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Elena Guro (Eleanor) Genrichovna

( Poet, writer)

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Biography Elena Guro (Eleanor) Genrichovna
Guro, Elena (Eleanor) Genrichovna (1877-1913) - poet, writer, artist.
Born 18 (30) May 1877 in St. Petersburg in a military family. Belonged to the old-nobility clan. Childhood and early youth in the village Novosele Pskov province, where she soon began to draw and write impression. In 1895 he entered the school to promote the Arts in St. Petersburg in the artist's impressionistic direction Ya Tsionglinskogo. In 1906, Guro, belonged to the painting to neo-primitivism, went from devoted 'old tendencies' in the art J. Tsionglinskogo to miriskusstnikam L. Bakst and M. Dobuzhinsky. At this point, it is already well-known French poetry, fascinated Verhaeren, Verses about the Beautiful Lady "A. Blok," Symphony "A. White, prose A. Remizov. Picturesque and poetic experiments were in close relation to each other. In painting, Guro was to overcome the objectivity, while maintaining the lyrical, the natural basis image. Her literary work has developed a similar fashion: bold experimentation with form, remained committed to traditional romantic themes of heroism, youth, ethical passion of the Russian novel 19.

The first statement in the press refers to 1905. In the "Compendium of Young Poets" was placed story "Early Spring", in which the world appeared as a tenderly-transparent colors, was captured with impressionistic immediacy. The first book Jukebox, which included poetry, prose, the play "Beggar harlequin", released in 1909 - good deal at the time circulation. Copies of the book remained unsold, and Guro sent out Jukebox in the prison library and sanatoriums. Despite the failure, Jukebox attracted the attention of the Symbolist poets: A. Block and Vyach.Ivanov tried to attract Guro to participate in the symbolist collections. Not gone unnoticed Jukebox and among futurists: D. Burliuk called Jukebox the first book of the Russian Futurists, Kamensky considered it 'the perfect reading' resisting 'literature ladies'. Symbolism, which came at a time of crisis, Guro preferred Futurism. In 1909 he met with V. Kamensky, V. Khlebnikov, D. Burliuk and participated in the collection "Zadok the judges I".

Poetry and Prose, included in the Jukebox, bore the imprint of symbolist search for new forms - close to musical experimentation in technique 'stream of consciousness'. Guro was followed by the Symbolists, creating the genre of the lyric passages, fragment. 'Floor rhythms. Prose into verse. Prose - almost poetry '- it formulated its artistic mission. But no less strong influenced children's literature and futuristic trends. Sharmanka repeated a number of down-child melodies - 'spring chatter', domestic detail, the change of seasons. It was planned and the main theme of the Guro, leads her away from the symbolist 'unspeakable' - 'unbearable love' for all living things, the glorification of nature, the adoption of the earthly world. Romantic glorification of audacious outbursts, the brightness of colors, primitive appeal to meet the requirement of the Futurists.

But in the next book "Autumn Dream" (1912) prevailed not peculiar to the futuristic aesthetic of mystical-philosophical note. The book was dedicated to the memory of the mythical literary son of Elena Guro - V. Notenberga, Gouraud stood there under the pseudonym of a romantic poet Eleanor von Notenberg. Hoax Guro repeating the experience of her friend E. Vasilyeva (Cherubin de Gabriak) and created a legend about a dead baby at Guro and authenticity of the name Notenberg. 'Autumn dream of those very painful to live in these days, perhaps consolation: If they can catch the inward look at these pages almost isolated bright light shade - it is their comfort' - wrote about "Autumn's Dream Vyach.Ivanov. Blok called "Autumn Dream" 'beautiful book': poetry, prose miniatures, play accompanied by illustrations of the author and the symphonic suite AM Matyushina - music, literature, painting merged to form a syncretic genre.

In early 1913 took part in the performances of the Futurists and the collection of "Zadok the judges 2." Her poem "wind-driver, madcap, letatel" taken as a manifesto of the Futurist group 'Gilea'. However, creativity Guro not quite fit into the framework of futuristic canons. 'Light and joyful, . just more fond of wind, . freedom, . Sea, . - Wrote about Guro Khodasevich, . - Sometimes knowing how to feel the quiet kindness of everyday, . She was infinitely far from dull and spiritually feeble Russia Futurism, . This brainchild of boredom, . disbelief and indiscriminate aestheticism ',
. Khodasevich prophesied a speedy departure from the Guro Futurists, which is not given to be realized because of the death of writer.

April 23 (6 May) 1913, Guro, who was suffering from leukemia, died in the Finnish town Usikirko. Five days after her death in the newspaper 'speech' obituary appeared under the title "priceless": literary and artistic talent Guro appeared as tragically unappreciated - when life came only two books, . one of which was not sold, . group 'Gilea' voice Guro was poorly visible for the inarticulate Engendering shock and revulsion Burliuk, . prophecies Khlebnikov and rebel cries Mayakovsky,
.

After the death of Guro released a compilation "Troy" (1913), published by V. Khlebnikov, A. Kruchenykh and dedicated to her memory.

A year later, was released on the most significant book Guro Celestial camels, imbued with romantic pantheism - 'fluid love' and 'fluid heroism'. The main content of the book became a kind of mythology of motherhood, ministry 'courage timid and gentle'. Celestial camels - the romantic image of 'air eccentrics', lanky youth in need of chivalrous protection and maternal custody. 'Cloak of mercy falls on the entire animal world, and people deserve pity, as the celestial camels, like dying young animals with the golden gun' - said about Heavenly camels V. Khlebnikov.

In "Heavenly camels" Guro used the 'Dictionary of childhood' genre and deliberately not treated, 'simplification' fragment. But, unlike the rest of the Futurists, in particular from B. Kamensky and Kruchenykh, Guro not estetizirovala children's creativity, 'pre-cultural' primitive, and sought to childhood as the ideal state of creative souls.

The final product Guro "Poor Knight" (1910-1913) - the philosophical-literary poem about the 'positively beautiful man', 'air boy', devoid of flesh. In the poor knight reflected characteristic culture of the Silver Age metaphysical aspirations of the transfiguration of the flesh, religious and romantic mood. In the 'cherished' book came together key motifs and images of her work: the mythology of childhood and motherhood, the cult of heroism and helplessness, pantheistic vision of merging with all life, 'ottenochki, splinters' barely visible beauty.

Elena Guro's prose has become the most visible among the Futurists. However, her work occupies a special, intermediate position "between the two schools' - symbolism and futurism.


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Elena Guro (Eleanor) Genrichovna, photo, biography
Elena Guro (Eleanor) Genrichovna, photo, biography Elena Guro (Eleanor) Genrichovna  Poet, writer, photo, biography
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