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 ... "
Lyudmila Petrushevskaya cannot be called an ordinary writer; her works touch secret strings in both children's and adult souls. This is a man with an amazing fate, who lived all his life in spite of, not giving up and not giving in to the next twist of fate. For a long time, the works of Lyudmila Stefanovna wrote to the table, since they did not pass Soviet censorship. And at the peak of her career, the woman discovered the talent of an animator and musician.
Childhood and youth
Lyudmila Stefanovna Petrushevskaya was born in 1938 under the zodiac sign Gemini in Moscow into a young student family. Stefan Petrushevsky became a Ph.D. and his wife worked as an editor. During the war, Lyudmila ended up in an orphanage in Ufa, and later was brought up by her grandfather.
View this post on Instagram
Writer Lyudmila Petrushevskaya
Nikolai Feofanovich Yakovlev, a Caucasian linguist, participant in the fight against illiteracy, insisted that his little granddaughter not be taught to read. The ardent supporter of Marrism was very upset by the defeat of this theory by Joseph Stalin and, according to unofficial information, he developed a mental illness due to nervousness.
As early as the beginning of the 20th century, the tradition of home theatrical productions was born in the Petrushevsky family. Lyudmila herself in childhood did not even dream of a career as a writer, but dreamed of the stage and wanted to perform in the opera. The writer studied in a vocal studio, but she was not destined to become an opera diva.
View this post on Instagram
Lyudmila Petrushevskaya in childhood
In 1941, Lyudmila and her grandparents were urgently evacuated from Moscow to Kuibyshev, the family took only 4 books with them, among which were Mayakovsky's poems and a textbook on the history of the All-Union Communist Party (Bolsheviks).
The girl looked at the newspapers with curiosity, from which she learned the letters. Then I secretly read, learned by heart and even quoted books. Grandmother Valentina often told her granddaughter that in her youth Vladimir Mayakovsky himself showed signs of attention to her and wanted to marry her, but she chose the linguist Yakovlev.
View this post on Instagram
Ludmila Petrushevskaya
When the war ended, Lyudmila returned to Moscow and entered the Lomonosov Moscow State University to study journalism. After graduation, she got a job as a correspondent at a publishing house, and then moved to the All-Union Radio, where she hosted the program Latest News.
At the age of 34, Petrushevskaya took up the post of editor at Central Television, wrote reviews of serious economic and political programs like Five Year Plan Steps. But soon complaints began to be written about Lyudmila, a year later she quit and no longer made attempts to get a job.
Literature
Even at the Faculty of Journalism of Moscow State University, Petrushevskaya wrote humorous poems and scripts for student creative evenings, but even then she did not think about a career as a writer. Only in 1972 in the St. Petersburg literary, artistic and socio-political journal "Aurora" was first published a short lyrical story "Through the Fields". The next publication by Lyudmila dates only to the second half of the 1980s.
The book of Lyudmila Petrushevskaya "Wanderings about death"
But the work of Petrushevskaya was appreciated by small theaters. In 1979, Roman Viktyuk staged the play Music Lessons, written back in 1973, on the stage of the Moskvorechye House of Culture. After the premiere, director Anatoly Efros praised the work, but noted that this play would never pass Soviet censorship, the thoughts expressed by the author are so radical and truthful. And Efros was right: "Lessons" was banned and even dispersed the theater troupe.
Later, in Lvov, the theater, created by students of the local polytechnic, staged "Cinzano". Lyudmila Stefanovna's works appeared on the professional stage only in the 1980s: first, the Taganka Moscow Drama Theater staged the play Love, then the Sovremennik staged Colombina's Apartment.
View this post on Instagram
The book of Lyudmila Petrushevskaya “A gift to the princess. Christmas stories»
Petrushevskaya continued to write stories, plays and poems, but they were still not published, because they reflected aspects of the life of the people of the Soviet Union that were undesirable for the government of the country.
It cannot be said that it adheres to a single genre. For example, "Puski beaten" is an imitation of unintelligible baby talk, "Stories from my own life" is an autobiographical novel.
Lyudmila Petrushevskaya's book "We were stolen"
“Time is night” is harsh and unsightly realism, “We were stolen” is by no means a detective about the substitution of children, as it seems at first glance, but a kind of observation of how someone “upstairs” comes up with ridiculous rules by which they are forced to live " the lower classes." In 2018, the book was shortlisted for the NOS Literary Prize. "Goddess of the Park" is a collection of short stories about love, funny and mystical stories, and even thrillers.
In the 1990s, fairy tales for different age groups appeared in Lyudmila's bibliography. "The Tale of the Clock", "Magic Glasses", "Mother Cabbage", "Anna and Mary" is a mixture of legend, anecdote, references to the works of other authors, folklore and parody. But no matter what she wrote, the source of inspiration, as Petrushevskaya said in an interview with Vladimir Pozner, was always real life.
"Posner" - Guest Lyudmila PetrushevskayaIn 2007, the collection "Moscow Choir" was released in St. Petersburg, which included such plays as "Raw Leg, or Meeting of Friends", "Bifem" and others. A year later, the premiere of a cycle of cartoons for children took place, the main character of which was Petya the pig.
An interesting fact in the biography of Petrushevskaya was the dispute about whether her profile was used in the image of the famous hedgehog from the cartoon "Hedgehog in the Fog". And indeed, if you look closely at the photo of the writer, common features are found. Yes, and Lyudmila Stefanovna herself mentioned this in her works, although the animator Yuri Borisovich Norshtein voiced a different version of the creation of the hero.
Lyudmila Stefanovna Petrushevskaya
1. Life and work of L.S. Petrushevskaya
2. Drama by L. Petrushevskaya
3. Prose by L. Petrushevskaya
Life and work of L.S. Petrushevskaya
Lyudmila Stefanovna Petrushevskaya is a modern prose writer, poet, playwright. She stands in the same honorary rank with such modern writers as Tatyana Tolstaya, Lyudmila Ulitskaya, Victoria Tokareva, Viktor Pelevin, Vladimir Makanin ... She stands in the same rank - and at the same time stands out in her own way, as something, of course, from this series out of the ordinary, not fitting into any rigid framework and not subject to classification.
She was born on May 26, 1938 in Moscow, in the family of a professor at Moscow State University. Her childhood fell on the difficult, hungry years of the war, she was remembered for her wanderings among relatives, life in an orphanage near Ufa and evacuation. After the war, she returned to Moscow, graduated from the Faculty of Journalism of Moscow University. She worked as a correspondent for newspapers and radio, in a publishing house, since 1972 - as an editor of the reference department of television.
Petrushevskaya began writing early. Literary creativity began with writing poems, scripts for student evenings, without seriously thinking about writing. The first published work was the story "Through the Fields", which appeared in 1972 in the magazine "Aurora". Since that time, Petrushevskaya's prose has not been published for more than a dozen years.
The very first plays were noticed by amateur theaters: the play "Music Lessons" (1973) was staged by R. Viktyuk in 1979 and almost immediately the one-act "Love" (1974) was banned by Y. Lyubimov at the Taganka Theater in the 1980s. The 1985 performance at the Lenin Komsomol Theater based on the play "Three Girls in Blue" turned out to be successful. It was published only 10 years later, in 1983, in the series "To Help Amateur Art" (where Vampilov's works began their journey to the viewer and reader). At the center of the action of Petrushevskaya's play were two ordinary families - the Gavrilovs and the Kozlovs, and the most ordinary events unfolded here, which happen everywhere outside the stage. And how to evaluate these events is also difficult to answer unequivocally: as in life - you can do this and that. Breakfasts, getting ready for work, dinners, TV in the evenings, family quarrels - nothing else seems to happen in the play. "Peeping through the keyhole", "tape dramaturgy" - this is how the features of the work of Petrushevskaya criticism were defined. It seems that the "reverse side of life" shown by the playwright has long been familiar to everyone, but for some reason these worldly recognizable situations and characters cause acute pity. Maybe because both they themselves and the author talk about them trustingly and ingenuously, without making any final assessments and without calling anyone to account. “Her talent is amazingly humane,” director O. Efremov said about Petrushevskaya’s work. “She sees and writes a modern person at the very depths. She has a sense of history, and in her plays there is a spirit of catharsis, which is often forgotten by our playwrights and theatrical figures".
Petrushevskaya in "Music Lessons" and subsequent plays ("Three Girls in Blue", 1980; "Kolombina's Apartment", 1981; "Moscow Choir", 1988, etc.) artistically explored an important process in Russian reality - the deformation of the personality under the influence of humiliating for the human dignity of the living conditions of existence. 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 don’t belong here,” critic N. Agisheva notes, “and squeamishly rush from crying children and swearing alcoholics to the expanses of big life. Petrushevskaya remains where people feel bad and ashamed. There is her music. And the secret it is that it is bad and ashamed, at least sometimes, - it happens to everyone. Therefore, Petrushevskaya writes about each of us. "
The contempt for "philistinism", "everyday life", which had been cultivated for decades in Soviet literature, led to the fact that the concept of home, which was key to Russian literature, was gradually lost. The playwrights of the "new wave" acutely felt this loss, and in addition to Petrushevskaya's plays, "The Old House" by A. Kazantsev, "Look who came! .." and "Koleya" by V. Arro, "The Threshold" by A. Dudarev appeared. It is worth taking a closer look at some of these plays.
Professional theaters began to stage Petrushevskaya's plays in the 1980s. 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."
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 1988, the first book of the writer was published - a collection of short stories "Immortal Love"; professional theaters began to stage performances based on her dramaturgic works - "Cinzano", "Columbine's Apartment", "Three Girls in Blue", "Moscow Choir".
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.
In 1990, the cycle "Songs of the Eastern Slavs" was written, in 1992 - the story "Time is Night", which was awarded the Booker Prize. Also, Lyudmila Petrushevskaya writes fairy tales for both adults and children: "Once upon a time there was an alarm clock", "Well, mother, well!" - "Tales told to children", etc. A number of cartoons were staged according to Lyudmila Petrushevskaya's scripts.
She wrote the scripts for the animated films "The Hedgehog in the Fog", "The Tale of Tales", the cycles "Tales for the Whole Family", "Wild Animal Tales", the plays "Two Windows", "A Suitcase of Nonsense", the famous "Tale of Tales" by Yuri Norshtein, and also "The Stolen Sun", "Hare's Tail", "The Cat Who Could Sing". and etc.
The books of this author are not stale on the shelves, whether they are fairy tales or realistic prose. After all, they are created by the Master's pen. Lyudmila Petrushevskaya is recognized as a classic of modern Russian literature, although her first book was published only in the late 1980s. She is one of the best playwrights of the past century.
Lyudmila Petrushevskaya - "drawing writer". Her personal exhibitions were held at the Literary Museum, a joint exhibition with Yuri Norshtein and Francesca Yarbusova - at the Tretyakov Gallery, at the Art Gallery.
Lyudmila Stefanovna Petrushevskaya - Academician of the Bavarian Academy of Arts, winner of the Poushkin-prize (Topfer Foundation, Hamburg), the Dovlatov Prize and other awards.
Currently Lyudmila Petrushevskaya lives and works in Moscow.
2. Drama by L. Petrushevskaya
The action of Petrushevskaya's plays takes place in ordinary, easily recognizable circumstances: in a country house (“Three Girls in Blue”, 1980), on a landing (“Staircase”, 1974), etc. The personalities of the heroines are revealed during the exhausting struggle for existence, which they lead in cruel life situations. Petrushevskaya makes visible the absurdity of everyday life, and this determines the ambiguity of the characters of her characters. In this sense, the thematically related plays "Cinzano" (1973) and "Smirnova's Birthday" (1977), as well as the play "Music lessons".
Ivanov, a cohabitant of the thirty-eight-year-old Granya, returns from prison to the poorly furnished Gavrilovs' apartment. He says he wants to see his newly born daughter Galya and live a quiet family life. The Gavrilovs do not believe him. The eldest daughter of Granya, eighteen-year-old Nina, is especially uncompromisingly opposed to the drunkard Ivanov. She was forced to leave school, now she works in a grocery store and nurses little Galya. Despite Nina's dissatisfaction and the exhortations of the curious neighbor Anna Stepanovna, Granya decides to let Ivanov go.
The only son Nikolai returns from the army to the apartment of the wealthy neighbors of the Kozlovs. Parents are happy about the return of their son. The father demands that his son play something on the piano, and complains that he never finished music school, despite all the efforts of his parents, who spared nothing for him. Joy is overshadowed by the fact that Nikolai brought Nadya with him, which causes open hostility from his father Fyodor Ivanovich and his grandmother. Mother, Taisiya Petrovna, behaves with accentuated courtesy. Nadia works as a house painter and lives in a hostel. She smokes, drinks wine, stays overnight in Nikolai's room, keeps herself independent and does not try to please the groom's parents. The Kozlovs are sure that Nadya is claiming their living space. The next day, Nadia leaves without saying goodbye. Nikolai rushes to the hostel after her, but she declares that he is not suitable for her.
Nina does not want to live in the same apartment with the drunkard Ivanov. All day she stands on the street at the entrance. Here she is seen by Nikolai, who was once teased by her fiancé. Nikolai is indifferent to Nina. Hoping to keep her son away from Nadia, Taisiya Petrovna invites Nina to visit and offers to stay. Nina is glad to not have to come home. Grana Kozlova, who came to pick up her daughter, explains that the girl will be better with them, and asks not to come again.
Three months later, Granya reappears in the Kozlovs' apartment: she needs to go to the hospital for an abortion, but there is no one to leave little Galya with. Ivanov drinks. Granya leaves the child to Nina. By this time, the Kozlovs had already realized that Nikolai was living with Nina out of boredom. They want to get rid of Nina, reproach her with their good deeds. Seeing Galya, the Kozlovs finally decide to send Nina home. But at that moment Nadia appears. You can hardly recognize her: she is pregnant and looks very bad. Instantly orienting herself, Taisiya Petrovna announces to Nadia that Nikolai has already married, and presents Galya as his child. Nadia leaves. Nina hears this conversation.
Frightened by the unexpected appearance of Nadia, the Kozlovs demand that Nikolai urgently marry Nina. It turns out that he knows about Nadia's pregnancy and that she tried to poison herself. Nikolai refuses to marry Nina, but his parents are not far behind. They persuade Nina too, explain to her: it is important to take a man on a leash, give birth to a child for him, and then he will get used to the place and will not go anywhere - he will watch football on TV, occasionally drink beer or play dominoes. After listening to all this, Nina goes home, leaving the things given to her by the Kozlovs. Parents are afraid that now Nikolai will marry Nadia. But the son brings clarity: earlier, perhaps, he would have married Nadia, but now the relationship with her turned out to be too serious and he does not want to "get involved with this matter." Having calmed down, the Kozlovs sit down to watch hockey. The grandmother goes to live with another daughter.
A swing swings over the darkened stage, on which Nina and Nadia are sitting. “If you do not pay attention to them, they will fall behind,” Taisiya Petrovna advises animatedly. Nikolai pushes away the incoming swing with his feet.
At the end of “Music Lessons”, the characters are completely transformed into their antipodes: the romantically in love Nikolai turns out to be a cynic, the broken Nadia is a woman capable of deep feelings, the good-natured Kozlovs are primitive and cruel people.
The dialogues in most of Petrushevskaya's plays are structured in such a way that each next line often changes the meaning of the previous one. According to critic M. Turovskaya, “modern everyday speech ... is condensed in her to the level of a literary phenomenon. Vocabulary makes it possible to look into the biography of the character, to determine his social affiliation, personality..
One of Petrushevskaya's most famous plays is "Three Girls in Blue"
Three women "over thirty" live in the summer with their little sons in the country. Svetlana, Tatyana and Ira are second cousins, they raise their children alone (although Tatyana, the only one of them, has a husband). Women quarrel, figuring out who owns half of the dacha, whose son is the offender, and whose son is offended ... Svetlana and Tatyana live in the dacha for free, but the ceiling is leaking in their half. Ira rents a room from Feodorovna, the mistress of the second half of the dacha. But she is forbidden to use the toilet belonging to the sisters.
Ira meets her neighbor Nikolai Ivanovich. He cares for her, admires her, calling her a beauty queen. As a sign of the seriousness of his feelings, he organizes the construction of a toilet for Ira.
Ira lives in Moscow with her mother, who constantly listens to her own illnesses and reproaches her daughter for leading the wrong way of life. When Ira was fifteen years old, she ran away to spend the night at the stations, and even now, having arrived home with a sick five-year-old Pavlik, she leaves the child with her mother and quietly goes to Nikolai Ivanovich. Nikolai Ivanovich is touched by Ira's story about her youth: he also has a fifteen-year-old daughter, whom he adores.
Believing in the love of Nikolai Ivanovich, about which he speaks so beautifully, Ira follows him to Koktebel, where her lover is resting with his family. In Koktebel, Nikolai Ivanovich's attitude towards Ira changes: she annoys him with her devotion, from time to time he demands the keys to her room in order to retire with his wife. Soon the daughter of Nikolai Ivanovich learns about Ira. Unable to withstand his daughter's tantrum, Nikolai Ivanovich drives away his annoying mistress. He offers her money, but Ira refuses.
On the phone, Ira tells her mother that she lives in a dacha, but cannot come for Pavlik, because the road has been washed out. During one of the calls, the mother reports that she urgently goes to the hospital and leaves Pavlik at home alone. Calling back in a few minutes, Ira realizes that her mother did not deceive her: the child is alone at home, he has no food. At the Simferopol airport, Ira sells her raincoat and on her knees begs the airport attendant to help her fly to Moscow.
Svetlana and Tatyana, in the absence of Ira, occupy her country room. They are determined, because during the rain half of them was completely flooded and it became impossible to live there. The sisters fight again over the upbringing of their sons. Svetlana does not want her Maxim to grow up squishy and die as early as his father. Ira suddenly appears with Pavlik. She says that her mother was admitted to the hospital with a strangulated hernia, that Pavlik was left alone at home, and she miraculously managed to fly out of Simferopol. Svetlana and Tatyana announce to Ira that they will now live in her room. To their surprise, Ira doesn't mind. She hopes for the help of her sisters: she has no one else to count on. Tatyana declares that now they will take turns buying food and cooking, and Maxim will have to stop fighting. "There are two of us now!" she says to Svetlana.
The inner wealth of her main characters, relatives who are at war with each other, lies in the fact that they are able to live in spite of circumstances, at the behest of their hearts.
Petrushevskaya shows in her works how any life situation can turn into its own opposite. Therefore, surrealistic elements that break through the realistic dramatic fabric look natural. This is what happens in a one-act play. "Andante" (1975), which tells about the painful coexistence of the diplomat's wife and mistress. The names of the heroines - Buldi and Au - are as absurd as their monologues. In the play "Columbine's Apartment" (1981), surrealism is a plot-forming principle.
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.
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.
