Lyudmila Petrushevskaya personal life. Life and work of L.S. Petrushevskaya. Biography, life story of Petrushevskaya Lyudmila Stefanovna
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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 Natalya. 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
Lyudmila Stefanovna Petrushevskaya(born May 26, 1938 in Moscow) is a famous Russian writer (prose writer, playwright).
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 (1961). She worked as a correspondent for Moscow newspapers, an employee of publishing houses, since 1972 - an editor at the Central Television Studio.
She has been writing short stories since the mid-1960s. The first publication is considered to be two stories published in 1972 by the Aurora magazine, although as early as November 1971, the fairy tales The Talking Airplane and The Suitcase of Nonsense appeared in the Pioneer magazine. Since the mid-1970s, he has also been writing dramatic works, which immediately attracted the attention of directors with a combination of uncompromising realism and artistic richness. The first productions took place in student theaters: the play “Music Lessons” (written in 1973) was staged in 1979 by Roman Viktyuk at the theater-studio of the Moskvorechye Palace of Culture, and also by Vadim Golikov at the theater-studio of Leningrad State University. Since the 1980s Petrushevskaya's works were transferred to professional theaters, starting with the play "Love" (written in 1974), staged by Yuri Lyubimov at the Taganka Theater in 1981-82.
Since 1983, when Petrushevskaya's first book (a collection of plays jointly with Viktor Slavkin) was published, her works, both prose and dramatic, have been published more and more often, especially during the period of Perestroika and subsequent years. The sharpness of the artistic material, the skillful use of elements of the spoken language, the unusual level of truthfulness in the descriptions of everyday life, sometimes paradoxically intertwined with elements of surrealism - all that caused suspicion and rejection among the censors and editors of the Brezhnev era - now put forward Petrushevskaya among the first figures of Russian literature, simultaneously causing heated controversy around her works, sometimes turning into an ideological confrontation.
Subsequently, disputes subside, however, as a playwright, Petrushevskaya continues to be in demand. Performances based on her plays were staged at the Moscow Art Theater, the St. Petersburg Maly Drama Theater, the Theater. Lenin Komsomol and many other theaters in Russia and abroad. Based on her works, a number of television plays and animated films were also staged, among which Yury Norshtein's Tale of Fairy Tales should be highlighted. Petrushevskaya's books have been translated into English, Italian, German, French and other languages.
The tendency to experiment does not leave Petrushevskaya throughout her career. She uses mixed forms of narration, invents her own genres (“Linguistic Tales”, “Wild Animal Tales” and other cycles of mini-stories), continues her artistic study of the spoken language, and writes poetry. She also masters other types of art: painting and graphics (many of Petrushevskaya's books are illustrated with her drawings), performs song compositions based on her own texts.
Fantastic in the work of Lyudmila Petrushevskaya
Many of Petrushevskaya's works use various types of the fantastic. The plays often use the techniques of surrealism and the theater of the absurd (for example, "Columbine's Apartment", 1988; "Men's Zone", 1992). In prose, elements of mysticism are not uncommon; the writer is especially interested in the border between life and death, which in her works the characters cross in both directions, moving from our world to the other world (menippea) and vice versa (ghost stories). The largest of Petrushevskaya's works, the novel "Number One, or In the Gardens of Other Possibilities" (2004) is a complex narrative with the transmigration of souls, a journey to the afterlife and a description of the shamanic practices of a fictional northern people. The writer used the title "In the Gardens of Other Possibilities" before, denoting sections of the most fantastic works with it in her publications. Petrushevskaya is no stranger to social fiction (“New Robinsons”, 1989; “Hygiene”, 1990) and even adventurous adventure (“Charity”, 2009).
Petrushevskaya is also widely known as the author of many fairy tales, everyday and magical, both addressed mainly to children, and suitable, rather, for an adult reader or with an indefinite age addressee.
Lyudmila Petrushevskaya was a member of the Union of Writers of the USSR (since 1977), a member of the creative council of the magazine "Dramaturg", the editorial board of the magazine "Russian Visa" (since 1992). Member of the Russian PEN Center, Academician of the Bavarian Academy of Arts.
She was awarded the Pushkin Prize of the A. Töpfer Foundation (1991), awards from the magazines October (1993, 1996, 2000), Novy Mir (1995), Znamya (1996), them. S. Dovlatov of the Zvezda magazine (1999), the Triumph Prize (2002), the Russian State Prize (2002), the New Drama Festival Prize (2003).
Lyudmila Stefanovna has three children: two sons and a daughter. Lives in Moscow. Husband, Boris Pavlov, died in 2009.
On May 26, a writer, playwright, artist, musician, artist and just one of the brightest and most talented people of our time celebrates his 80th birthday. For her anniversary in the MMOMA building on Gogolevsky Boulevard, the curator and the artist made the exhibition "Petrushestvo". Anna Narinskaya, the exposition curator, told columnist Natalya Kochetkova about the grandfather-linguist, letters to Ligachev and Gorbachev, and Lyudmila Petrushevskaya's personal hell.
: The situation with this exhibition looks something like this. There is a writer turning 80 who has been writing stories all his life. And then people come to him and say: “You know, we have our own opinion on you. We're going to tease you a bit here. Perhaps you yourself do not know what you are talking about. And we know and now we will explain it to the public.” On our part, it was a terrible arrogance, so we were ready for the fact that Lyudmila Stefanovna would say: "I'm sorry, but I don't want all this."
And the fact that she did not say so speaks of her incredible breadth.
At first, I wanted to call the exhibition “Petrushevsky”, because it is first and foremost about the atmosphere of her texts. And at this exhibition, the visitor should be anxious, strange, because in Petrushevskaya's texts of the late 1970s and early 1980s, such as "Three Girls in Blue" or "Cinzano", people are anxious, uncomfortable, feel bad.
This exhibition is largely dedicated to the absurdity that reigns in her works. And how great Lena Rybakova, the author of the wall texts of the exhibition, which turned out to be full-fledged literary studies, wrote beautifully, the heroes of Petrushevskaya, their apartments and communal kitchens, stand exactly at the crossroads where those guys who are waiting for Godot are sitting. And we wanted the exhibition to reflect that.
Lyudmila Stefanovna herself said many times that she is a writer of the city: she is interested in the experiences of city people, she sees a separate caste in the townspeople. When it was not printed, and Tvardovsky threw out her texts from Novy Mir, she told him: “You print villagers, whose main advantage is that they gave voice to the villagers. And no one gave a voice to the inhabitants of the city. They are dumb. And all their suffering, their conversations go into oblivion. This was her conscious position.
Therefore, the entire space of the exhibition is a large transforming apartment. Each of her rooms may be something else, but together they still make up an apartment.
This room is a local history museum. I must say that if we decided to make a full-fledged archival exhibition about Lyudmila Stefanovna, we would not succeed. She is a real intellectual from the seventies: she moved wildly a lot, lived in a small apartment with three children, a tiny archive, everything was stuffed somewhere, abandoned. She treated her papers without reverence.
And this room is a museum of local lore named after "partisan Bosniuk lived widely." Here, as in a provincial museum of local lore, photos, signatures. For example, this is her grandfather, the great linguist Yakovlev, the one who gave writing to the Union republics that did not have it.
For me, the main thing here is this showcase dedicated to 1991, when she wrote a letter to Gorbachev. She could not bear the introduction of tanks into Lithuania. This is her diary, opened in this place.
It seems to me that it is difficult to imagine words more adequate for today: “Is it possible to think that a shoemaker is fighting for the happiness of mankind by making good boots? Doesn’t stop making boots, doesn’t go to the square with slogans, but sits and sews?” She writes this in 1991, and this issue continues to be relevant.
This is the room we call Dramatist's Corner. These are all the things of Lyudmila Stefanovna, from her apartment. Piano, table, chair, shelf, armchair - and so on. When she lived in wild poverty, she wrote her works on the corner of this piano. Therefore, her children called this piano and this chair "Dramatist's Corner."
All the paintings that are here are paintings from her collection. They were given to her by artists. In particular, here is Roginsky.
This is Zatulovskaya. This is a portrait of Norstein, and this, in fact, is Petrushevskaya. Absolutely wonderful Brewers. This is Norstein's wife.
And this whole wall is her own drawings, here she draws her family and arranges them in beautiful frames, most of which she, in her own words, found in the garbage heap.
This self-portrait has such a history. When the Moscow Art Theater was supposed to go on tour with Petrushevskaya's play to France, the theater left, but they did not take her with them. And she painted herself in such an offended form.
This room is a quote from her life. Let's say that this dish with little things is still on the table.
This is work. It was not made especially for us, but we found it suitable.
This room is called "Collected Works". As Brodsky said, the greatness of the idea forgives everything. And here is just about the greatness of the idea. Lyudmila Stefanovna has been compiling her collected works all her life, because a full-fledged one has not yet come out. And she makes lists of stories, swaps them. This is a writer who knows his own worth and sees his work in total.
But on these ribbons fit a full story.
This is the first draft of the Moscow Choir, which was then called the Seventh Waltz. Dating back to the late 1970s. She wrote it for seven years. That says a lot about how she writes in general. With a fairly high fertility, she is very strict with herself.
There is an artistic council in this room. The room is called "Colombina's Apartment", and this is a transcript of the artistic council, taken from the wilds of archives, which met about the play "Colombina's Apartment" and Petrushevskaya's performances in general. They were not placed. The only performance that ran for three days was "Three Girls in Blue" at Lenkom. There were such full houses that Ligachev became interested in them: he personally went to see what it was. The play was immediately canceled after his visit.
Lyudmila Stefanovna writes letters to the government and in this sense inherits Bulgakov and Solzhenitsyn. This is a letter to Ligachev. The most desperate letter, in which she says that she is the mother of three children, tells how hard life is for her and asks to return the performance.
Brusnikin made a whole audio performance for us - he reads this transcript here. This is a very interesting read. For example, Shatrov says that Petrushevskaya "lowers the moral character of the Soviet people."
Magazine Award Winner:
"New World" (1995)
"October" (1993, 1996, 2000)
"Banner" (1996)
"Star" (1999)
A story with a sad ending.
Discography
Filmography
Scenarios
05.02.2019
Petrushevskaya Ludmila Stefanovna
Russian prose writer
Playwright
Artist
News & Events
04.02.2019 Maria Stepanova became the winner of the NOS-2018 award
Lyudmila Petrushevskaya was born on May 26, 1938 in Moscow. The girl grew up in a family of students of the Institute of Philosophy, Literature, History. Granddaughter of a linguist, orientalist professor Nikolai Yakovlev. Mom, Valentina Nikolaevna Yakovleva, later worked as an editor. She practically did not remember her father, Stefan Antonovich.
After school, which the girl graduated with a silver medal, Lyudmila entered the Faculty of Journalism of Lomonosov Moscow State University.
After receiving her diploma, Petrushevskaya worked as a correspondent for Latest News for All-Union Radio in Moscow. Then she got a job in the magazine with records "Krugozor", after which she switched to television in the review department. Later, Lyudmila Stefanovna ended up in the department of long-term planning, the only futuristic institution in the USSR, where it was necessary from 1972 to predict Soviet television for the year 2000. After working for one year, the woman quit and since that time has not worked anywhere else.
Petrushevskaya began writing early. She published notes in the newspapers "Moskovsky Komsomolets", "Moskovskaya Pravda", the magazine "Crocodile", the newspaper "Nedelya". The first published works were the stories "The Story of Clarissa" and "The Narrator", which appeared in the journal "Aurora" and caused sharp criticism in the "Literary Gazette". In 1974, the story “Nets and Traps” was also published there, then “Through the Fields”.
The play “Music Lessons” was staged by Roman Viktyuk in 1979 at the Student Theater of Moscow State University. However, after six performances, it was banned, then the theater moved to the Moskvorechye Palace of Culture, and Lessons was banned again in the spring of 1980. The play was published in 1983 in the brochure "To Help Amateur Art".
Lyudmila Stefanovna is a universally recognized literary classic, the author of many prose works, plays and books for children, among which are the famous “linguistic tales” “Bat Puski”, written in a non-existent language. Petrushevskaya's stories and plays have been translated into many languages of the world, her dramatic works are staged in Russia and abroad. Part of the Bavarian Academy of Arts
In 1996, the publishing house "AST" published her first collected works. She also wrote scripts for the animated films "Lyamzi-Tyri-Bondi, the Evil Wizard", "All the Dumb Ones", "The Stolen Sun", "The Tale of Fairy Tales", "The Cat Who Could Sing", "The Hare's Tail", "One of You tears”, “Peter the Piglet” and the first part of the film “The Overcoat” co-authored with Yuri Norshtein.
Not limited to literature, he plays in his own theater, draws cartoons, makes cardboard dolls and raps. Member of the Snob project, a one-of-a-kind discussion, information and public space for people living in different countries, since December 2008.
In total, more than ten children's books by Petrushevskaya were printed. Performances are staged: “He is in Argentina” at the Chekhov Moscow Art Theater, the plays “Love”, “Cinzano” and “Smirnova’s Birthday” in Moscow and in various cities of Russia, exhibitions of graphics are held at the Pushkin State Museum of Fine Arts, at the Literary Museum, in the Akhmatova Museum in St. Petersburg, in private galleries in Moscow and Yekaterinburg.
Lyudmila Petrushevskaya performs with concert programs called "Cabaret of Lyudmila Petrushevskaya" in Moscow, in Russia, abroad: in London, Paris, New York, Budapest, Pula, Rio de Janeiro, where she performs hits of the twentieth century in her translation , as well as songs of his own composition.
Petrushevskaya also created the "Manual Studio", in which she draws cartoons on her own with the help of a mouse. The films "K. Ivanov's Conversations" together with Anastasia Golovan, "Pins-nez", "Horror", "Ulysses: we drove, we arrived", "Where are you" and "Mumu" were made.
At the same time, Lyudmila Stefanovna founded the small theater "One Author Cabaret", where she performs with her orchestra the best songs of the 20th century in her own translations: "Lily Marlene", "Fallen Leaves", "Chattanooga".
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.
In her free time, Lyudmila Stefanovna enjoys reading books by philosopher Merab Mamardashvili and writer Marcel Proust.
In November 2015, Petrushevskaya became a guest of the III Far Eastern Theater Forum. On the stage of the Chekhov Center staged the play "Smirnova's Birthday" based on her play. Directly took part in the children's concert "Pig Peter invites." To the accompaniment of the Jazz Time group, she sang children's songs and read fairy tales.
On February 4, 2019, the final debates and the awarding of the winners of the Nos Literary Prize took place in Moscow for the tenth time. The “Critical Community Prize” was won by Lyudmila Petrushevskaya for her work “We were stolen. History of crimes.
Awards and Prizes of Lyudmila Petrushevskaya
Laureate of the Pushkin Prize of the Toepfer 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)
Laureate of the Bunin Prize (2008)
Literary Prize named after N.V. Gogol in the "Overcoat" nomination for the best prose work: "The Little Girl from the Metropol", (2008)
Ludmila Petrushevskaya received the World Fantasy Award (WFA) for the best collection of short stories published in 2009. Petrushevskaya's collection There 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.
A story with a sad ending.
Collections of short stories and novellas
Immortal love. - M .: Moscow worker, 1988, shooting range. 30,000, cover.
Ball of the last man. - M.: Lokid, 1996. 26,000 copies.
2008 - Border tales about kittens. - St. Petersburg: Amphora. - 296 p.
2008 - Black butterfly. - St. Petersburg: Amphora. - 304 p.
2009 - Two kingdoms. - St. Petersburg: Amphora. - 400 s.
2009 - Stories from my own life. - St. Petersburg: Amphora. - 568 p.
Discography
2010 - solo album "Don't Get Used to the Rain" (as an attachment to the magazine "Snob")
2012 - solo album "Dreams of Love" (as an appendix to the magazine "Snob")
Filmography
Scenarios
1974 "Treatment of Vasily" Merry Carousel No. 6
1976 Lyamzi-tyri-bondi, the evil wizard, dir. M. Novogrudskaya.
1976 "There are only tears from you" dir. Vladimir Samsonov
1978 The Stolen Sun, dir. Nathan Lerner
1979 "Tale of Tales", dir. Yuri Norstein.
1981 "Overcoat", dir. Yuri Norstein.
1984 "Hare Tail", dir. V. Kurchevsky.
1987 "All the dumb" dir. Nathan Lerner
1988 The Cat Who Could Sing, dir. Nathan Lerner.
- (b. 1938) Russian writer. In plays (Love, production 1975; Cinzano, Smirnova's Birthday, both productions 1977; Music lessons, production 1979), novels and stories (Own circle, 1988; Songs of the Eastern Slavs, 1990; Time is night, ... ... Big Encyclopedic Dictionary
Petrushevskaya, Lyudmila Stefanovna- PETRUSHEVSKAYA Lyudmila Stefanovna (born in 1938), Russian writer. In plays (“Love”, staging 1975; “Cinzano”, “Smirnova’s Birthday”, both stagings 1977; “Music Lessons”, staging 1979), stories and short stories (“Own Circle”, 1988; ... ... Illustrated Encyclopedic Dictionary
- (b. 1938), Russian writer. In plays (“Love”, staging 1975; “Cinzano”, “Smirnova’s Birthday”, both stagings 1977; “Music Lessons”, staging 1979), stories and short stories (“Own Circle”, 1988; “Songs of the Eastern Slavs”, 1990; "Time ... ... encyclopedic Dictionary
Petrushevskaya Lyudmila Stefanovna- (b. 1938), Russian Soviet writer. The plays "Love" (post. 1975), "Cinzano", "Smirnova's Birthday" (both post. 1977), "A Suitcase of Nonsense" (1978), "Music Lessons" (post. 1979). Stories. Screenplays. Translations.■ Plays, M., 1983 (in ... ... Literary Encyclopedic Dictionary
Prose writer, playwright; born in 1938; graduated from the Faculty of Journalism of Moscow State University; author of the plays "Love", "Cinzano", "Smirnova's Birthday", "Music Lessons", "Glass of Water", "Three Girls in ... ... Big biographical encyclopedia
Lyudmila Petrushevskaya February 1, 2009 on the 25th anniversary of the rock group "Sounds of Mu" Birth name: Lyudmila Stefanovna Petrushevskaya Date of birth: May 26, 1938 Place of birth: Moscow, USSR Citizenship: Russia ... Wikipedia
Lyudmila Stefanovna Petrushevskaya- The anniversary of Lyudmila Petrushevskaya, who turns 70 on Monday, will be marked by a special "Petrushev Festival", which will last for almost a month and present the writer in an unusual role for her. Prose writer, playwright Encyclopedia of newsmakers