Хармс

V burli͡ashchem kotle narozhdai͡ushcheĭsi͡a v pervye desi͡atiletii͡a proshlogo veka novoĭ kulʹtury ėto bylo odno iz mnogikh khudozhestvennykh i literaturnykh soobshchestv. OBĖRIU - tak sokrashchenno imenovali sebi͡a uchastniki Obʺedinenii͡a realʹnogo iskusstva, sushchestvovavshego v Leningrade v 1927-1930 godakh. Molodye talantlivye poėty predlagali vzgli͡anutʹ na mir po-novomu, "golymi glazami". Ochistitʹ poėticheskoe videnie predmetov i i͡avleniĭ "ot literaturnoĭ i obikhodnoĭ shelukhi". Odnim slovom, oni vydvigali svoĭ variant novogo, levogo, revoli͡ut͡sionnogo iskusstva. Sluchilosʹ tak, chto nedolgiĭ vzlet i razgrom obėriutov znamenovali soboĭ konet͡s russkogo avangarda. Ikh vdokhnovitelʹ - poėt, prozaik i dramaturg Daniil Kharms - prozhil na svete tridt͡satʹ shestʹ let i pogib v ti͡uremnoĭ kamere v dni leningradskoĭ blokady. Na ego aktivnoe tvorchestvo vypali kakikh-nibudʹ poltora desi͡atka let. I pochti vse ėto vremi͡a on ostavalsi͡a vnutrenne i͡unym, perepolnennym ėnergieĭ, strastʹi͡u k ėksperimentu, k igre. Tolʹko vot igra ėta byla dli͡a nego delom serʹeznym. Za kazhushcheĭsi͡a prostotoĭ, komizmom ego miniati͡ur i "sluchaev" tailosʹ umenie zagli͡anutʹ v glubinu obydennykh zhiznennykh i͡avleniĭ, razgli͡adetʹ alogizm v privychnom. Ėta kniga ne tolʹko rasskazyvaet o i͡arkoĭ i tragicheskoĭ sudʹbe "detskogo" i "vzroslogo" poėta-avangardista Daniila Kharmsa. Vgli͡adyvai͡asʹ v zaostrennui͡u obraznostʹ ego stikhov i prozy, v prisushchee emu stremlenie k teatralizat͡sii byta i ėpatazhu, avtor pytaetsi͡a razobratʹsi͡a v tom, chto zhe tak t͡sepli͡aet vnimanie ego pochitateleĭ i khuliteleĭ.

In the seething cauldron of a new culture emerging in the first decades of the last century, it was one of many artistic and literary communities. OBERIU was the abbreviated name given to the members of the Association of Real Art that existed in Leningrad in 1927-1930. Young talented poets offered to look at the world in a new way, "with naked eyes". To clear the poetic vision of objects and phenomena "from literary and everyday husks." In short, they were putting forward their own version of a new, leftist, revolutionary art. It so happened that the short-lived rise and defeat of the Oberiut marked the end of the Russian avant-garde. Their inspirer, the poet, novelist and playwright Daniil Kharms, lived for thirty—six years and died in a prison cell during the Leningrad blockade. His active work took about a decade and a half. And almost all this time he remained young inwardly, overflowing with energy, passion for experimentation, for the game. But this game was a serious matter for him. Behind the apparent simplicity and comicality of his miniatures and "cases" lurked the ability to look into the depths of everyday life phenomena, to discern the illogic in the familiar. This book not only tells about the bright and tragic fate of the "childish" and "adult" avant-garde poet Daniil Kharms. Peering into the pointed imagery of his poetry and prose, into his inherent desire to dramatize everyday life and outrage, the author tries to figure out what attracts the attention of his admirers and detractors.