Life and work of l Petrushevskaya. Russian writer Lyudmila Petrushevskaya: biography, personal life, creativity

She was born on May 26, 1938 in Moscow. Her grandfather was a famous linguist, orientalist professor Nikolai Yakovlev (1892-1974).

The family of the future writer was subjected to repressions, during the Great Patriotic War she lived with relatives, after the war - in an orphanage near Ufa. Later she moved to Moscow, where she graduated from high school.

She worked as a correspondent for Moscow newspapers, an employee of publishing houses.

Since 1972 she has been an editor at the Central Television Studio.

The first story "Such a Girl" Lyudmila Petrushevskaya wrote in 1968 (published 20 years later in the Ogonyok magazine).

In 1972, her short stories Clarissa's Story and The Storyteller were published in Aurora magazine. In 1974, the stories "Nets and Traps" and "Across the Fields" were published in the same publication.

In 1977, Petrushevskaya was admitted to the Writers' Union of the USSR, but her works were rarely published. By 1988, seven stories had been published, the children's play "Two Windows" and several fairy tales.

The first plays by Petrushevskaya were noticed by amateur theaters. The play "Music Lessons" (1973) was staged by Roman Viktyuk in 1979 at the Student Theater of Moscow State University and was soon banned. The production of the play "Cinzano" was carried out by the theater "Gaudeamus" in Lviv.

Professional theaters began to stage Petrushevskaya's plays in the 1980s. The one-act play "Love" was released at the Taganka Theater, "Columbine's Apartment" was staged at Sovremennik, and "Moscow Choir" at the Moscow Art Theater.

Since the 1980s, collections of her plays and prose have been published: Immortal Love: Stories (1988), Songs of the 20th Century: Plays (1988), Three Girls in Blue: Plays (1989), On the Road of God Eros: Prose (1993), Secrets of the House: Stories and Stories (1995), House of Girls: Stories and Stories (1998).

Petrushevskaya's stories and plays have been translated into many languages ​​of the world, her dramatic works are staged in Russia and abroad. In 2017, she presented her new books “Wanderings about Death” and “Nobody Needs. Free”, as well as the collection “About our cool life. Hee-hee-hee."

In 2018, her novel “We were stolen. History of Crimes" was included in the long list of the "Big Book" award. The story "The Little Girl from the Metropolis" is shortlisted for the US Critics Union Award.

In 2018, the writer's books Magic Stories. New Adventures of Elena the Beautiful” and “Magic Stories. Testament of an old monk.

According to the scenarios of Petrushevskaya, a number of films and film-plays were staged: "Love" (1997), "Date" (2000), "Moscow Choir" (2009), etc.

The animated film "The Tale of Fairy Tales" based on a joint script by Lyudmila Petrushevskaya and Yuri Norshtein was recognized as the best animated film of all times and peoples according to the results of an international poll conducted by the Academy of Motion Picture Arts in conjunction with ASIFA-Hollywood (Los Angeles, USA).

According to Petrushevskaya's scripts, the cartoons "Lyamzi-tyri-bondi, the evil wizard" (1976), "The Stolen Sun" (1978), "The Hare's Tail" (1984), "The Cat Who Could Sing" (1988), "Where the Animals Go" (from the anthology "Merry Carousel No. 34")" (2012).

Since 2008, the writer has also performed as a singer with the Lyudmila Petrushevskaya Cabaret program with her Kerosene orchestra.

In 2010, Petrushevskaya presented her first solo album, Don't Get Used to the Rain.

Petrushevskaya Lyudmila Stefanovna - prose writer, playwright, poet, screenwriter, author of watercolors and monotypes, artist and director of eight of her own animated films ("Manual Labor Studio"), composer and singer, creator of the traveling theater "Cabaret of Lyudmila Petrushevskaya".
She was born on May 26, 1938 in Moscow in a family of IFLI students (Institute of Philosophy, Literature, History). Granddaughter of the linguist, professor-orientalist N. F. Yakovlev. Mom, Valentina Nikolaevna Yakovleva, later worked as an editor, father, Stefan Antonovich Petrushevsky, whom L.S. almost did not know, became a doctor of philosophy.
L.S., whose family was subjected to repressions (three were shot), survived a severe famine during the war, lived with relatives who were not given work (as members of the family of enemies of the people), and also, after the war, in an orphanage for disabled children and tuberculosis patients who survived the famine near Ufa. She graduated from school in Moscow with a silver medal, received a diploma from the Faculty of Journalism of Moscow State University.

She began to write early, published notes in newspapers (Moskovsky Komsomolets, 1957, Mosk. Pravda, 1958, Krokodil magazine, 1960, Nedelya newspaper, 1961), worked as a correspondent All-Union radio and the magazine "Krugozor". She wrote her first story in 1968 (“Such a Girl”, published 20 years later in the Ogonyok magazine), and from that moment she wrote mostly prose. She sent stories to various magazines, they were returned, only the Leningrad Aurora responded. The first published works there were the stories "The Story of Clarissa" and "The Narrator", which appeared in 1972 in the journal "Aurora" and caused sharp criticism in the "Literary Gazette". In 1974, the story "Nets and Traps", then "Across the Fields" was published there. In total, by 1988, only seven stories had been published, one children's play (“Two Windows”) and several fairy tales. Having joined the Writers' Union in 1977, L.P. earned money by translating from Polish, articles in magazines. In 1988 she addressed a letter to Gorbachev, the letter was sent for a response to the Writers' Union. And the secretary of the Union of Writers, Ilyin, helped with the publication of the first book (Immortal Love, 1988, Moskovsky Rabochiy publishing house, thirty thousand copies).
The play “Music Lessons” was staged by Roman Viktyuk in 1979 at the Student Theater of Moscow State University, after 6 performances it was banned, then the theater moved to the recreation center “Moskvorechye”, and “Lessons” was banned again in the spring of 1980 (the play was published in 1983 in a periodical publication, in the brochure "To Help Amateur Art", with a circulation of 60 thousand copies).
Lyudmila Petrushevskaya is the author of many prose works and plays, books for children. She also wrote scripts for animated films "Lyamzi-Tyri-Bondi, the Evil Wizard" (1976), "All the Dumb Ones" (1976), "The Stolen Sun" (1978), "The Tale of Tales" (1979, jointly with Y. Norshtein ), “The Cat Who Could Sing” (1988), “Hare Tail”, “Only Tears From You”, “Peter Piglet” and the first part of the film “The Overcoat” (co-authored with Y. Norshtein).
Petrushevskaya's stories and plays have been translated into many languages ​​of the world, her dramatic works are staged in Russia and abroad.
Laureate of the Alexander Puschkin International Prize (1991, Hamburg), the State Prize of the Russian Federation in the field of literature and art (2002), the Triumph Independent Prize (2002), the Bunin Prize, the Stanislavsky Theater Prize, the World Fantasy Award for the collection "Once upon a time there was a woman who tried to kill her neighbor's child", the humorous award "Small Golden Ostap" for the collection "Wild Animal Tales", etc.
Academician of the Bavarian Academy of Arts.

In 1991, from February to August, she was under investigation for insulting President M. S. Gorbachev. The reason was a letter to Lithuania after the introduction of Soviet tanks into Vilnius, reprinted in Vilnius and translated in the Yaroslavl newspaper "Northern Bee". The case was closed due to the resignation of the President.
In recent years, her books have been published - prose, poetry, dramaturgy, fairy tales, journalism, more than 10 children's books have been printed, performances have been staged - "He is in Argentina" at the Moscow Art Theater. Chekhov, the plays "Love", "Cinzano" and "Smirnova's Birthday" in Moscow and in different cities of Russia, exhibitions of graphics are held (in the Pushkin State Museum of Fine Arts, in the Literary Museum, in the Akhmatova Museum in St. Petersburg, in private galleries in Moscow and Yekaterinburg ). L. Petrushevskaya performs with concert programs called "Cabaret of Lyudmila Petrushevskaya" in Moscow, in Russia, abroad - in London, Paris, New York, Budapest, in Pula, Rio de Janeiro, where she performs hits of the twentieth century in her translation, as well as songs of his own composition.
She began selling her watercolors and monotypes - via the Internet - in favor of an orphanage for disabled teenagers in Porkhov near Pskov. Sick children live there, whom the PROBO Rostock Charitable Society saved from staying in the senile home for psychochronic invalids, where they are sent at the age of 15 after orphanages - for life. Children are taught by teachers, they get used to independence, grow vegetables, do needlework, housework, etc. This is a difficult time and they need help.

Literary club "Green lamp"
meeting took place:

"GENIUS OF ARTISTRY"

LYUDMILA PETRUSHEVSKAYA

Presenter:

Natalya Dmitrievna Bogatyreva,
Candidate of Philology, Associate Professor of Vyatka State University

Petrushevskaya Ludmila Stefanovna — screenwriter, playwright, novelist and musician. She was born on May 26, 1938 in Moscow in a family of IFLI students (Institute of Philosophy, Literature, History). Granddaughter of the linguist, professor-orientalist N. F. Yakovlev. Mom worked as an editor, father is a Ph.D.
She survived a difficult military half-starved childhood, lived with relatives, as well as in an orphanage near Ufa. After the war, she returned to Moscow, graduated from the Faculty of Journalism of Moscow State University. She worked as a correspondent in Moscow newspapers, as an editor in various publishing houses, and on television.
Early began to compose poetry, write scripts for student evenings, without seriously thinking about writing. The first published work was the story "Across the Fields", which appeared in 1972 in the magazine "Aurora". After that, Petrushevskaya's prose was not published for more than a dozen years.
The play "Music Lessons" was staged by Roman Viktyuk in 1979 at the theater-studio of the House of Culture "Moskvorechye" and almost immediately banned (published only in 1983).
The first collection of short stories was published in 1987. Lyudmila Petrushevskaya is the author of many prose works and plays, books for children. She also wrote scripts for animated films "Lyamzi-Tyri-Bondi, the Evil Wizard" (1976), "All the Dumb Ones" (1976), "The Stolen Sun" (1978), "The Tale of Tales" (1979, jointly with Y. Norshtein ), "The Cat Who Could Sing" (1988), etc.
Petrushevskaya's stories and plays have been translated into many languages ​​of the world, her dramatic works are staged in Russia and abroad.
Laureate of the Alexander Puschkin International Prize (1991, Hamburg), the State Prize of the Russian Federation in the field of literature and art (2002), the Triumph Prize (2002), the Stanislavsky Theater Prize, the World Fantasy Award for a collection of short stories - horror stories "Once upon a time there was a woman who tried to kill her neighbor's child", etc.
Academician of the Bavarian Academy of Arts.
In 1991, from February to August, she was under investigation for insulting President M. S. Gorbachev. The reason was a letter to Lithuania after the introduction of Soviet tanks into Vilnius, reprinted in the local newspaper "Northern Bee". The case was closed due to the resignation of the President.
In recent years, he has performed with concert programs called "Cabaret of Lyudmila Petrushevskaya", in which he performs popular songs of the 20th century, as well as songs of his own composition.

DMITRY BYKOV ABOUT LYUDMILA PETRUSHEVSKAYA:

(Before the beginning of the evening, songs performed by Lyudmila Petrushevskaya sound)

Galina Konstantinovna Makarova, Head of the Green Lamp Club: Good evening! We have already met Lyudmila Stefanovna Petrushevskaya, listened to her songs, and now we light our green lamp. (Applause)

Galina Makarova

In the beginning, I want to wish everyone a Happy New Year, we decided to settle here in the Literary Lounge in the new year, and I think we will like it here. It's comfortable enough here. I wish you many good books, good films, new experiences and meetings in our club and in our library in the new year. On April 2, we will celebrate the 40th anniversary of the Green Lamp Club, and I think you will want to congratulate the club, you will want to write some of your impressions, memories, reviews about the club: what is the club in your life. We will be happy and, perhaps, we will place your publications in the collection dedicated to the 40th anniversary of the Green Lamp, in the VKontakte group - on the page of the Literary Club Green Lamp. And in the subscription department, all this will also be available. Therefore, write, we are happy to use all this.

And we have one more thing: today one of the members of our club is celebrating his birthday. This is the most devoted friend of both the club and our library, a person who is passionate about everything that happens in the library, in life, in art, in cinema, in literature. She visits the library every day, she attends all the activities that take place in the library. It's… guess who? This is Emilia Anatolyevna Khonyakina . (Applause)

Galina Makarova and Emilia Khonyakina

Emilia Anatolyevna, thank you very much for your interest, for your love for everything, we are very grateful to you and glad to see you always here. From the club "Green Lamp" we give you a new book about the Herzen Library, and from the cinema club, which you also visit for a very long time, since the time of "Stalker", this is a very good film. (Applause).

A couple more ads: "Literature in Disguise: Mysteries of Literary Hoax" is the topic of the next Green Lamp Club session. See the information on the library website, VKontakte, books, as always, on the subscription, and we are waiting for you on February 5. The books have already been selected, choose a topic for yourself, choose an author, and you will be able to supplement or talk about some kind of literary hoax, take part in the next meeting. It will be interesting both for you and for us.

And one more announcement for those who go to our films. On January 19, the premiere of the film "Vyatka Dinosaurs" by the film crew of the Vyatka film and video studio, directed by Anton Pogrebnoy, will take place. In addition to the film, there will be a meeting with the film crew, with the directors of the paleontological museum - previous and current, so the conversation promises to be interesting.

And, finally, for connoisseurs of high art, intellectual auteur cinema - Alexander Sokurov's film "Stone". We timed the screening of this film to coincide with the anniversary of Chekhov, but, of course, the film does not carry any information load. This is a purely work of art that gives some kind of mood, gives rise to numerous associations, it will bring great pleasure to fans of auteur cinema, so come on January 26th.

Well, today, at the end of our conversation, those who wish can linger a little, there will be a continuation of the concert that we watched before the meeting, there will be completely unique numbers, and it will be possible to listen to the concert to the end.

Today our topic is: “The Genius of Artistry” Lyudmila Petrushevskaya. Natalya Dmitrievna Bogatyreva will tell us about the work of Lyudmila Petrushevskaya. You all know that she is the most active participant in the Green Lamp and participated in many of our meetings. This person is extremely knowledgeable and able to analyze, appreciate and love not only literature, but cinema too. But that will be a little later. And first, I will say literally two words about the life of Lyudmila Stefanovna Petrushevskaya.

Petrushevskaya is an amazingly gifted and surprisingly free, courageous person. She is a screenwriter. She is a playwright. She is an artist. She is the author and performer of songs, fairy tales. It is very difficult to list everything. Now she is mastering the step, and doing yoga, etc. etc.

Lyudmila Petrushevskaya was born on May 26, 1938 (that is, she is already 76 years old) in Moscow in a family of students of the famous IFLI (Institute of Philosophy of Literature and History). Very difficult trials fell on her lot, like on the lot of many of her peers. These tests began even before her birth, in 1937-38 three members of her family were executed, two more, according to her, were holed up in a psychiatric hospital. Petrushevskaya recalls: “We were members of a family of enemies of the people. The neighbors didn’t let me into the kitchen, there was nothing to eat.” She survived a difficult military childhood, really hungry. She wandered, begged, sang in the streets, lived with relatives. Then an orphanage near Ufa saved her from hunger.

Ludmila Petrushevskaya

After the war, she returned to Moscow, sang in a children's choir, studied vocals, and wanted to become an opera singer. Her grandfather is the outstanding linguist Nikolai Feofanovich Yakovlev. He created a script for several peoples of the Caucasus based on the Cyrillic alphabet. In the early 50s, he became a victim of repression, he was thrown out of work, he went crazy, he lived for another 20 years. Mom worked as an editor, father was a Ph.D. They lived in a 12-meter room, slept with their mother under the table. The father left the family.

She graduated from the Faculty of Journalism of Moscow State University, early began to write poetry, write scripts for student evenings, in the magazine "Crocodile". At first, I didn't really think about writing. She sang, played in student amateur performances, had the nickname "chansonette". She worked on the radio, as a correspondent in Moscow newspapers, magazines, as an editor in various publishing houses, on television, and studied at the theater studio of Alexei Arbuzov. She wrote plays, short stories, cartoon scripts. For example, the script for the cartoon "Tale of Tales", together with Norshtein, is her work.

According to Petrushevskaya, she experienced constant fear for the life of her relatives: kids, mother, husband. My husband was ill and paralyzed after falling off a cliff on an expedition. At the age of 37, she buried him, there was no work, they did not print, they did not stage. Eternal need, lack of money, in the hands of mother, son. I thought about leaving.
The first collection of short stories was published at the age of 50 (!) in 1987. Today, Petrushevskaya's stories have been translated into many languages ​​of the world, her dramatic works are staged in Russia and abroad. She continues to draw, compose, perform songs, fairy tales, sing.

Well, two words about her family. At the moment, Lyudmila Stefanovna is a widow, her late husband Boris Pavlov, who passed away in 2009, was the director of the Solyanka Gallery. Petrushevskaya has three children - Kirill Evgenievich Kharatyan, born in 1964, journalist. He worked in the Kommersant publishing house, in the Moscow News newspaper. Now he is deputy editor-in-chief and columnist of the Vedomosti newspaper. Fedor Borisovich Pavlov-Andrievich - journalist, TV presenter, producer. Now he is the director of the Solyanka Gallery, as a director he puts on plays by Petrushevskaya. And Natalya Borisovna Pavlova - musician, founder of the Moscow funk group "Clean Tone".

Lyudmila Stefanovna is a laureate of many awards, including the international Alexander Puschkin award, which she was awarded in 1991 in Hamburg, the State Prize of Russia, the Triumph Prize, the Stanislavsky Prize, the World Fantasy Prize for the collection of horror stories Once Upon a Time woman who tried to kill her neighbor's child." Academician of the Bavarian Film Academy. Here is a brief biographical note. They just asked me to tell in general terms about the life of Petrushevskaya. Well, now we will listen to Natalya Dmitrievna. Then you can express your impressions, your attitude, talk about your favorite works, about how you feel about the author. Please.

Natalya Dmitrievna Bogatyreva, Candidate of Philology, Associate Professor of Vyatka State University : Hello again. The original intention of my speech is purely literary criticism. The topic of our meeting today is “The Genius of Artistry” Lyudmila Petrushevskaya, but you will notice that the very topic of artistry is practically not touched upon by me, because this means that we need to talk about the various talents of a person. A person who can be called “a man is an orchestra”, literally gushing with talents in various fields of art. I will touch only on literature, and it is interesting that Petrushevskaya's reputation in literature, despite the many awards that have been listed here, is extremely ambiguous. The assessments are so polar, so incompatible... From complimentary to absolutely not accepting her as a writer, as an author of different genres. This phenomenon, of course, is very interesting, mysterious.

Many dissertations have already been written about Petrushevskaya's work, the most serious ones, including doctoral ones - not purely in her work, but when she is included in some number of other names. And there are more than a dozen candidate dissertations only on the work of Petrushevskaya.

Initially, I thought just to talk about the genres that she uses innovatively, within which she feels so free and so uninhibited, talented. But I re-read her favorite “Ninth Volume” (that’s what it’s called, it’s journalism), and found an absolutely brilliant article there. I read it before, but re-read it and thought that my message would pale inexpressibly in comparison with her text, where she talks about how she moved from stories to drama, from drama to fairy tales, from fairy tales to journalism, to scripts. In general, she does it inimitably perfectly and stylistically impeccably and brilliantly. Therefore, dwelling, of course, on genres, I will also touch on purely literary things. I apologize in advance if they seem very special, not everyone in this audience is interested in philological delights. But this attempt is not my own, God forbid, I am not a researcher of Petrushevskaya, I am just a reader, an interested reader, as they say. I hope that such an epithet can be applied - a qualified reader. But this is a person who is deeply interesting to me, so I just tried to understand the opinions of experts that have already been expressed. We will therefore touch upon such things as the nature of Petrushevska's language and style. The originality of her gloomy hyperrealism and, as they sometimes even say, post-realism, dirty realism, sometimes even so denote her work, and the ratio of realism and postmodernism in her work. This is also a special philological topic, but postmodernism is a modern phenomenon and, of course, we are interested in both touching on it and understanding it. Well, such things, of course, as outstanding education, breadth of vision, extraordinary breadth of the horizon, encyclopedic knowledge, and what is called the literary nature of Petrushevskaya's work, will also sound somehow in our reflection.

Natalia Bogatyreva

Galina Konstantinovna has already named those facts of the biography that are important in this case, and I, probably, speaking of Petrushevskaya, will refer to the following assessment: Petrushevskaya’s work is implicated in gloomy collisions that are “not philosophically existential, but reduced everyday character.” That is, if we consider the relationship between being and everyday life, then Petrushevskaya plunges into such spheres of everyday life that can cause chills on the skin, and give the impression of the absolute absurdity of our existence. Strange as it may seem, life, it seems, concerns everyone - this is everyday life, there is little in common with absurdity, but according to Petrushevskaya, it turns out that the most terrible, post-apocalyptic pictures are rooted precisely in everyday human life. It is clear that we find many sources of such a view of urban life, of the life of the intelligentsia, in their childhood and in the deprivations of their families.

Petrushevskaya's prose was not published when it was written and completed. Almost the only exception was the appearance of two stories on the pages of the magazine "Aurora" in 1972. Here another date was called, but it was when Petrushevskaya was already recognized and released in the late 80s, and then she was triumphantly produced in huge numbers. But the first two stories were published in 1972. Plays in general have a very complex history; they were staged mainly in independent home theaters. She admitted: “I led the life of a completely banned writer. There was nothing to live on. The Soviet government did not print me and did not allow my plays to be staged. It offended her, it seemed strange to her that even if Solzhenitsyn’s story “One Day in the Life of Ivan Denisovich” could appear in Novy Mir even in these very ideologically very tough times, if Solzhenitsyn’s Matryonin Dvor was printed, if villagers were allowed to paint pictures of a gloomy life collective farm villages, then why they rejected her pictures of urban life. She felt this was deeply unfair. I think that everyone will be interested in the fact that Petrushevskaya, in her youth, perhaps, was very offended by Tvardovsky, because she offered her stories to Novy Mir, he read it and imposed a resolution like this: “Do not print, but the author from not to lose sight”, that is, he paid tribute to her talent. Well, the reason why not print is too gloomy. In one dissertation I read that if such a liberal writer, publicist, critic, philosopher, writer, like Tvardovsky, did not respond and, as it were, rejected Petrushevskaya's experiments, then what can we say about official criticism, about Soviet officialdom. I think that this is not a very competent dissertation, because to call Tvardovsky a liberal critic is a big stretch. Now we understand that he is a deep-rooted person, a person who was far from liberal assessments. But the genius of modern liberalism, Dmitry Bykov, really believes that in modern literature, of all Russian writers, the only person who deserves the Nobel Prize is Lyudmila Petrushevskaya. And on this basis, some teachers and members of our department of literature at Vyatka State University are skeptical of both Bykov and Petrushevskaya. (laughs).

Such a picture is emerging, and this is very curious, because Petrushevskaya herself would probably not agree with the assessments that she relishes gloomy physiology and naturally admires the absurdity of everyday life, because after all, in her work there is a powerful spiritual tension and metaphysical overtones . It seems to me that such an assessment is deeply fair: the hero of Petrushevskaya or a person in the artistic world of Petrushevskaya appears as a tragic creature, whose mind and spirit are enclosed in a bodily shell. The body requires warmth and food, and this is not given to everyone easily and immediately like manna from heaven. Here, many extremely sharp collisions arise, but immersion in the bone dark elements of everyday life does not mean that the human soul is forgotten and completely rejected, crossed out. Petrushevskaya really manages to create in her works the history of the suffering of the human soul, rushing about in the darkness of material and bodily existence.

Anatoly Vasilevsky

When we begin to think about what constitutes the very essence of the language and style of such hyper-realistic or post-modern or absurd Petrushevskaya tests, then such conclusions will probably be fair. “Building the narrative on the contrast between the burning material of life and the icy calmness of the narrator,” Petrushevskaya, as it were, intertwines in her texts, forces three stylistic traditions, three stylistic layers to interact. And this is its uniqueness, uniqueness and originality. When critics evaluate only one of these layers, it turns out, as it were, a bias, it turns out unfairly. I will now outline these layers and your right to agree with this or disagree. When we talk about intertext, many more names will be named, but, nevertheless, these stylistic layers are connected, on the one hand, with the tradition of Varlam Shalamov and his Kolyma Tales, on the other hand, with the pronounced Zoshchenko tradition. And, finally, without a name, without tying it to a specific literary name, we will call the stylistic stream - the tradition of amazing lyricism and the penetration of the poetic element into prose, into dramaturgy, in general into any genre by Petrushevskaya. These three components form the uniqueness known to Petrushevskaya. That is, she is, in fact, the only one in the new Russian literature who truly agrees with Shalamov that everyday life and the life of a modern provincial or capital city is a life similar to the hell of Kolyma. And she is seen in the texts of Petrushevskaya literally through the eyes of Pluto, who has risen from hell. Accordingly, no horrors and nightmares can surprise such a subject of perception: from his point of view, such a life cannot but be tragic.

On the other hand, Petrushevskaya sounds a parodic, jingoistic, fairy-tale word, going back, no doubt, to Zoshchenko. Here, as a rule, we can hear the language of a street queue, a communal apartment, such a narrator looks at everything through the prism of his kitchen experience, in books he sees only the subject of sale, and everything he hears roughly reduces to rude, low, material and bodily. All this would probably be familiar to us, because separately we can find this stream in other modern authors. But when it is also permeated with lyrical intonation, correlated with the tragic theme of death, when we understand that in the texts of Petrushevskaya the lyrical stream is the expression of the deepest sympathy for its heroes, then this philosophical side of her narrative and metaphysical part of her philosophy.

I think that no one will say this better than Petrushevskaya herself, so I take the liberty of quoting her. A very short text from this very "Ninth Volume". By the way, when I spoke about this volume at the department, one of the teachers asked: “What, has she already written 9 volumes?” Generally speaking, the collected works of Petrushevskaya include 5 volumes, and this is just the name of a volume of journalism. There can be any associations here: with Aivazovsky's "The Ninth Wave" or with something else. It's just that it's called "The Ninth Volume", and there is a tiny article - "Who needs an ordinary person."

Here comes a man, you can see it in his face - he drinks, because it is always visible. He goes out of the house, and his wife and son are at home, and in the evening, when they return, they will not need him, the wife will cry again, the son will be afraid of screaming, the usual story, tired.
Here is a young woman, running with bags to the bus, she hurries to the hospital, in bags a thermos and packages. She had a child at home, left one so as not to drag her to the hospital. Who needs this woman, with her preoccupation, hands red from washing, with such rare moments of peace, with beautiful eyes that no one will ever look into.(But she is alive! Look how Petrushevskaya writes about her, goosebumps just cannot help but arise at this moment. - N. B.)
Or an old woman who tells her stories so loudly because she is used to not being listened to, and is in a hurry to speak out while there is a living person nearby, because she lives alone...
We walk past them, do not pay attention to them - and they pay attention to us. But each person is a huge world. Each person is the final link in a long chain of generations and the ancestor of a new string of people. He was a beloved child, a tender child, eyes like stars, a toothless smile, it was his grandmother, mother and father who were bending over him, he was bathed and loved ... And they released him into the world. And now a new small hand clings to his hand.
The viewer will say: why should I watch this in the theater, and even for money - I see them on the street in crowds of such people. And at home, thank you.
Does he see them? Does he look at them?
Does he regret, love? Or at least understand them? And will anyone understand him?
To understand is to forgive.
To understand means to regret. To think about the life of another person, to bow before his courage, to shed a tear over someone else's fate, as over his own, to breathe a sigh of relief when salvation comes.
In the theater, sometimes there is such a rare opportunity - to understand another person.
And understand yourself.
Who are you, spectator?
How are you doing?

Here is, literally, a tiny journalistic text. Written as an insert in the program for the play "Three Girls in Blue" of the Moscow theater "Lenkom". But, nevertheless, I understand it this way: this is Petrushevskaya's credo, this is the quintessence of her writing position. If we do not see or feel this in her prose texts, then this, in fact, is not always her fault, but maybe it is her style, her choice, and here everything is already as unpredictable as usual in life: whether she will find how tuning fork, consonance in our soul, or not. But the value judgments, into which critics in relation to Petrushevskaya were divided for a very long time, are as follows: some said that this was rubbish and therefore it was impossible to deal with it seriously and evaluate this writing; on the other hand, the opinion that this should be comprehended, researched and approached to the author as a serious, talented person with his own intonation, with his own voice.

Well, how is Petrushevskaya's style assessed? As a special female tale, which includes some kind of choking, impatient, sometimes very ironic, sometimes sarcastic, sometimes full of self-irony intonation. This is a very complex interweaving of someone else's word and someone else's intonations. And it is not always easy to distinguish her intonation, which is so pathetically indicated in the program of our evening, is not always easy.
"Time is Night" is considered one of the most famous works of Petrushevskaya. This is a long story, translated and published in a number of foreign countries earlier than ours. This is a thing for which Petrushevskaya was awarded more than once. And this is the largest genre formation along with the novel "Number One, or In the Gardens of Other Possibilities". These are two major works, of which “Time is Night” is more familiar to me, because I have not read the novel “Number One”. I confess to you that purely emotionally, when you read - especially the finale - you understand that it is so scary that ... Well, like after a terrible movie, after which you can’t wake up. This is very scary, it sometimes causes, for example, a feeling on the verge of nausea in me, and I feel the same feeling when I read a lot of Petrushevskaya in one gulp - one, another, a third ... Still, it’s probably impossible.

Natalia Bogatyreva

But, pay attention: the heroine of the novel, on whose behalf the narration is being conducted, is a little autobiographical. I say a little, because, of course, the author is a much deeper, more interesting, gifted, talented person, and there, in relation to the narrator, irony is constantly heard on the verge of sarcasm. She is a poet, however, with a grin all the time she adds - a graphomaniac. A poet who cannot live on what he is trying to publish, to offer somewhere, and therefore, literally, gets stuck in these domestic disturbances. But in fact, this is an attempt, it seems, by a person of culture, a person of a high intelligent note, or something, to perceive such a life unprepared for high perception.

Well, the fairy tales of Petrushevskaya, of course, from the point of view of the genre, seem to me, on the one hand, interesting, because they are very different. There are also dark, very cruel tales, but like any fairy tale, they are still bright, with a bright ending and a good happy ending. Therefore, read how she herself tells about her fairy tales, how they were composed - this is also quite interesting.

Nadezhda Frolova

Well, I’ll probably finish by mentioning that the volume of journalism is really extremely interesting, precisely because there are absolutely amazing pictures of Petrushevskaya’s interaction with the most famous theaters, playwrights, and her contemporaries. Memories of how she participated as an aspiring playwright in the circle of Arbuzov, whom she considers her real teacher. Her memories of her friendship with Oleg Efremov and the story of his departure are more accurate evidence, probably we will not find somewhere in other sources. This is a story about the work on "The Tale of Tales" by Yuri Norshtein. These are, finally, some details that make us smile, because they are now perceived in a completely different way. We all remember what a talented actor Karachentsev was, and we know what a tragedy happened to him. And now you read from her how Lyudasik - the wife of Kolyasik Karachentsev - called, ran up and said something there, and you understand that once, one and a half to two decades ago, it was a special theatrical atmosphere, a special story, and it is for us too interesting as the history of our art, our way of life.
Perhaps I won't say anything more, ask questions if you like, otherwise I talk too much.
(Applause)

G. Makarova: Thank you, thank you very much! We would listen and listen! Please, questions, your comments.

Evgeny Yushkov, pensioner: Natalya Dmitrievna, I heard in your speech that Petrushevskaya is worthy of the Nobel Prize. Do you know if she was offered, at the time when she was completely banned, to publish abroad? I will give a local example: the well-known local poetess Lyudmila Suvorova was not going to send her poems abroad, but she received a warning in the Lunacharsky mansion. But if this had not happened at one time, then there could well have been a Nobel. (Laughter in the hall)

E. Yushkov

N. Bogatyryova: I will try to answer. You see, talking about Petrushevskaya's Nobel Prize, it seems to me, is also a well-known exaggeration. This is from the area when we say: "What a talented person!" or “What soldier does not dream of becoming a general!” If a person has shown himself so diversely in literature, and someone believes that he is worthy, he will be pleased to hear it. But what have I read and what do I know for certain about whether she was persecuted, whether she tried to publish abroad at a time when she was not published anywhere ... You understand, that's why she was very surprised because of her youth and, perhaps, even and was offended by the same "New World" that she never even had the inclination to touch on some political motive or take the position of a political dissident. This is not in her texts. Absolutely! And she wondered why then such an unconditional strict ban. Tvardovsky, partly in those resolutions that he imposed, explained, motivated, explained that he could feel how talented a person is, therefore, I think, there was no such fact in her biography. This is strange for researchers too: why is the absence of such a component - the confrontation between the personality of the artist and the authorities - such a reaction to it.

E. Yushkov: That is, you can defend another dissertation on this topic.

N. Bogatyreva(laughs): It is possible, I think that the flow of dissertations will not dry up in relation to Petrushevskaya. She is compared with Chekhov already at a serious level, in the same dissertations. Chekhov traditions, etc. In the passage that I read, Tolstoy's thought sounds.

E. Yushkov: If it's not a secret, what is the topic of your dissertation?

N. Bogatyryova: No, it's not a secret at all, I'm not going to hide it. It just has nothing to do with Petrushevskaya. This is the Silver Age, the prose of the Silver Age and the work of Leonid Andreev as a Russian existentialist - this is the scope of my scientific interests. PhD thesis was called "Forms of expression of the author's consciousness in the prose of Leonid Andreev."

E. Yushkov: And Daniil Andreev...

N. Bogatyryova: Daniil could not be touched then, when I was writing my dissertation, he had not yet been published and was completely unknown. But, by the way, the “Rose of the World” went in the manuscript, but was not published, so it was impossible to refer to or mention it. Since you asked such a personal question, and everyone probably felt from my story, what I like most of all is the volume of journalism by Petrushevskaya. It happens to me: I read journalism and it is through journalism that I try to understand how sincere a person is and how much he opens up in these texts. This does not always happen, not with all publicists. For example, Roman Senchin, we discussed him at the time. The Yoltyshevs also have a gloomy picture, there is hyperrealism with macabra and so on, but when I started reading his articles (of course, I could not help but react to the fact that Andreev is also his favorite writer), despite the gloominess, it seems that he , this did not happen there, and this immediately determined my personal attitude towards him. And Petrushevskaya in the volume of journalism is very close and very interesting to me. And her work... You see, when they write about her as a postmodernist, I think: if I agree with this, then I will cross it out for myself. Sorry, but this is my attitude to postmodernism. I believe that this is a dead end branch of modern art. Absolutely. When dissertators write that postmodernism will pass away, that we can already talk about postrealism now, that we need to take it soberly and take the best that it undoubtedly has, well ... this is very sensible, I think. But the fact that this is a dead end branch - I am absolutely sure. But when they write that Petrushevskaya is not a postmodernist, because she has a spiritual component that is absolutely closed to postmodernism, I absolutely agree with this. It moves in line with postmodernism, and uses its techniques, and adds a lot to it in the sphere of absurdity, but it cannot be exhausted by postmodernism. And how to call her method - hyperrealism, post-realism, and somehow else in a different way - this is the business of theorists. They will definitely take care of it. (Laughs)

Vladimir Gubochkin, engineer: Natalya Dmitrievna, it is difficult for me to argue with you, because you are still a philologist, candidate of sciences, and I am an engineer, but, nevertheless, I would like to defend postmodernism. Postmodernism is neither good nor bad, postmodernism is because this is the time, because we all fell behind the plinth and we live in this in search of meaning, in this leapfrog. We endlessly shift the same cards from place to place in search of getting something new from this solitaire. This is postmodernism.

E. Yushkov and Vladimir Gubochkin

N. Bogatyreva: I absolutely agree. (Laughs)

V. Gubochkin: Do you agree? This means the first success. (Laughter in the hall). Secondly, postmodernism has a very strong playful beginning, because everything is done there casually, as a joke, as if...

N. Bogatyreva: That's right, but when it's total, but when it's, so to speak, universal banter - it's terrible.

V. Gubochkin: All people are arranged differently: someone loves oranges, and someone likes cucumbers. For example, it’s not Petrushevskaya that makes me feel sick, but Sorokin and Mamleev, and Petrushevskaya doesn’t give me such a feeling, because this aunt ...

E. Yushkov: Why Sorokin? Sorokin...

G. Makarova:... everyone loves! (Laughter in the hall)

Elena Viktorovna Shutyleva: Let's talk about Petrushevskaya, and not about Sorokin.

V. Gubochkin: I repeat again: someone likes oranges, someone likes cucumbers, someone likes Sorokin, and someone likes Petrushevskaya. I would like to emphasize one advantage of Petrushevskaya: she does everything a little lightly, she frightens us - lightly, she calls our fears - lightly. Her mystical things are written in a deliberately ordinary kitchen language, it is on the decline that she works to immerse us in a series of everyday life. And life is a thing in which, roughly speaking, we all cook, this will not scare us. I really like this technique of deliberateness, immersion in everyday life in her work. Here is postmodernism, postrealism - you interpret them that way, while other critics say that postrealism is a cross between postmodernism and new realism.

Vladimir Gubochkin and Andrey Zhigalin

N. Bogatyryova: Yes, this is true, but I just did not delve into such theoretical studies.

V. Gubochkin: Let's go further. Now the word "working people" is not being used on TV screens, the word "people", the word "people" is not being used. From TV screens we see either bandits who have grown together with operas and do not understand which of them is operas and which is a bandit. By the way, the performance at the Theater on Spasskaya “Yakuza Dogs” is about this. There's a clan of dogs on the scene where good dogs are infiltrated, and we don't know how to tell them apart because they're all equally disgusting. Petrushevskaya seeks to return to us the concept of a simple person. Her Karamzin. The village diary is a wonderful thing! They also have their own poor Lisa, who, however, drowned not in a pond, but in a barrel of water (she caught a check there). Rufa is her name, this heroine. She caught a check, but she was small in stature and accidentally drowned. Everything is written ironically. But this is a giant patchwork quilt: if you want a mosaic, if you want a panel, from the fragments of which the image is formed, I am not afraid of this word, our people, who are not afraid of anything. The men fight in the war, and the women raise their children in the countryside. There is no need to plunge us into darkness too much, because the human soul seeks to survive catharsis, cleanse itself of filth and live again. And the goal of Petrushevskaya is not to intimidate us, not to plunge us into these gloominess and fantasies, but to raise us all above them. I didn't hear that at all in your speech.

G. Makarova: Thank you.

N. Bogatyreva: It's a pity that you didn't hear it, but I formulated it just right.

V. Gubochkin: I haven't finished yet! (Laughter in the hall). Her novel "Number One" is a magnificent, deep philosophical thing, built like a computer game. There, as in a computer shooter game, the hero is endowed with several lives, from one character is reborn into another. There, marks are placed where he is reborn through metapsychosis, there is the painful process of passing through this ice ... Read this novel! In my understanding, this is a novel of the last fifty years, a serious, deep philosophical novel. Thus, in my understanding, Petrushevskaya is a different person. This is a person who thinks deeply, but disguises himself under various masks, hiding under these masks, maybe from some kind of reality, maybe it’s easier for her to get to our insides. I ask you to help me in one thing - I can’t catch her true face anywhere. Where is she herself? She is not a genius of artistry, she is a genius of reincarnation, she is Proteus. In one case, she is Pelevin, in another case, she works almost like Marshak with her magnificent Wild Animal Tales. Pushkin says: “When black thoughts come to you, uncork a bottle of champagne and reread The Marriage of Figaro.” And when I feel bad, I also uncork champagne and read Wild Animal Tales. (Laughs). I recommend reading about bed bugs and so on. Therefore, this is not such a gloomy person, this is a person who seeks to plunge us into the abyss, so that our souls experience catharsis, so that we are reborn from the darkness of this life to something, so that we find support in life. I didn't hear any of this in your report.

G. Makarova: Really didn't hear it. In this case, we are like-minded people, not opponents.

V. Gubochkin: That's all I wanted to say.

N. Bogatyryova: Let's share our reflections on the playful nature of postmodernism. It is clear that your favorite novel is "Number One" and "Wild Animal Tales". If anyone else has a favorite, please let me know.

V. Gubochkin: “Parados. Lines of various lengths. I can list many more. But what is your opinion, where does she open up, where is she real, where is she not hiding behind a mask, but herself?

N. Bogatyryova: She really plays with masks. Where is she herself? Only in the "Ninth volume", I am absolutely convinced of this. By the way, she herself said that she considers her style and her language, tailored from various finds, from the folk language, to be a kind of discovery. And she was very offended when her stories were in the editors, they were not published, but, nevertheless, she could, for example, in some publication of the stories of young authors, come across a piece that syntactically absolutely resembles her prose. She said: “I even recognized entire paragraphs and understood that these manuscripts were going from hand to hand.” It seems to many that it is easy to write about everyday life. Who won't succeed? So there was a temptation to steal, and it was very painful and insulting for her. She says that she later took these manuscripts and regretted that she trusted the editors. And about who to learn from ... Well, in the same “Ninth Volume” she gives examples: you, she says, just want to invent something ironic, very bright and, it would seem, clumsy folk expression, but it already among the people is, exists. For example, “does not affect the effect” - she heard this, it is clear that illiteracy is parodied, but it seems that this is a rather vivid expression that often sounds.

Natalia Bogatyreva and Galina Makarova

V. Gubochkin: But she does not parody, the fact of the matter is that she tries to speak the language that the people speak.

G. Makarova: She calls herself a language collector, and she does not invent a language, she does not invent anything. She collects the language, but she does not collect the language that everyone speaks every day, but collects the language that she hears once, she is surprised at this language. She even says somewhere that intelligent alcoholics have the best language.

N. Bogatyreva: The most colorful!

G. Makarova: Yes. She walks the streets so that no one recognizes her, without any hats, without any bells and whistles, no one recognizes her, and she listens. All her works are absolutely real stories that she heard. And I can also read her words: “I am writing in pain about what torments me, when I want to scream - help! Good is the one who calls for mercy, cannot endure a painful situation and must talk about someone else's grief as if it were his own. And not good is he who considers these stories to be rubbish and a hindrance to his well-being. Different people perceived the same story of mine differently: some were angry and forbade, others wept and reprinted, distributed among friends in the years when no one published me.

Boris Semyonovich Kiryakov, writer, local historian: Excuse me, please, Galina Konstantinovna, but here we are talking about the fact that some people read, connecting only the brain, and she calls for the heart to be connected.

Boris Kiryakov

G. Makarova A: Yes, of course, of course. And then, you know, everyone reads differently and sees different things there: someone is only interested in the story, only the plot, what happened to the characters. And for some reason I'm only interested in stories in the second place. I admire the language: tasty, witty, unexpected, absolutely unique. That's exactly how she arranges these words, how she chooses them, how she chooses them. And even the most tragic story turns into delight.

V. Gubochkin: I absolutely agree, because her art prevails over the plot. Sound writing, word writing... One can only feel sorry for those people who see only rubbish.

Andrey Zhigalin, poet: Her plot is also wonderful ...

G. Makarova: Definitely, definitely...

E. Yushkov: What do you think, when will Lyudmila Petrushevskaya get into the school curriculum, at least as an elective?

N. Bogatyryova: She has already got it, they read it in the 5th grade - the play "Three Windows", in my opinion. It is already in the program.

G. Makarova: By the way, pay attention to those who already have access to the Internet, there are a huge number of Petrushevskaya's videos: songs, plays, her "Moscow Choir", "Three Girls in Blue" ...

N. Bogatyryova: Absolutely wonderful, delightful acting work: Inna Churikova, Tatyana Peltzer, who has already passed away.

V. Gubochkin: So you correctly mentioned that in the theater she is already herself. It seems to me that here we see her true face.

N. Bogatyreva: She writes about how she was delighted with the opportunity to compose for the theater, when it should not be narrators, that is, not those for whom you need to hide - other people's speeches, other people's words, but only dialogues. That is, it is necessary to imagine conversations, monologues, dialogues.

V. Gubochkin: Then you can avoid the author's text.

A. Zhigalin: Reading her plays is very difficult. I remember the first book I read - "Three Girls in Blue", there is a feeling that there is a stream of chopped, completely incomprehensible replicas that are not connected to each other. This is one of her books that I could not read. And then I saw a performance at the Spasskaya Theater - "Music Lessons" with Alexander Korolevsky in the title role. Staged by Nadezhda Zhdanova, by the way, a graduate of the workshop of Pyotr Fomenko. And how it was! I could not finish reading the play, but I saw the performance and it turned out - what a wonderful play it is!

Andrey Zhigalin and Lyubov Sadakova

G. Makarova: I think that it does not depend so much on the acting work that the main thing in the theater is the director, the director's reading. Of course, Nadia Zhdanova is a student of Fomenko. And she, of course, breathed life into it, which is sometimes difficult for us to see in the text of the play. This is the skill of both the actors and the director.

A. Zhigalin: Petrushevskaya's favorite story is Hygiene. This is just a brilliant story! Very scary, you can make a great movie. The main thing is a good ending. I advise everyone to read it.

N. Bogatyreva: If we talk about genres, then she is still experimenting in such a genre as a cycle. That is, the creation of a chain of works that necessarily fall into some kind of single space of the author. These are Songs of the Eastern Slavs, but she herself, by the way, admitted that she was not very pleased with this cycle, because she considered it imitative. She has a cycle of stories "Requiems", a cycle "The Secret of the House", well, fairy tales are also all organized as cycles. This is another interesting experimental genre formation.

A. Zhigalin: Here, young people shoot amateur films themselves and look for good plots, stories. Here Petrushevskaya can be safely taken, her fairy tales, especially The Black Coat, and filmed. If suddenly someone is doing this, then I highly recommend it.

G. Makarova: Leonty Gennadievich, you have made something completely sad in our gallery. And what is Petrushevskaya for you?

Leonty Gennadievich Podlevsky, Candidate of Historical Sciences, Associate Professor of Vyatka State University: So you talked about where her work comes from. It's not bullshit at all. If you recall the time when she began to write, this is the time of the dominance of existentialism: the first wave is the 20-40s, the second is the 50-70s. Existentialism is theirs, it is forbidden here, but the sweeter the fruit. Everyone who at least somehow knew how to read, whose hand reached for a book, everyone was “sick” of Sartre. Sartre was the ruler of thoughts. Remember existentialist cafes - it's a black ceiling, black walls, black floor, everything is black. Here is the setting for creativity. Petrushevskaya simply could not help but be different, and could not become someone else as a creator.

A. Zhigalin: She gets folk existentialism then ...

L. Podlevsky A: Well, so be it. Folk existentialism is interesting (laughs).

Somebody: A new term in literary criticism. (Laughter in the hall).

L. Podlevsky A: Yes, you can already write a dissertation. This is not any rubbish, this is life, where everything grows from. I remember very well when I first began to write something and began to ask my mother: “Well, how do you write?”, She says: “Take the simplest.” He pulls out the kitchen table drawer and pulls out a knife. When they started a family, he and dad bought a knife and used it for 20 or 30 years, sharpened it, and it sharpened. "Describe the life of a knife, an ordinary knife with which we cut bread, other foodstuffs." Here, please, almost the same thing at Petrushevskaya. This is everyday life, there is no bullshit here. This is an ordinary life, an ordinary person. You can also describe sublimely the pan in which you cook buckwheat.

Leonty Podlevsky

G. Makarova: The main thing is to describe honestly.

L. Podlevsky: No, there is no honesty in the world. We all lie.

N. Bogatyryova: Let's then philosophize on the topic: do we lie or accept the conditions of the game? These are different things.

L. Podlevsky: I don’t know about Petrushevskaya’s honesty, I’m talking about the origins of her work. Another important thing is the model of a person. You can apply the English formula “selfmademan” to Petrushevskaya - this is a person who created himself, this is a person whom I would like to be like. What a sparkling fountain she is, despite her current age. And what a creative lab. And the fact that it was not printed in the Soviet Union ... And rightly so. It is strange that she did not understand that she could not be printed. What does it mean: "I do not touch political topics"? Life is also politics. And Tvardovsky, an inveterate conservative, published Solzhenitsyn - two stories - only on a direct order from above. The order came from such a top, from Khrushchev, whom he, as a party soldier, simply had no right to disobey. That's all. Tvardovsky and no one else simply could not print it. They didn't have the right. And they didn't have a chance. Naturally, life is also politics.
And in the Soviet Union - you remember: "Our life is beautiful, and our future is even more beautiful, but what will be after this - so there will be communism!" Therefore, there was no place for Petrushevskaya here.

G. Makarova: That's exactly what was meant when I talked about honesty.

A. Zhigalin: Regarding the knife, it would be interesting ... Petrushevskaya would surely come up with the details of the story, perhaps someone was killed with it, or something else. And here, by the way, it is possible that one of the sources of Petrushevskaya's creativity is Andersen, who also took ordinary objects, immersed himself in everyday life, but took it all away from everyday life into being. That, probably, is also the source of such it.

V. Gubochkin: So we felt in our conversations exactly what constitutes the basis of Petrushevskaya's work: she relies on everyday things, on ordinary things, on earthly things, on low things, and deduces from this some other denominator that protects us and enlightens us.

N. Bogatyryova: Metaphysics, the philosophy of high spirituality in all this is, of course.

Irina Nikolaevna Krokhova: But she has too much of this dark, and light ...

V. Gubochkin: And such is the man!

G. Makarova (sad): Yes ... That's what he sees.

V. Gubochkin: Don't be scared! Don't take everything to heart.

I. Krokhova: That's right!

G. Makarova: Maya Alekseevna, have you been re-reading Petrushevskaya for a long time?

Maya Alekseevna Selezneva A: I didn't read it.

G. Makarova: At all?!

M. Selezneva: I was scared of her performances and that's it, I decided - this is not for me.

Maya Selezneva

M. Selezneva: Yes. It's hard, I realized that this is not for me.

A. Zhigalin: Very hard to read! Only a director can bring it to life...

M. Selezneva: No, I'm taking the easier route.

V. Gubochkin: And I read easily ... This is a touching, poignant story - "Three Girls in Blue." A nightmare.

Elena Viktorovna Shutyleva(laughs): Touching, light, but a nightmare. Do you understand?

G. Makarova A: That's right, that's right.

V. Gubochkin: From this, tears are shed, excuse me. And to say that it's bad, that it's hard to read...

G. Makarova: Elena Viktorovna, how are you?

E. Shutyleva: I, perhaps, also do not belong to the numerous admirers of Petrushevskaya, I can’t stand her, frankly, I just can’t stand her. It is so alien to me that when I read it, I feel bad. Maybe because, after all, the emotional state of people is different, there are people ... Maybe I'm not so deep, it seems to me, maybe even so. Remember how in the circus: "Nervous please leave." Here I am, probably, from this category. Because that inner essence, and what it makes you see, it makes me shudder, I can't read it.

Elena Shutyleva

A. Zhigalin: There is a desire to fence off as soon as possible, to exclude?

E. Shutyleva: No, why fence off? Each person has his own bottom. There are people with such a strong nervous stability ... Well, like sea rolling: a person can not endure it at all

N. Bogatyreva(laughs): The vestibular apparatus may not work.

E. Shutyleva: That's right, I'm not an astronaut.

V. Gubochkin: On this topic, Sadur wrote a play - "Pannochka". There evil exists only when you let it in. Here you are probably afraid to let him in.

E. Shutyleva: But why? Each person understands his capabilities, has his own limit of defense: someone will miss, rework and leave, but I can’t do that. I read a few things from her, but after that I just couldn't... Apparently, I'm not meant to endure it. But I absolutely love her language. In general, I am very touching about the language, the Russian language. Turgenev is my favorite writer, his language is absolutely amazing, beautiful ... And this is against his background ... Well, I can’t.

Elena Shutyleva

A. Zhigalin: That is, those who read Turgenev do not read Petrushevskaya?

V. Gubochkin: And I can't imagine Turgenev in the kitchen right now.

E. Shutyleva: Talent - naturally ...

N. Bogatyreva: She is also compared with Platonov, because Platonov is also tongue-tied ...

E. Shutyleva: Yes of course!

N. Bogatyreva: ... and to the same extent her characters are tongue-tied.

E. Shutyleva: But it is still lighter, I would say so.

G. Makarova: Galina Vladimirovna, how are you? Can you transfer Petrushevskaya?

Galina Vladimirovna Solovieva, doctor, associate professor of KSMA: I endure Petrushevskaya, but also in doses, that is, then I leave for a long, long time.

G. Makarova: Like any art, dosed, yes.

G. Solovyova: I would like to draw attention to the question that has arisen several times today: why was it not published in Soviet times, when it started, when it came to Tvardovsky, and so on. I think it's so obvious, and I think our audience understands everything. Indeed, in those years, both our upbringing and our education shaped the image of a happy life, and we didn’t know anything, we didn’t have not only the opportunity to go somewhere, but also the information to read somewhere about something, and so on. . Therefore, her vision and her such specifics - honest, courageous - then it was certainly impossible. It is impossible for someone to immerse themselves in this, think, maybe not read it to the end, but at least think.

Galina Solovyova

This is a very strong literature, first of all. We try to read in order to understand other people - this is the most important thing. Is it true? To be tolerant, to be able to forgive, this must be brought up in oneself. In this regard, Petrushevskaya is indeed a very strong writer, and even if we initially have a negative attitude towards her after some of her things, we must read this. To comprehend, to rethink, and not just to love and know. Here is my impression and attitude.

N. Bogatyreva: Absolutely agree with you.

G. Makarova: Very good thanks.

N. Bogatyreva: But you know, here's another thought that arises ... It raises such things about a person that depend very little on the political system. Therefore, I absolutely agree with you. (referring to L. Podlevsky) This is existentialism in its purest form.

L. Podlevsky: This is just real art, in its purest form.

N. Bogatyryova: Moreover, it so mercilessly affects the essence of what prevents people from meeting even the same tolerance, the ideal of empathy, forgiveness, kindness, and so on. Personality gets in the way. Personal "I" interferes. "I", opposed to the whole world! And in her everyday life it is so rooted that it becomes scary when you read, because you find out: a person really is like that. And it costs him enormous spiritual efforts to overcome this. And that's why she's scary, yeah!

Natalia Bogatyreva

V. Gubochkin: Fabulous! Totally agree with you!

N. Bogatyreva: You know, but I have a feeling ... When you began to speak after me, I had a feeling of absolute agreement with you (laughs). And it was very strange to me when you said that it didn’t sound to me ...

G. Makarova (laughs): Well, it happens, it happens.

A. Zhigalin: By the way, the name "Petrushevskaya" already has a name - "Petrushka". And he was an outcast, he was cheerful ...

N. Bogatyreva: By the way, she recently adopted this look and plunged into it, she is talented at it. Why not? For God's sake! “The old woman, slowly, crossed the road” - this is just a masterpiece! I enjoy listening to this!

A. Zhigalin: Can we listen? Let's see?

G. Makarova: We will definitely look, I promised. But first we will finish, and listen to the songs, a little later.

N. Bogatyreva: I think it's possible...

G. Makarova: Yes, I know it's time... Wait a little, Tanya!

N. Bogatyreva (laughs): Tanya willingly...

G. Makarova: Put on the 49th minute (about Petrushevskaya's concert), please, and wait a little, just a little. Well, if there are no more people willing to speak, then I will say.
I am very glad that we took on such a difficult, immense topic, such a Universe called Petrushevskaya, and it seems to me that we managed it. Of course, it is impossible to embrace the immensity, but, thanks, first of all, to Natalya Dmitrievna, we succeeded. She knows how to say very briefly and very deeply about the main thing, about the main thing. But for Petrushevskaya, as for a real artist, the main thing is her artistic features, features of language, style. And in general, everything you said today is so interesting! And in general, I am grateful, like, perhaps, many of you, to the club for the fact that we take on such topics that make you immerse yourself in the topic or in the author - and fall in love. I had read Petrushevskaya before, of course, but I was not in love with her. When I began to prepare ... You understand, it's such a pleasure! Here we are now listening to songs - this is something! This is such a free person that he really wants to imitate.

Natalia Bogatyreva, Galina Makarova and Anatoly Vasilevsky

Well, I also want to finish by saying that Natalya Dmitrievna - a huge thank you! Not only for tonight, but also for those evenings when she took part in our meetings, and in our cinema club screenings, where she, too, is always surprisingly deeply able to perceive the most complex works of art. So my gratitude is immeasurable. And on behalf of the Green Lamp club, and on your behalf, I also want to give Natalya Dmitrievna our green lamp. Thus, she enters our narrow circle of Green Lamp activists, leading the Green Lamp, and I hope that we will have the good fortune to listen to Natalya Dmitrievna more than once.
(Hands a miniature green lamp)

N. Bogatyreva: How lovely!
(Applause)

N. Bogatyreva: Thank you! Awesome!

Natalia Bogatyreva

G. Makarova: I invite you all to the next meeting - "Hoaxes in Literature." For books - in the subscription, there are a lot of things that you don’t even suspect.
And now, please, the 49th minute, and we are watching the second part. This is a concert of 2010, here Petrushevskaya is 72 years old.
(Watching the video was accompanied by applause)

• Petrushevskaya, L. S. Collected works: in 5 volumes - M .: TKO AST; Kharkov: Folio, 1996. - 254 p.
• Petrushevskaya, L. S. Night time: a story. - M .: Vagrius, 2001. - 175 p.
• Petrushevskaya, L. S. City of Light: Magical Stories. - St. Petersburg. : Amphora, 2005. - 319 p.
• Petrushevskaya, L. S. Changed Time: Stories and Plays. - St. Petersburg. : Amphora, 2005. - 335 p.
• Petrushevskaya, L. S. Two kingdoms: [stories, fairy tales]. - St. Petersburg. : Amphora, 2007. - 461 p.
• Petrushevskaya, L. S. Children's holiday: [(stories from the life of children and their parents): collection]. - M. : AST: Astrel, 2011. - 346 p.
• Petrushevskaya, L. S. Wild animal tales; Sea garbage stories; Puski Byatye. - St. Petersburg. : Amphora, 2008. - 401 p.
• Petrushevskaya, L. S. House of girls: stories and novels. - M .: Vagrius, 1999. - 448s.
• Petrushevskaya, L. S. Life is theater. : [stories, novel]. - St. Petersburg: Amphora, 2007. — 398 p.
• Petrushevskaya, L. S. Once upon a time there was a woman who wanted to kill the neighbor's child. — M.: AST: Astrel, 2011. — 216 ​​p.
• Petrushevskaya, L. S. Mysterious tales. Poem(s) 2. Border tales about kittens. Poems. - St. Petersburg. : Amphora, 2008. - 291 p.
• Petrushevskaya, L. S. Stories from my own life: [an autobiographical novel]. - St. Petersburg: Amphora, 2009. - 540 p.
• Petrushevskaya, L. S....Like a flower at dawn: stories. — M.: Vagrius, 2002. — 255 p.
• Petrushevskaya, L. S. Colombina's apartment: [plays]. SPb. : Amphora, 2006. — 415 p.
• Petrushevskaya, L. S. Sweets with liquor: (life stories). - M .: AST: Astrel, 2011. - 313 p.
• Petrushevskaya, L. S. God's Kitten: Christmas Stories. - M.: Astrel, 2011. - 412 p.
• Petrushevskaya, L. S. Little girl from the "Metropol": novels, short stories, essays. - St. Petersburg. : Amphora, 2006. - 464 p.
• Petrushevskaya, L. S. Moscow Choir: [plays]. - St. Petersburg. : Amphora, 2007. - 430 p.
• Petrushevskaya, L. S. Real fairy tales. - M. : Vagrius, 1999. - 446 p. — (Female handwriting).
• Petrushevskaya, L. S. Don't get in a car where there are two: stories and conversations: [collection]. — M.: AST; SPb. : Astrel-SPb, 2011. - 443 p.
• Petrushevskaya, L. S. Number One, or In the gardens of other possibilities: a novel. - M.: Eksmo, 2004. - 336 p.
• Petrushevskaya, L. S. Parados: lines of different lengths . - St. Petersburg. : Amphora, 2008. - 687 p.
• Petrushevskaya, L. S. Adventures of the letter "A".—M.: Astrel, 2013. - 47 p.
• Petrushevskaya, L. S. Adventures of Kuzi, or the City of Light: [story: for Art. school age]. - M .: Planet of childhood, 2011. - 189 p.
• Petrushevskaya, L. S. Travels in different directions: [stories, essays, feuilletons]. - St. Petersburg. : Amphora, 2009. - 351 p.
• Petrushevskaya, L. S. Stories about love. — M.: AST: Astrel, 2011. —317 p.
• Petrushevskaya, L. S. Belated romance:warum so spat? - M.: Astrel: CORPVS, 2010. - 478 p.
• Petrushevskaya, L. S. Black Butterfly: [stories, dialogues, play, fairy tales]. - St. Petersburg. : Amphora, 2008. - 299 p.

• Bavin, S. Ordinary stories: (L. Petrushevskaya): Bibliogr. feature article. - M. : RGB, 1995. - 36 p.
• Bogdanova, P. Women's play: "Three Girls in Blue" by L. Petrushevskaya // Modern Dramaturgy. - 2013. - No. 2. - S. 213 - 217.

  Lyudmila Petrushevskaya and her group "Kerosin"

The grandfather of the writer Lyudmila Petrushevskaya forbade her to read as a child, and she herself dreamed of becoming an opera singer. Today Petrushevskaya is a universally recognized literary classic. She began writing in the mid-1960s and made her debut in 1972 with Across the Fields in Aurora magazine. Her plays were staged by Roman Viktyuk, Mark Zakharov and Yuri Lyubimov, and the premiere of one of them at the Student Theater of Moscow State University ended in a scandal - Music Lessons was filmed after the first performance, and the theater itself was dispersed. Petrushevskaya is the author of many prose works and plays, among which are the famous “linguistic tales” “Bat Puski”, written in a non-existent language. In 1996, the publishing house "AST" published her first collected works. Not limited to literature, Petrushevskaya plays in her own theater, draws cartoons, makes cardboard dolls and raps. Member of the Snob project since December 2008.

Birthday

Where was born

Moscow

Who was born

Born in a family of IFLI students (Institute of Philosophy, Literature, History). Grandfather - professor-orientalist, linguist N.F. Yakovlev, mother in the future - editor, father - doctor of philosophy.

“Grandfather came from the Andreevich-Andreevsky family, two of his ancestors were arrested in the case of the Decembrists, one, Yakov Maksimovich, was convicted at the age of 25 and spent his entire short life in hard labor (Petrovsky Plant near Ulan-Ude). He died in 1840 in a hospital for the insane. His portrait by N.A. Bestuzhev (copy of P.P. Sokolov) is in the State. Historical Museum

Our family adopted a home theater. The first mention of it refers to the 20s of the twentieth century (memoirs of Evg. Schilling). Yeah, I don't think it's just us. This wonderful tradition still lives in many Moscow families.”

“You know, my great-grandfather was a character of the Silver Age, a doctor and a secret Bolshevik, and for some reason he insisted that I should not be taught to read.”

Where and what did you study

She studied at the opera studio.

“I am, unfortunately, a failed singer.”

“I don’t remember my primers. In the evacuation in Kuibyshev, where I was brought at the age of three, we, enemies of the people, had only a few books. Grandma's choice of what to bring with you: "A Short Course in the History of the CPSU / b", "The Life of Cervantes" by Frank, the complete works of Mayakovsky in one volume and "A Room in the Attic" by Wanda Vasilevskaya. Great-grandfather ("Grandfather") did not allow me to teach to read. I learned this secretly, from the newspapers. Adults discovered this by accident when I began to recite passages from the "Short Course of History" - "And the river of the popular movement started, started" (with a howl). It seemed to me that these were poems. I did not understand Mayakovsky, apparently. My grandmother, Valentina , was the object of courtship of the young Mayakovsky, who for some reason called her "blue duchess" and called her in. When grandmother and her sister Asya reunited in Moscow after decades of forced absence, the mischievous Asya exclaimed: "I didn’t want a poet, I married a student and that received!"

Graduated from the Faculty of Journalism of Moscow State University.

Where and how did you work?

Worked as a correspondent

She worked as a correspondent for Latest News of the All-Union Radio in Moscow, then as a correspondent for the magazine with Krugozor records, after which she switched to television in the review department, where, using complete neglect, she wrote reports on programs - especially such as LUM (Lenin University of Millions ") and "Steps of the Five-Year Plan" - these reports went to all TV outlets. After a number of complaints from the chief editors, the department was disbanded, and L. Petrushevskaya ended up in the department of long-term planning, the only futuristic institution in the USSR, where it would be necessary to predict Soviet television for the year 2000 from 1972. Since 1973, L. Petrushevskaya has not worked anywhere.

She created the “Manual Studio”, in which she draws cartoons with the help of a mouse. The films "K.Ivanov's Conversations" (together with A.Golovan), "Pins-nez", "Horror", "Ulysses: We drove, we arrived", "Where are you" and "Mumu" were made.

“My films are badly drawn, badly written, but they exist. And don't forget that you can laugh!"

What did she do

Books of fairy tales: "Treatment of Vasily" (1991), "Once upon a time there was Trr-r" (1992), "The Tale of the ABC" (1996), "Real Tales" (1996), "A Suitcase of Nonsense" (2001), "Happy cats" (2002), "Pig Peter and the car", "Pig Peter goes to visit", "Pig Peter and the store" (all - 2002), "The Book of Princesses" (2007, exclusive edition with illustrations by R. Khamdamov ), "The Book of Princesses" (Rosman, 2008), "The Adventures of Peter the Piglet" (Rosman, 2008).

The first book of stories was published in 1988, before that L. Petrushevskaya was listed as a banned author. In 1996, a five-volume book (AST) was published. In 2000-2002 a nine-volume edition (ed. "Vagrius", watercolor series). Four more books have been published by "Eksmo" and eleven collections have been published by the "Amphora" publishing house over the past three years. Performances based on the plays by L. Petrushevskaya were staged at the Student Theater of Moscow State University (dir. R. Viktyuk), at the Moscow Art Theater (dir. O. Efremov), Lenkom (dir. M. Zakharov), Sovremennik (dir. R. Viktyuk), theater them. Mayakovsky (dir. S. Artsibashev), in the Taganka Theater (dir. S. Artsibashev), in the theater "Okolo" (dir. Yu. Pogrebnichko) and "On Pokrovka". (dir. S. Artsibashev).

A performance based on the play "Columbine's Apartment" was staged at the Sovremennik Theater in 1985.

In 1996, a collection of works in five volumes was published.

Achievements

Prose and plays have been translated into 20 languages ​​of the world.

In 2008, the "Northern Palmyra" Foundation, together with the international association "Living Classics", organized the International Petrushev Festival dedicated to the 70th anniversary of the birth and the 20th anniversary of the publication of the first book of Lyudmila Petrushevskaya.

public affairs

Member of the Russian PEN Center.

Public acceptance

Pushkin Prize of the Alfred Toepfer Foundation.

The performance "Moscow Choir" based on her play received the State Prize of the Russian Federation.

Triumph Award.

Stanislavsky Theater Prize.

Academician of the Bavarian Academy of Arts - a classic of European culture.

Participated in scandals

In 1979, after the premiere of the play "Music Lessons" at the Student Theater of Moscow State University, the play was removed, and the theater was dispersed.

Roman Viktyuk, director: “Efros said then: “Roman, forget about it. It will never be staged in our lifetime.” And when we staged it, despite all the prohibitions, he wrote in Soviet Culture that it was the best performance in twenty-five years. They felt such rightness in this performance, and in Lucy herself - such a prophet, a seer for a long period of Soviet power, for this agony that had already begun - and one had to have incredible courage to talk about it.

I love

books by philosopher Merab Mamardashvili and writer Marcel Proust

Family

Sons: Kirill Kharatyan, deputy chief editor of the Vedomosti newspaper, and Fedor Pavlov-Andreevich, journalist and TV presenter. Pavlov's daughter Natalia, soloist of the group "C.L.O.N." (funk rock).

And generally speaking

“Oddly enough, I am a philologist by the principle of life, I collect language all the time ...”

“I have always been a minority and have always lived as a scout. In any queue I was silent - it was impossible, at work I was silent. I told myself all the time."

Mark Zakharov, director: “Lyudmila Petrushevskaya is a person of amazing destiny. She came from the most impoverished, hard-living strata of our lives. She can be very simple in relationships, frank and honest. She can be ironic. Maybe evil. She is unpredictable. If I had been told to draw a portrait of Petrushevskaya, I would not have been able to ... "

Born May 26, 1938 in Moscow in the family of an employee. Granddaughter of the linguist N. F. Yakovlev, the creator of writing systems for a number of peoples of the USSR. During the war, she lived with relatives, as well as in an orphanage near Ufa.

After the war, she returned to Moscow, graduated from the Faculty of Journalism of Moscow State University. She worked as a correspondent for Moscow newspapers, an employee of publishing houses, since 1972 - an editor at the Central Television Studio.

Petrushevskaya began writing poetry early, writing scripts for student evenings, without seriously thinking about writing.

The very first plays were noticed by amateur theatres: the play "Music Lessons" (1973) was staged by R. Viktyuk in 1979 in the theater-studio of the House of Culture "Moskvorechye" and almost immediately banned (printed only in 1983).

The production of Cinzano was staged by the Gaudeamus Theater in Lviv. Professional theaters began to stage plays by Petrushevskaya in the 1980s: the one-act play Love at the Taganka Theatre, Colombina's Apartment at Sovremennik, and The Moscow Choir at the Moscow Art Theatre. For a long time, the writer had to work "on the table" - the editors could not publish stories and plays about the "shadow sides of life." She did not stop working, creating joke plays (“Andante”, “Columbine’s Apartment”), dialogue plays (“Glass of Water”, “Isolated Box”), a monologue play (“Songs of the 20th Century”, which gave the name to the collection of her dramatic works ).

Petrushevskaya's prose continues her dramaturgy in thematic terms and in the use of artistic techniques. Her works are a kind of encyclopedia of women's life from youth to old age: "The Adventures of Vera", "The Story of Clarissa", "Daughter of Xenia", "Country", "Who will answer?", "Mysticism", "Hygiene" and many others. In 1990, the cycle "Songs of the Eastern Slavs" was written, in 1992 - the novel "Time is Night". He writes fairy tales for both adults and children: “Once upon a time there was an alarm clock”, “Well, mom, well!” - "Tales told to children" (1993); "Little Sorceress", "Puppet Romance" (1996).

Lyudmila Petrushevskaya lives and works in Moscow.

Bibliography

Novels and short stories

• 1992 - Night time.
• 2004 - Number One, or In the gardens of other possibilities. - M.: Eksmo. - 335 p. - ISBN 5-699-05993-8.

Plays

• 1973 (printed in 1983) - Music Lessons.
• Love.
• Columbine apartment.
• 2007 - Columbine's Apartment: A Collection of Plays. - St. Petersburg: Amphora. - 415 p. - ISBN 978-5-367-00411-3.

• 2007 - Moscow Choir: a collection of plays. - St. Petersburg: Amphora. - 448 p. - ISBN 978-5-367-00509-7.

Fairy tales

• Wild Animals Tales.
• Sea slop stories.
• 1984 - Puski Byatye.
• 2008 - The Book of Princesses. - M.: Rosmen-Press. - 208 p. - ISBN 978-5-353-03090-4.

Collections of short stories and novellas

• Immortal love.
• 2008 - Border tales about kittens. - St. Petersburg: Amphora. - 296 p. - ISBN 978-5-367-00820-3.
• 2008 - Black butterfly. - St. Petersburg: Amphora. - 304 p. - ISBN 978-5-367-00753-4.
• 2009 - Two kingdoms. - St. Petersburg: Amphora. - 400 s. - ISBN 978-5-367-00940-8.
• 2009 - Stories from my own life. - St. Petersburg: Amphora. - 568 p. - ISBN 978-5-367-01016-9.

Discography

• 2010 - solo album "Don't Get Used to the Rain" (as an attachment to the magazine "Snob")

Filmography

Movie scripts

• 1997 - "Love"
• 2000 - "Date"

Scripts for cartoons

According to the scenarios of Lyudmila Petrushevskaya, a number of cartoons were staged:

• 1976 - "Lyamzi-tyri-bondi, the evil wizard", dir. M. Novogrudskaya.
• 1978 - "The Stolen Sun", dir. N. Lerner
• 1979 - "The Tale of Tales", dir. Yuri Norstein.
• 1984 - "Hare Tail", dir. V. Kurchevsky.
• 1988 - "The Cat Who Could Sing", dir. N. Lerner.
• 2008 - "Pig Peter"

Miscellaneous

Family

Three children:
Kirill Kharatyan (b. August 29, 1964) - journalist. He worked as deputy editor-in-chief at the Kommersant publishing house, deputy editor-in-chief of the Moskovskiye Novosti newspaper. Now Deputy Editor-in-Chief of the Vedomosti newspaper
Fedor Pavlov-Andreevich (b. April 14, 1976) - journalist, TV presenter, producer.
Natalia Pavlova is a musician, founder of the Moscow funk band Clean Tone.

Piglet Peter

In 2002, Petrushevskaya wrote three books about Pyotr Pig (“Pig Pyotr and the Car”, “Pig Pyotr and the Shop”, “Pig Pyotr Goes to Visit”). Readers liked these books so much that a cartoon was created, and fan fiction is still being written.

Prizes and awards

• Laureate of the Pushkin Prize of the Töpfer Foundation (1991)
• Magazine Award Winner:
  • "New World" (1995)
  • "October" (1993, 1996, 2000)
  • "Banner" (1996)
  • "Star" (1999)
• Winner of the Triumph Award (2002)
• Laureate of the State Prize of Russia (2002).
• Ludmila Petrushevskaya received the World Fantasy Award (WFA) for the best collection of short stories published in 2009. Petrushevskaya's collection Once Lived a Woman Who Tried To Kill Her Neighbor's Baby shared the award with a book of selected short stories by American writer Gene Wolfe).
• Literary Prize. N. V. Gogol