Соковнин М.Е Комментарий к комедии А.Н.Островского "Невольницы"; ""Гроза" Островского в театре Маяковского. Возобновление" - подготовка текста, комментарии, предисловие
The attention which was shown to Vs.N.Nekrasov’s poetry (not only to his visual texts) by artists of different generations and styles, forced the poet discuss the border between verbal and visual arts, that loosens in the twentieth century, but remains nevertheless permanent and significant. This awareness of the border was inevitable in a situation of unprecedented rapprochement and mutual influence of these arts (for example, the use of a horizontal line in some texts Nekrasov at early 1980s can be compared with the idea of the horizon in Boulatov’s paintings). In a letter to French publisher P.Mréjen about С.Cofone’s book, that played up Nekrasov’s text "Growth" ("A Poem") by its total strikethrough, Nekrasov discusses semantic differences between Russian poetry and their interpretation in the work of book-art. Different cases of strikethrough in the original texts of Nekrasov are further shown, for instance, in early (1970-1980th)) use of strikethrough as a way of marking the "extra", "inconvenient" words (the device has recently become very popular in network imitation of "natural" speech).
Unknown texts of the poet M. E. Sokovnin (who in the 1960s was a lecturer at the GSTM), are published; the significance of Sokovnin's interpretations of Ostrovsky, in particular, their possible influence on the famous production of "Slaves" by A. Ya.Govorukho (1972)6 is discussed.
На основании отдельных документальных свидетельств высказывается предположение, что в 1960-1980-х гг. музеи нередко обеспечивали официальную социализацию для нонконформистов и диссидентов.
This article discusses how the conceptual poet Vs.N. Nekrasov talked about Kozma Prutkov as a literary persona, A.K. Tolstoy as the most prominent of Kozma’s creators, and “prutkovskian” traits in contemporary literature and A.K. Tolstoy’s prose. For Vs. Nekrasov the making of Prutkov was a fruitful attempt to “neutralize” some potentially dangerous consequences of so-called “literature-centrism”. Some of the texts under analysis were taken from Vs. Nekrasov’ personal archives (transcripts of speeches, reports for the Russian Theatre Society, drafts, etc.) and are now published for the first time.
The book reproduces 3 typewritten collections (1961, 1965, the first half of the 1970s) and the author's typewritten codex of 1966-1970; some works and many text versions are published for the first time; principles of publication are discussed in the afterword by G.V. Zykova and E.N. Penskaya.
The collection includes previously unpublished texts of A. I. Zhuravleva, the historian of Russian literature, and her husband, the poet Vs.N. Nekrasov, mainly reviews on about stage productions of classics (the reviews were commissioned by the All-Russian Theatrical Society); articles on theatre of their friend, M.E.Sokovnin; materials of the conference dedicated to the memory of A.I. Zhuravleva (March 2012, Philological faculty, Moscow State University), among them - works on Ostrovsky, Sukhovo-Kobylin, AP.Grigoriev, Pisemsky - favorite authors for Zhuravleva, about which she has written herself.
The title refers to A. I. Zhuravleva' book "Russian drama and the Literary Process of the XIX century" (Moscow, 1988).
The booklet was published for the exhibition of Vs.N.Nekrasov collection of paintings and drawings transferred to the Department of Private Collections of The Pushkin State Museum of Fine Arts; it contains the catalog of the collection, selected bibliography of Nekrasov' s articles on visual arts and some poems previously unpublished.