Years of Petrushevskaya's life. Biography

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.

GOU VPO "OMGU named after F. M. Dostoevsky". Faculty of Philology.

Department of library and information activities.

Essay

on the topic "Genre diversity of L. Petrushevskaya's creativity."

Completed by: Dulova Elena. YFB-001-0.

Checked by: Khomyakov Valery Ivanovich.

Omsk 2011.

Introduction

Creativity Petrushevskaya - a special, in many ways unique artistic world. The artistic world of Lyudmila Petrushevskaya is a complex synthesis of mutually exclusive aesthetic trends: postmodernism and realism, naturalism and sentimentalism, modernism and baroque. The genre diversity of her works is quite large. These are dramatic, prose works, as well as fairy-tale prose.

From the first appearance on the literary arena - in 1972 in the Aurora magazine, where two of her stories were published: "The Story of Clarissa" and "The Narrator", the writer posed a number of mysteries for critics and literary theorists, one of which was the original image of the narrator . Petrushevskaya discovered a gift for "shorthand reproduction" of everyday situations, setting them out with frightening accuracy in "the hateful, crazy language of the queue." The language of her works became the spokesman for the "psychopathology of everyday life." But it was only this extraordinary style of Petrushevskaya that could cause the "effect of a self-expressing life", making her one of the most prominent figures in modern prose. But the path to fame and recognition was not easy for the writer. In the "stagnant" seventies, the works of a young writer who graduated in 1961 from the Faculty of Journalism of Moscow State University. M.V. Lomonosov, printed with great difficulty. After the publication of two of her stories in Aurora, only seven years later her one-act play Love (Theater, 1979, No. 3) saw the light of day. At the same time, the still unpublished plays by Petrushevskaya were staged on the Moscow stage: "Music Lessons" (1973) were staged in the 70s by R. Viktyuk at the Student Theater of Moscow State University, the one-act "Love" (1974) - by Yu. Lyubimov at the Taganka Theater in 1980s The 1985 performance at the Lenin Komsomol Theater based on the play "Three Girls in Blue" turned out to be successful. The situation with the publication of Petrushevskaya's works changed during the perestroika period. In 1988, along with the first collection of Petrushevskaya's plays "Songs of the XX century", her book of short stories "Immortal Love" was published. In 1991, the writer was awarded the Pushkin Prize in Germany. Many Russian critics recognized her story "Time is Night" as the best work of 1992. In 1993, a collection of short stories "On the Road of the God Eros" was published, in 1997 the book "Real Tales" was published in Moscow, in 1998 a collection of prose "The House of Girls" appeared there, where, along with the stories, Petrushevskaya's stories, previously published only in magazines. Recognition came to an already mature author because Petrushevskaya talentedly and boldly showed the terrible realities of life in "stagnation" and the first years of perestroika. "Gray" everyday life is depicted in Petrushevskaya's prose in the rhythms and speech of today "Strongly. Briefly. Rigidly" (Mikhailov A. Ars Amatoria, or Science of Love according to Petrushevskaya // Lit. Gaz. - 1993. - December 15. N 37. - S. 4.). The writer emphasized: "... My workplace is on the square, on the street, on the beach. In public. Without knowing it, they dictate topics to me, sometimes even phrases. .. But I'm still a poet. I see each of you. Your pain is my pain "(Sushilina I.K. Modern literary process in Russia. - M., 2001. - P. 37.).

Her plays, stories and novels usually terrify, and fairy tales, on the contrary, delight - this artist of the word has such a gift.

Dramaturgy and prose Petrushevskaya give the impression of a realistic, but somehow twilight. Since the late 1990s, the predominance of the unreal beginning has become more and more obvious in her prose. The synthesis of reality and fantasy becomes the main genre, structural and plot-forming principle in the works of this writer. Notable in this sense as the common title of her book “Where have I been. Stories from Another Reality” (2002) and the titles of the short stories included in it: “Labyrinth”, “There is Someone in the House”, “New Soul”, “Two Kingdoms”, “Phantom of the Opera”, “Shadow of Life” , "Miracle", etc. In this collection, reality is moved far towards the "realm of the dead", thus, the idea of ​​a romantic dual world, the opposition of "here" and "there" of being, is refracted in a peculiar way. Moreover, L. Petrushevskaya does not seek to give the reader a holistic view of either reality or the mysterious other world. The solution of the problem of commensuration of a person with an unknown “kingdom”, their mutual permeability, comes to the fore: it turns out that the beyond and the infernal did not just penetrate our real world - the neighborhood with people of dark mystical forces, terrifying and at the same time alluring, is quite organic, legitimate, and why something even unsurprising. Petrushevskaya never makes a distinction between the heavenly world and the earthly world, moreover, between the fabulous, archaic world and the civilized world. In her prose, everything beyond is spelled out on the same street and even in the same apartment in which everyday life lives. But not only the mysterious and otherworldly penetrates into “our” world, on the contrary, even more often the person himself penetrates from “this” world into “that”, infernal, inexplicable, frightening.

What is certain is that a person (in this case, the hero of Petrushevskaya) in one way or another falls into the "other" world. However, in general, it is difficult for the reader to understand and determine exactly where the hero falls, hell in front of us or paradise, the modern version of purgatory, the Greek mythical Elysium or Limbo, depicted by Dante - the “kingdoms” are too often bizarrely intertwined and they are so much alike sometimes. This feature of Petrushevskaia's mystical prose is at the same time her "zest" and mystery, and at the same time a stumbling block in her reading. Thus, we can conclude that in such a direction of Petrushevskaya's work as mystical prose, an obvious antinomy of hell and paradise is visible.

Modern literary criticism associates Petrushevskaya with "another literature", mastering the life realities previously "tabooed" for Soviet literature - prison, the "bottom" of society, etc., which is characteristic of the new "natural school". After M. Gorky, the social "bottom" found its researcher and artist in the person of Petrushevskaya. Moreover, unlike M. Gorky, in relation to whom the inhabitants of the social "bottom" combined the elitism of the Nietzschean sense ("Man - it sounds proud!") And democracy, the position of the writer is truly democratic. The assessment of the critic I. Borisova is correct: in the work of Petrushevskaya, democracy is both "a purely artistic category, ... and ethics, and aesthetics, and a way of thinking, and a type of beauty."

Genre originality of L. Petrushevskaya's creativity on the example of non-fairytale prose and dramaturgy

The dramaturgy and non-fairy-tale prose of Petrushevskaya amaze with the hyperbolized concentration of the negative. And the depiction of life as absurd suggests analogies with existentialism.

Like the existentialists, in her the true essence of the characters is tested in borderline situations of betrayal, illness, and disappearance into oblivion. The heroes of Petrushevskaya are often forced to make their own choice, revealing their true essence (sometimes the concept of choice is included in the title, as in the story "Zina's Choice"). The life philosophy of the writer is not too optimistic, which can be seen, in particular, from the following philosophical passage that opens the story "Unperished Life": “... what does lost life mean? Who will say that a kind and simple person disappeared for a reason, left his mark, etc. - and an evil, harmful and unclean person disappeared from life especially somehow, with smoke and on the rack? No "(Petryshevskaya L.S. House of Girls: Stories and Tales. - M., 1998. - P. 25.). Thus, a paradoxical conclusion comes out that the result of being good and evil people is exactly the same. Meanwhile, the main theme of Petrushevskaya - namely, a lost life. The heroes and heroines of the writer's works often suddenly die of grief or choose suicide as a response to an unworthy existence. It is characteristic that usually such heroes have "a certain family status - a wife, a husband ("Fallen", "Influenza").

However, Petrushevskaya opened another, actually Soviet border situation, connected with the struggle for an apartment, its presence or absence. Energetic and tenacious heroes are able to gain a foothold in the apartment and even expand their living space, while losers, on the contrary, easily lose it. In mastering this topic, the writer is close to Y. Trifonov, who filled the situation of apartment exchange with social and moral meaning.

Petrushevskaya tends to recreate the predominantly dark sides of life. The subject of her story "Ali-Baba" is the existence of alcoholics, degenerate people, in the requiems "Bacilla" and "La Boheme" the life of metropolitan drug addicts and representatives of bohemia is shown; True, sometimes the writer depicts the world of creative or scientific workers ("Life is a theater", "Observation deck"), but in these works the chosen artistic perspective remains unchanged - the image of an uncompleted or destroyed female fate. Moreover, it is significant that such vital material is not processed at all in a feminist way.

The main theme of most of the stories, stories and fairy tales of Petrushevskaya is the image of a woman's love - for a man, children, grandchildren, parents. The modest librarian Pulcheria, the heroine of the story "On the Road of the God Eros", saw in her lover not a gray-haired and middle-aged man, a crazy genius, but a boy, "a creature that had gone to high worlds, hiding behind a gray mane and red skin for appearance." Pulcheria gave all of herself to this feeling. In the magnificent story "On the road of the god Eros" the phenomenon of male love is also shown. But with rare exceptions, this love is portrayed as kindred - to parents, usually to mother (this theme is perfectly developed in the story "The Younger Brother"). The depiction of family life dictates to the writer an appeal to the genre of a family story or a family story, however, under the pen of Petrushevskaya, these genres are almost combined with the genre of the Gothic novel. And it is not surprising, because in the family she most often sees disintegration: the infidelity of one or both spouses, the hell of quarrels and squabbles, burning streams of hatred, the struggle for living space, the displacement of one of the family members from this living space, leading him to moral degradation (in the story "Little Terrible" to drunkenness) or preventing the hero from finding a place in society (the story "Time is Night"). Some collisions of her story "On the Road of the God Eros" and the story "Little Terrible" are reminiscent of the circumstances of the displacement of the hateful children of Mrs. Golovleva.

The director Sasha's lack of an apartment is one of the reasons for her ruined life: "... Sasha moved around the city from apartment to apartment, from room to room, from a mattress on the floor to a folding bed, and every morning, carefully getting out of another strange nest, probably cunningly she planned the next point of her nomad camp until she wandered off forever, sticking herself in a noose: but more on that later" ("Life is a theater", p. 147).

The characters in Petrushevskaya's prose, with rare exceptions, do not live, but survive. Naturally, such a view of human existence required a dense description of everyday life, sometimes naturalistic. Real, everyday details are selected accurately and filled with psychological content. The phrase "a twenty-five-year-old son cowardly pressed into the pillow" eloquently tells about the character of the hero of the story "The Younger Brother". Particularly indicative in this regard is the story "Time is Night", in which the impoverished life of the main character, the poet Anna Andrianovna, is shown with great artistic power: here is a rag instead of a handkerchief, and two sandwiches with butter stolen during dinner after performing in front of children - there is no other way to feed the adored grandson Timosha, and the pension of the old mother, who was sent to a psychiatric hospital, helping to make ends meet for the grandmother and her grandson. And here, as in the story "My Circle", there are many descriptions of the physiological functions of the human body, characteristic of neo-naturalism as a late stage of realism.

True, sometimes Petrushevskaya draws scenes of happy love ("Like an Angel", "Elegy"), but such love is still with a wormhole, which is typical for the artistic world of this writer. Love-family communication of two is difficult in itself or becomes so due to unfavorable conditions. Therefore, it still brings trouble. “I can’t understand one thing: why he left Nadia, because he knew that it would finish her off, and she really died a year after his death,” this is the beginning of the story “Seryozha”. In the story "Like an Angel", a middle-aged spouse who loves each other has a down daughter named Angelina. The title of the story is ironic, even sacrilegious. Pavel from the "Elegy" cannot stand the oppression of his wife's love and goes to another world. "And the one that is more tender in this duel of two hearts ...". In the depiction of love, Petrushevskaya is sometimes akin to the romance of Tyutchev.

Only love for a child ("Jewish Verochka", "Own Circle", "Time is Night") reveals the best in a person, and Petrushevskaya is able to describe this feeling like no other. She achieves true poetry and lyricism in the story "The Time is Night" and in the fairy tale "Two Sisters", telling in the story about her heroine's attachment to her grandson and admiring the beauty of children in both works.

Only a child, as an embodied continuation of life, can make the writer's characters at least partly come to terms with extraneous existence. But in order to lean on this fragile support, a happy past and spiritual firmness are needed. The director Sasha was not kept in this world even by a feeling of guilt in front of his beloved daughter: all the humiliations of the past years suffered by the heroine, the former worldly disorder, the hostility of the mother-in-law, creative failures were not in vain ("Life is a theater"). Petrushevskaya, in her own way, cries over the difficult fate of an intelligent woman who wants and is not able to combine two areas that require the whole heroine without a trace - creativity and family life. In the souls of those heroines of the writer with whom she sympathizes, "human, too human" always prevails. Therefore, this story is built in the form of a polemic with Shakespeare's well-known saying that life is a theater: "something, apparently, did not allow Sasha to treat his life so easily, something prevented him from suffering, not crying. Something it pushed me to answer once and for all, to put an end to it" ("Life is a theater").

The conclusion is that the Soviet woman was so hostile to being as such that even a beloved child could not always keep her in this worldly being, valuable, according to Petrushevskaya, only by those strong, but, as a rule, negative emotions that it caused. Undoubtedly, gloomy reflections, but someone should look into the "dark room" (the title of a section in the writer's collection of plays). In modern Russian literature, it was Petrushevskaya who succeeded with great success. By the way, attention to the dark side of life is most clearly seen in the story "Zina's Choice", which tells about the fate of a woman who killed her youngest son in the hard times of war in order to enable her two eldest daughters to survive ("this happened because there were three children, the man died, starvation began, it was necessary to get to work, but where a three-month-old is breastfed, you can’t work with him, and everyone will die without work. The didactic nature of this work is obvious: morality lies in the thought of the destructiveness and contagiousness of hatred transmitted in Zina's family from mother to daughter, hatred "for the youngest son, an extra child."

Petrushev's fairy tale art genre

Non-traditional genres by L. Petrushevskaya

Such a selection of life material and its comprehension led to genre creativity. Petrushevskaya became cramped within the framework of the traditional story or short story, and she invented special genres of requiem and real fairy tales (collection "Real Tales". - M., 1997).

The first of them was born from an elegy (the writer also gives a hint of this kind, calling one of the requiems "Elegy"). The second genre, in contrast to the classical folk or literary fairy tale, is more rooted in reality.

In her requiems, the writer reflects on the reasons for the departure of one or another hero from life, each time telling the story of someone's personal drama. However, even here, in the works of this genre, Petrushevskaya retains her inherent comedy. It arises both from masterfully and in a new way used improperly direct speech, and from truncated phraseological units, and from that new function of colloquial and reduced vocabulary, which arises due to the narrator's irony. The improperly direct speech of the hero, who left his family, but visits his wife and daughter, is heard in the narrator's speech and loses its positive semantics due to the irony that sounds in this statement, and then the description of the death of the heroine that follows. The divorce of the parents and the death of the mother cause their daughter to grow up as a "lone wolf, having gone through all the stages of the life of a free prostitute, girls who give in basements where young people hang out, and now she is already a mother of three children, living amicably with her businessman husband on dacha somewhere in the suburbs" ("Fallen"). This trivial idea received a sharply modern artistic embodiment in the story, and the comic effect arose due to the fact that the intermediate stage of the heroine's fate was omitted, and she instantly rises from the terrible basement to the mansion of the "new Russian".

So, we can say that the writer thoroughly studied her topic, in which Petrushevskaya discovered new facets, the life of a family of different social strata, and showed the family mainly as a sphere of disintegration of public, social ties: ties between different generations, between spouses. If such connections sometimes arise (“Hymn to the Family”), then, as a rule, under pressure from outside and as a result of the birth of a child.

“Petrushevskaya is not a writer of everyday life at all... In her stories, she shows how life only in the sphere of “acquisition of earthly treasures” closes for a person the very possibility of moving towards the spiritual, leaves him in the airless space of everyday life,” I.K. Sushilin (Sushilina I.K. Modern literary process in Russia. - P. 39-40.).

In recent years, Petrushevskaya has been actively writing fairy tales for adults. As the writer herself noted, “A short story suggests sadness, a fairy tale suggests death” (Sushilina I.K. The modern literary process in Russia. - P. 39-40.). And in fact, all the writer's fairy tales have happy endings.

Tales of L.S. Petrushevskaya, intended for both children and adults, are firmly based on a rich arsenal of artistic means of a folk fairy tale. Having smeared with a wonderful ointment, the old women turn into girls ("Two Sisters"); the sorceress gives the twin sisters the gift of magic ("Nettle and Raspberry"); one sorcerer rewards the beauty with a long nose, and the other with a small one, the doctor Anisim returns her lost finger with the help of a medicine (“Girl Nose”).

At the same time, Petrushevskaya's fairy tales are akin to stories in their focus on the topical problems of the present. In "Nettle and Raspberry" this is the problem of the formation of personality among high school students; in "Girl Hoc" - reflections on beauty, love and happiness; in "Two Sisters" - the question of the survival of the weakest and most vulnerable in our society - the elderly and children.

The tales of the writer are poetic and cheerful. Their heroes live in a distant country, where counts meet and there are streets with unusual names (Right Hand Street) and quite modern hairdressers, libraries, schools. Although Petrushevskaya's time of action is generalized, as in folk tales, she refuses the stereotypical formulas characteristic of their poetics. Instead, her fairy-tale prose provides artistic individualized descriptions of the appearance of the characters, their characters, and dwellings. The portrait of the beautiful Nina from the fairy tale "Girl Nose" is poetic and unique: "When she laughed, it seemed that the sun was shining. When she cried, it seemed that pearls were falling. One spoiled her - her big nose" (Petrushevskaya L.S. Real fairy tales. - M., 1997. - S. 53.). Individualization arises here thanks to a successful portrait detail - a long nose. Actually artistic means express the idea of ​​the uniqueness and value of individuality. This idea is then revealed through the plot: it is the heroine's ridiculous appearance that attracts a poor young man to her, who eventually marries his sweetheart.

In fairy tales, Petrushevskaya's humor manifests itself most fully and generously. Humorous effect is created by the details, portraits and speech of the characters. Ridiculous are the speech patterns of modern children in the conversations of intelligent grandmothers-girls, who deliberately use jargon as a precaution so that they are not exposed by adults ("Two Sisters"). Compassion for a person, in whatever situation he finds himself, attention to the "eternal" and painful problems of our time, a keen ear for language, the ability to relieve tension with the help of laughter, a wealth of imagination - all these are the facets of that literary miracle, whose name is Lyudmila Petrushevskaya.

Conclusion

It is noteworthy that the list of playwrights new wave opens with a female name. Who, if not a woman, could take a closer look at the family and everyday way of life of a modern person, painfully acutely feel all the troubles of this way of life.

Petrushevskaya artistically explored in her works an important process in Russian reality - the deformation of the personality under the influence of everyday conditions of existence that are humiliating for human dignity. The notorious way of life squeezes all the vitality out of the heroes of Petrushevskaya, and in their souls there is no longer room for a holiday, bright hope, faith in love. Many artists generally believe that they do not belong here, - critic N. Agisheva notes, - and they squeamishly rush from crying children and swearing alcoholics to the expanses of big life. Petrushevskaya remains where people feel bad and ashamed. Therefore, Petrushevskaya writes about each of us.

The biography of Lyudmila Petrushevskaya is given in this article. This is a famous domestic poetess, writer, screenwriter and playwright.

Childhood and youth

You can find out the biography of Lyudmila Petrushevskaya from this article. The Russian writer was born in Moscow in 1938. Her father was an employee. Grandfather was widely known in scientific circles. Nikolai Feofanovich Yakovlev was a famous Caucasian linguist. At present, he is considered one of the founders of writing for a number of peoples of the USSR.

During the Great Patriotic War, Lyudmila Stefanovna Petrushevskaya lived for some time with relatives and even in an orphanage located near Ufa.

When the war ended, she entered the Faculty of Journalism of Moscow State University. In parallel, she began to work as a correspondent in the capital's newspapers, to cooperate with publishing houses. In 1972, she took the post of editor at the Central Television Studio.

creative career

Lyudmila Stefanovna Petrushevskaya at an early age began to write scripts for student parties, poems and short stories. But at the same time, at that time, she had not yet thought about the career of a writer.

In 1972, her first work was published in the Aurora magazine. They became a story called "Through the fields." After that, Petrushevskaya continued to write, but her stories were no longer published. I had to work at the table for at least ten years. Her works began to be printed only after perestroika.

In addition to the heroine of our article, she worked as a playwright. Her performances were in amateur theaters. For example, in 1979, Roman Viktyuk staged her play "Music Lessons" in the theater-judge of the Moskvorechye House of Culture. Theater director Vadim Golikov - in the theater-studio of the Leningrad State University. True, almost immediately after the premiere, the production was banned. The play was published only in 1983.

Another famous production based on her text called "Cinzano" was staged in Lviv, at the Gaudeamus Theater. Massively professional theaters began to stage Petrushevskaya starting from the 80s. So, the audience saw the one-act work "Love" in the Taganka Theater, in "Sovremennik" came out "Columbine's Apartment", and in the Moscow Art Theater - "Moscow Choir".

Dissident writer

The biography of Lyudmila Petrushevskaya contains many sad pages. So, for many years she actually had to write to the table. The editorial offices of thick literary magazines had an unspoken ban on not publishing the writer's works. The reason for this was that most of her novels and stories were devoted to the so-called shady sides of the life of Soviet society.

At the same time, Petrushevskaya did not give up. She continued to work, hoping that someday these texts would see the light of day and find their reader. During that period, she created the joke play "Andante", the dialogue plays "Isolated Boxing" and "Glass of Water", the monologue play "Songs of the 20th Century" (it was she who gave the name to her later collection of dramatic works).

Prose Petrushevskaya

The prose work of Lyudmila Petrushevskaya, in fact, continues her dramaturgy in many thematic plans. It also uses almost the same artistic techniques.

In fact, her works are a real encyclopedia of women's life from youth to old age.

These include the following novels and stories - "The Adventures of Vera", "The Story of Clarissa", "Daughter of Xenia", "Country", "Who will answer?", "Mysticism", "Hygiene", and many others.

In 1992, she wrote one of her most famous works - the collection "Time is Night", shortly before that another collection "Songs of the Eastern Slavs" was released.

It is interesting that in her work there are many fairy tales for children and adults. Among them it is worth noting "Once upon a time there was an alarm clock", "Little sorceress", "Puppet novel", the collection "Tales told to children".

Throughout her creative career, Petrushevskaya has been living and working in the Russian capital.

Personal life of Lyudmila Petrushevskaya

Petrushevskaya was married to Boris Pavlov, the head of the Solyanka gallery. He passed away in 2009.

In total, the heroine of our article has three children. The eldest - Kirill Kharatyan was born in 1964. He is a journalist. At one time he worked as deputy editor-in-chief of the Kommersant publishing house, then he was one of the leaders of the Moscow News newspaper. He currently works as deputy editor-in-chief of the Vedomosti newspaper.

The second son of Petrushevskaya is called He was born in 1976. He is also a journalist, producer, TV presenter and artist. The daughter of the writer is a famous musician, one of the founders of the metropolitan funk band.

Piglet Peter

Not everyone knows, but it is Lyudmila Petrushevskaya who is the author of the meme about Peter the pig, who flees the country on a red tractor.

It all started with the fact that in 2002 the writer published three books at once called "Pig Peter and the car", "Pig Peter goes to visit", "Pig Peter and the store". After 6 years, an animated film of the same name was shot. It was after his release that this character turned into a meme.

He became famous throughout the country after one of the Internet users, nicknamed Lein, recorded the musical composition "Peter Piglet Eat ..." in 2010. Shortly thereafter, another user, Artem Chizhikov, superimposed a vivid video sequence from the cartoon of the same name on the text.

There is another interesting fact about the writer. According to some versions, the profile of Lyudmila Petrushevskaya served as a prototype for creating the title character in Yuri Norshtein's cartoon "Hedgehog in the Fog".

This is confirmed by the fact that Petrushevskaya herself in one of her works directly describes this episode in this way. At the same time, he describes the appearance of this character in a different way.

At the same time, it is known for certain that Petrushevskaya became the prototype for the director when creating another cartoon - "The Crane and the Heron".

"Time is night"

The key work in the biography of Lyudmila Petrushevskaya is the collection of short stories "Time is Night". It included her various novels and stories, not only new works, but also well-known ones.

It is noteworthy that the heroes of Petrushevskaya are ordinary average people, most of whom each of us can meet every day. They are our work colleagues, they meet every day in the subway, they live next door in the same entrance.

At the same time, it is necessary to think that each of these people is a separate world, a whole Universe, which the author manages to fit into one small work. The stories of Lyudmila Petrushevskaya have always been distinguished by their dramatic nature, by the fact that they contained a strong emotional charge, which some novels could envy.

Most critics today note that Petrushevskaya remains one of the most unusual phenomena in modern Russian literature. She skillfully combines the archaic and modern, momentary and eternal.

The story "Chopin and Mendelssohn"

The story "Chopin and Mendelssohn" by Lyudmila Petrushevskaya is a vivid example of her bright and unique creativity. According to him, one can judge her as a unique domestic prose writer.

It surprisingly compares these two composers, and the main character of the story is a woman who constantly complains that the same annoying music plays behind her wall every evening.

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Biography, life story of Petrushevskaya Lyudmila Stefanovna

Petrushevskaya Lyudmila Stefanovna is a Russian writer.

Childhood and youth

Lyudmila Petrushevskaya was born in Moscow on May 26, 1938. Her father was a scientist, Ph.D., her mother was an editor. When Luda was still quite a baby, the war began. The girl spent some time in an orphanage in Ufa, and then her grandfather Nikolai Feofanovich Yakovlev, a Caucasian linguist, and grandmother Valentina took her to be raised. It is important to note that Nikolai Yakovlev was against teaching his granddaughter to read early. But Luda had a passion for literature in her blood - she learned to distinguish letters secretly from her grandfather, while still quite a baby.

In 1941, Luda and her grandparents were evacuated from Moscow to Kuibyshev. There Petrushevskaya spent several years of her life. After the end of the war, she returned to Moscow, graduated from high school, and then became a student at Moscow State University, Faculty of Journalism.

Job

After successfully defending her thesis, Lyudmila Petrushevskaya worked for some time as a correspondent in various newspapers in Moscow, collaborated with various publishing houses. In 1972, Lyudmila became an editor at the Central Television Studio.

writing work

Lyudmila began to write poetry and prose in her youth. During her student days, she wrote scripts for skits and creative evenings, she really enjoyed it, but she did not even dream of being a serious writer. Everything turned out somehow by itself - naturally, smoothly, naturally.

In 1972, Petrushevskaya's story "Through the Fields" appeared on the pages of the Aurora magazine. It was Lyudmila's writing debut, after which she disappeared for ten years. Only in the second half of the 1980s did her works begin to be published again. Very soon her plays were noticed by theater directors. At first, productions based on her texts hit the stages of small and amateur theaters, and over time, eminent temples of art began to stage performances along Petrushevskaya with pleasure. So, in the Theater-Studio of the Palace of Culture "Moskvorechye" they staged her play "Music Lesson", in the Gaudeamus Theater in Lviv - "Cinzano", in the Taganka Theater - "Love", in "Sovremennik" - "Colombina's Apartment", in Moscow Art Theater - "Moscow Choir". Lyudmila Petrushevskaya was a rather sought-after and popular author, and this despite the fact that for a long time she had to write "on the table", since many editorial offices could not publish her creations, boldly telling about the shadow aspects of life.

CONTINUED BELOW

Lyudmila Petrushevskaya wrote stories and plays in various formats (jokes, dialogues, monologues), novels, novellas and fairy tales for both children and adults. According to some scenarios of Lyudmila Stefanovna, films and cartoons were made - "The Stolen Sun", "The Cat Who Could Sing" and others.

Separately, it is worth noting the books by Lyudmila Petrushevskaya about the adventures of Peter Pig, created by her in 2002: "Pig Peter and the car", "Pig Peter and the store", "Pig Peter goes to visit". In 2008, a cartoon based on this story was made. And in 2010, Peter Piglet became an Internet meme after a video appeared on the network for the song “Peter Piglet Eat ...”, created by users Lein (text and music) and Artem Chizhikov (video sequence). However, not only Internet fame makes Peter the Piglet a special character in Petrushevskaya. The fact is that in 1943, the American writer Betty Howe published her book entitled "Peter Pig and his air travel." The stories of Petrushevskaya and Howe are very similar in many details, including the main idea and the name of the protagonist.

Other activities

In parallel with the creation of literary works, Lyudmila Petrushevskaya created the “Manual Labor Studio”, in which she herself became an animator. Also, the writer, as part of the One Author Cabaret project, performed popular songs of the past century, read her poems and even recorded solo albums (Don't Get Used to the Rain, 2010; Dreams of Love, 2012).

Lyudmila Stefanovna, among other things, is also an artist. She often organized exhibitions and auctions, where she sold her paintings, and donated the profits to orphanages.

Family

Lyudmila Petrushevskaya's husband was Boris Pavlov, director of the Solyanka Gallery. Husband and wife spent many happy years together. They gave birth to three children - sons Cyril and Fedor and daughter Natalia. Kirill is a journalist, ex-deputy chief editor of the Kommerant publishing house, ex-deputy chief editor of the Moscow News newspaper, deputy chief editor of the Vedomosti newspaper. Fedor is a journalist and performance artist, theater director. Natalia is a musician, creator of the funk band Clean Tone (Moscow).

In 2009, Lyudmila Stefanovna buried her beloved husband.

Awards and prizes

In 1991, Lyudmila Petrushevskaya received the Pushkin Prize from the Töpfer Foundation. In 1993, the writer was awarded the prize of the magazine "October". She also received the same recognition from the same magazine in 1996 and 2000. In 1995, Petrushevskaya became a laureate of the Novy Mir magazine award, in 1996 - the Znamya magazine award laureate, in 1999 - the Zvezda magazine award. In 2002, Lyudmila Stefanovna received the Triumph Prize and the State Prize of the Russian Federation. In 2008, Petrushevskaya became the winner of the Bunin Prize. In the same year, she was awarded the Literary Prize named after

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 ... "