow. This is at a rate of 160 mm! But after all, 460 mm is explosive gas, because Bondarenko burned out on it ... At first we sat in a daze. Everyone understood, but they could do almost nothing: they completely removed the humidity, removed the temperature (it became 10 - 12 ° C). And the pressure is growing ... The slightest spark - and everything would turn into a molecular state, and we understood this. Seven hours in this state, and then fell asleep ... apparently from stress. Then we figured out that I had touched the boost switch with the spacesuit hose... What actually happened? Since the ship was stabilized relative to the Sun for a long time, then, naturally, a deformation arose: after all, on the one hand, cooling to -140C, on the other - heating to + 150C ... The sensors for closing the hatch worked, but a gap remained. The regeneration system began to build up pressure, and oxygen began to grow, we did not have time to consume it ... The total pressure reached 920 mm. These several tons of pressure pressed down the hatch, and the pressure growth stopped. Then the pressure began to drop before our eyes.
During the flight, which lasted one day 2 hours 2 minutes and 17 seconds, for the first time in the world a man went into open space, moved away from the spacecraft at a distance of up to five meters and spent 12 minutes 9 seconds outside the airlock in open space. The shortest report in the history of cosmonautics was made at the state commission after the flight: "It is possible to live and work in outer space." Thus began a new direction of human activity in space.

Enthusiastic reports about the new Soviet experiment continued to be heard over the receiver from the Earth in different voices, and the crew began to prepare for the descent. The flight program provided for the landing in automatic mode on the seventeenth orbit, but due to the failure of the automation caused by the “shooting off” of the lock chamber, it was necessary to go to the next, eighteenth orbit and land using the manual control system. This was the first manual landing, and during its implementation it was found that it was impossible to look into the porthole from the cosmonaut's working chair and assess the position of the ship in relation to the Earth. It was possible to start braking only while sitting in a seat in a fastened state. Due to this contingency, the accuracy required during the descent was lost. The delay of the command to turn on the brake engines was 45 seconds. As a result, the cosmonauts landed far from the calculated landing point, in the deep taiga, 180 km northwest of Perm.

They did not find them right away; there was no search service, as such, then. The landing of helicopters was prevented by tall trees, and warm clothes for the astronauts also could not be thrown off. Therefore, they had to spend the night near the fire, using parachutes and spacesuits for insulation. The next day, in the undergrowth, a few kilometers from the landing site of the crew, a rescue party descended, clearing the area for a small helicopter. The next day, Belyaev and Leonov were taken to Baikonur.

An assessment of the significance of what was accomplished by Alexei Leonov and Pavel Belyaev was given by Chief Designer S.P. Korolev: “The crew of the Voskhod-2 spacecraft was given a very difficult, qualitatively different task than in previous flights. The further development of astronautics depended on its successful solution, perhaps no less than on the success of the first space flight ... the significance of this feat can not be overestimated: their flight showed that a person can live in free space, get out of a ship ..., he can work everywhere as it proves necessary. Without such an opportunity, it would be impossible to think about laying new paths in space.

Alexei Arkhipovich Leonov was born on May 30, 1934 in the village of Listvyanka, Tisulsky District, Kemerovo Region. Father - Leonov Arkhip Alekseevich (born in 1892), was a peasant, in the past - a miner. Mother - Leonova (Sotnikova) Evdokia Minaevna (born in 1895) - teacher. Wife - Svetlana Pavlovna Leonova (born in 1940). Daughters: Viktoria Alekseevna Leonova (born in 1962), Oksana Alekseevna Leonova (born in 1967).

Alexei was the ninth child in the family. In 1938 he moved to Kemerovo with his mother. At the age of 9 he went to elementary school. After 4 years, the family moved to the place of work of his father in the city of Kaliningrad (formerly Königsberg). Even at school, Leonov was interested in aviation technology and carefully studied the design of aircraft, the basics of flight theory, etc. In 1953, the young man graduated from high school, received a good matriculation certificate. In the same year, Alexey without much difficulty entered the pilot school, which was located in Kremenchug. After her, he studied at the Higher School of Fighter Pilots in Chuguev in Ukraine. In the period from 1957 to 1959 he flew in combat regiments.

In 1960, Alexei Arkhipovich Leonov withstood a tough selection and was enrolled in the cosmonaut corps. After a three-year training on March 18 - 19, 1965 at 11:30 Moscow time, together with Pavel Ivanovich. Belyaev, the commander of the ship, flew on the Voskhod-2 spacecraft as a co-pilot.

In his school years, Alexey Arkhipovich began to get involved in painting. He was captivated by the pictures of the surrounding nature, he always lives in surprise at the creations of human hands.

The first of the earthlings A. Leonov saw our blue planet, bright non-flickering stars, the dazzling Sun, as if “hammered” into the blackness of the sky, not from the porthole of a spaceship, but much more fully than the astronauts who flew in the cockpit of a spaceship saw the world around them.

The extraordinary landscapes seen by the cosmonauts and depicted in drawings by A. Leonov have not only cognitive, scientific or aesthetic, but also deeply philosophical significance. They show how unusually diverse and bright nature is, how our ideas about the Universe are expanding as man increasingly penetrates the cosmos. In the album, reality and fantasy go together. Without imagination, movement forward is unthinkable.

The drawings illustrate the problems that astronomers, physicists, and cosmologists are working on. On the other hand, scientific research directed the artist's thoughts and provided the basis for his work.

The cosmos is infinitely varied. As people penetrate into interplanetary space, people will increasingly encounter such phenomena that were previously unknown at all. But it is precisely these new problems, which we are not even aware of now, that provide those qualitative leaps that significantly expand our knowledge of the laws of nature. Through the prism of artistic perception, the drawings tell about what is already known to science, as well as about what scientists still do not know today. In scientific research, there are often "unexpected" results and "unexpected" hypotheses.

A.A. Leonov is the author of about 200 paintings and 5 art albums, including space landscapes, fantasy, earthly landscapes, portraits of friends (watercolor, oil, Dutch gouache). A.A. Leonov, in collaboration with science fiction artist Andrei Sokolov, created a number of postage stamps of the USSR on a space theme. The debut of the tandem in philately took place in March 1967, when the artists made a series of three stamps dedicated to the Day of Cosmonautics (CFA (ITC "Mark") No. 3476-3478). In October of the same year, a series of five stamps "Space Fantasy" (TSFA (ITC "Marka") No. 3545-3549), dedicated to the exploration of the Universe, was released. The next series of 6 stamps of the Leonov-Sokolov tandem came out in September 1972 on the occasion of the 15th anniversary of the space age (TsFA (ITC "Marka") No. 4162-4167). In the compositional solution, this series was not similar to any of the previous works of the authors. The artistic field of each stamp was divided into two parts: the larger of them depicts the achievements of Soviet cosmonautics at that time, the other - the future of the space age. The stamps of this series were recognized as the best stamps of the USSR in 1972 in the section "Soviet Science and Technology".

Over the years of scientific and practical work and during space flights, A.A. Leonov made a huge amount of research and experiments. Particularly significant among them are: the study of light and color characteristics of vision after space flight (1967), the influence of space flight factors on the visual acuity of the pilot of the Buran complex (1980), the development of a hydro laboratory (using the hydrosphere as an analogue of weightlessness, 1966), the creation of a spacesuit to work in the hydrosphere. Alexey Arkhipovich took an active part in scientific conferences and international congresses, made about 30 reports. He was twice awarded the high title of Hero of the Soviet Union (1965, 1975), as well as the titles of the USSR State Prize laureate (1981) and the laureate of the Lenin Komsomol Prize. A.A. Leonov was awarded two Orders of Lenin, Orders of the Red Star, "For Service to the Motherland in the Armed Forces of the USSR" III degree. He was awarded the title of Hero of the Socialist Labor of Bulgaria, Hero of Labor of the Socialist Republic of Vietnam. He was also awarded a large gold medal "For merits in the development of science and to mankind", a medal named after Z. Neyedly (Czechoslovakia), two large gold medals "Cosmos", two de Lavo medals, a gold medal named after Yu.A. Gagarin, a large gold medal named after K.E. Tsiolkovsky of the Academy of Sciences of the USSR, many other foreign orders and medals. He was awarded the K. Harmon International Aviation Prize. In the name of A.A. Leonov named one of the craters on the Moon. Alexey Arkhipovich was elected a full member of the International Academy of Astronautics, Academician of the Russian Academy of Astronautics, Co-Chairman of the International Association of Space Flight Participants (1985-1999), has a Ph.D. degree in technical sciences.

With any talk about military service, as usual, a certain martinet, uniform, bearing, step chasing, and so on from the same series come to mind. At the same time, many people of civilian life are concentrated around the fulfillment of the immediate tasks that the motherland has set for its defenders, including military families, however, the military themselves, it must be assumed, do not devote all 24 hours to the parade ground. It was to fulfill the tasks of a spiritual nature in the first decades of the last century that the Cultural Center of the Armed Forces of the Russian Federation was created.

Emergence of the center

The idea of ​​the need to organize cultural recreation for servicemen who spend a lot of time in the trenches came at the end of the third decade of the last century - in 1928 the Central House of the Red Army appeared. In less than a hundred years, it has undergone several renamings, however, this did not affect its essence in any way. First, it became the Central House of the Soviet Army, and after the collapse of the Soviet empire, the Central House of the Russian Army.

War and after

A variety of documentary chronicles of the war years clearly demonstrate the acute need for those artistic groups that traveled around the front, fearlessly put their numbers on the front lines and in hospitals. Lidia Ruslanova, Valentina Serova, Georgy Yumatov and many others who, under the roar of shells, under the whistle of bullets, risking death every minute, with all the breadth of their souls and generosity of talent, raised the morale of those who forged victory in sweat and blood.

The current Cultural Center of the Armed Forces of the Russian Federation from the very beginning of the war turned into a field headquarters, the main function of which was to provide the front with any means to increase morale. It was here that the so-called front-line brigades were formed, which included pop artists, film and theater actors.

At the end of the war, by decision of the country's leadership, the department began to bear the name of the famous revolutionary Mikhail Frunze. Although the most terrible war ended in complete defeat, there was a feeling of a new military clash in the air, so the institution changed its profile somewhat and began to teach foreign languages, to prepare for admission to military academies to strengthen the officer corps. In addition, the political and educational component was also strengthened, expressed in the opening of the University of Marxism-Leninism.

A new life for the department began after the collapse of the Soviet empire. In 1993, it already bore the name of the Russian army, and in 1997 it was renamed the Cultural Center of the Armed Forces of the Russian Federation.

Departmental tasks

The modern military-cultural department includes six departments. The department responsible for culture in a peculiar sense is the main one. It is he who is responsible for the cultivation of morality among the military, as well as among their families. His educational inclinations extend to all civilian personnel. The formation of those same brigades today is entrusted to the military patronage department, which also organizes ceremonial events for memorable dates. The functions of propaganda are assigned to the writing department.

Although the Cultural Center of the Armed Forces of the Russian Federation has a modern name, it relies on its heritage, which means it solves the tasks originally set, with some adjustments for the time, and uses approximately the same methods as its founders. In modern rhetoric, it is possible that it is precisely such organizations that will bear the main burden of the massive integration of the patriotic ideas of the current spill with specific propaganda goals.