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Nikolai Pogodin | |
|---|---|
| Native name | Nikolai Fyodorovich Stukalov |
| Born | Nov 16 1900 Gundorovskaya village, Donskoy region, Russian Empire |
| Died | September 19, 1962 Moscow, the RSFSR, the USSR |
| Occupation | Writer, Playwright |
| Language | Russian |
| Nationality | USSR |
| Citizenship | USSR |
| Genre | Plays, Scripts |
| Literary movement | Socialist Realism |
| Years active | 1920-1962 |
| Notable awards |
|
Lead Section (bryancohen1 Draft)[edit]
Nikolai Fyodorovich Pogodin (Russian: Никола́й Фёдорович Пого́дин) (pseudonym of Nikolai F. Stukalov) (16 November [O.S. 3 November] 1900 - 19 September 1962) was a Soviet playwright. His plays were recognized in Soviet Union theater for their realistic portrayals of common life[1] combined with socialist and communist themes[1].
Pogodin's earliest works were produced during the First five-year economic plan for the Soviet Union. During the Great Purge, Pogodin released several plays about Lenin and the growth of the new Soviet government. Despite the period of the Great Purge marking a shift for plots focusing on internal and external threats to the Soviet cause or Stalin, Pogodin pushed for writing that averted the simplistic to penetrate "people's traumatized psyches" in order to achieve healing.[2] Risking the ire of Kremlin and Soviet censors, Pogodin resisted attempts of the government under the guise of Socialist realism to hide the impact of policies on his characters.
In his play The Three of Us Came To Virgin Lands, Pogodin tells the story of government efforts to turn parts of Siberia into a wheat-generating region despite the difficulties of agriculture in the region. His characters were portrayed as sympathetic, somewhat suffering, and "less than heroic."[3] The play was later televised, quickly recognized by the Kremlin, and panned by Pravda for insulting the "patriotic movement" of communism.[3]
Pogodin did not limit his writing to mainstream theater. He lent his screenplay skills to the State Leningrad Puppet Theater of Fairy Tales [4] with a play titled The Tale of the Beast Called Indrik.
Pogodin died in Moscow on September 19, 1962. He was 61 years old.[1]
Biography (SumCall Draft)[edit]
Pogodin was born Nikolai Stukalov in modern day Donetsk Oblast on 16 November [O.S. 3 November] 1900.[5] Both parents were peasants.[6] His educational career lasted through the elementary level.[5] Between 14 and 20, Pogodin worked a variety of low-level jobs: selling newspapers, distributing supplies for typewriters and dental equipment, working in a machine shop, bookbinding and carpentry.[7] During the Russian Civil War he served as a volunteer with the Red Army. In 1920 he worked as a reporter for the Rostov-on-Don newspaper Trudovaya zhizn, and was a traveling correspondent for Pravda from 1922 to 1932. From 1925 he lived in Moscow.
In 1929, Pogodin's first play, Tempo (Temp, 1929) was published after a visit to the Stalingrad Tractor Plant, where the play was later set. [8] The play's major theme of young Communists outdoing their American counterparts was a common theme of Soviet Realism. His later works, Poema o topore (A Poem about an Ax, 1930)[9] and Moi Drug (My Friend, 1930)[10] also touched on themes of soviet industrialism and ingenuity. His plays frequently mixed "factual reports" with dramatization. [11]
His most popular play was Chelovek s ruzhyom (Man with a Gun, 1937), about Shadrin, a soldier who comes to Petrograd in October 1917 and gets involved in the Revolution; the climax of the play is his meeting with Lenin. The second play in his Lenin trilogy, Kremlyovskie kuranty (The chimes of the Kremlin, 1940), was set in 1920 and featured a scene in which Lenin talks with an old Jewish watchmaker engaged in repairing the Kremlin chimes so they can play the Internationale; the third, Tretya pateticheskaya (The third: Pathetic, 1958) used the news of Lenin's death as a tragic leitmotif. Kogda lomaiutsya kop'ya (When the Spears Break, 1953) was a comedy; Sonet Petrarki (Petrarch's Sonnet, 1956) "takes the position that there are certain individual matters--personal feelings and affairs of the heart--which are none of the collective's or the Party's business."[12]
From 1951 to 1960 Pogodin was the chief editor of the theatrical journal Teatr. He won the Order of Lenin twice and the Stalin Prize twice, and became an Honored Artist of the RSFSR in 1949.
Pogodin died on September 1962 at the age of 61.[6]
Pogodin's Career (Historynerd6 draft)[edit]
Pogodin's career was very vast before his film career. He worked as a book binder and carpenter before volunteering in the Red Army during the Russian Civil War. After that he went on to become a reporter for the Rostov-on-Don newspaper, this part of his career lead to his first couple films being dramatized reports of current events. His career in the theatrical world really took off, earning the Order of Lenin twice and the Stalin Prize twice and becoming well known in the theatrical world.[13]
Influences, Inspiration, and Impact of Socialist Realism Movement (Kgarelik sandbox draft)[edit]
Nikolai Pogodin is seen as one of the first Socialist Realist writers. Pogodin was able to produce material despite the rules and regulations that were enforced on the Arts. Socialist Realist art was supposed to support and contribute the the new socialist ideas.[14]
Awards and Commemorations (Mvaleron draft)[edit]
He was awarded the title of Honored Art Workers of the Russian Republic. In addition to the Lenin Prize, he was given the Stalin Prize in 1941. Pogodin was also awarded the State Prize of the Soviet Union (Stalinskaya Premia) of the second category in 1951. Petropavlovsk is one of the first cities in Kazakhstan to have a theatrical life. The Pogodin Russian Drama Theater was erected in 1906. In 1934, the name of the "Pravada" newspaper Nickolai Pogodin appeared for the first time in the Petropavlovsk playbill featuring his play "My Friend". Evacuated artists from surrounding theaters arrived to Petropavlovsk in 1941. The theater was named after the Lenin prized playwright in 1962. In 1972, the theater moved into a modern building located in Teatralnaya Square .The mission of the Russian Theater, named after Pogodin, never ran out of artistically challenging plays. From the first day of its existence, the theater became a link between Kazakh and Russian cultures, by facilitating their interaction and mutual enrichment. The theater takes pride in upholding the standards of creativity in the region and preserving the moral and aesthetic values through its theater productions.
References[edit]
- ^ a b c "Nikolai Pogodin is dead at 61". The New York Times. Sept 20 1962. Retrieved April 9 2018.
{{cite news}}: Check|archive-url=value (help); Check date values in:|access-date=and|date=(help) - ^ Krylova, Anna (2001-06-01). ""Healers of Wounded Souls": The Crisis of Private Life in Soviet Literature, 1944–1946". The Journal of Modern History. 73 (2): 307–331. doi:10.1086/321026. ISSN 0022-2801. S2CID 143911668.
- ^ a b Taubman, Howard (1962-09-30). "WITHOUT FEAR; In Privacy of Home Pogodin Spoke Candidly of Soviet Theater". The New York Times. ISSN 0362-4331. Retrieved 2018-04-09.
- ^ Turayev, Georgi (Jan 1992). "The State Puppet Theatre of Fairy Tales". Contemporary Theatre Review. 1: 49–54. doi:10.1080/10486809208568247 – via EBSCOhost.
- ^ a b "Pogodin, Nikolai Fyodorovich". Encyclopedia of Soviet Writers. Retrieved 4/1/2018.
{{cite web}}:|archive-date=requires|archive-url=(help); Check date values in:|access-date=and|archive-date=(help) - ^ a b "Nikolai pogodin is dead at 61; A leading playwright in russia". New York Times. 09/20/1962. ProQuest 115827928. Retrieved 4/1/18.
{{cite news}}: Check date values in:|access-date=and|date=(help); External link in|dead-url=|dead-url=ignored (|url-status=suggested) (help) - ^ Avril Pyman in A. K. Thorlby (ed.), The Penguin Companion to Literature: European (Penguin, 1969), p. 618.
- ^ Rogger, Hans (July 1981). "Amerikanizm and the Economic Development of Russia". Comparative Studies in Society and History. 23 (3): 382–420. doi:10.1017/S0010417500013426. S2CID 144503003 – via JSTOR.
- ^ Krylova, Anna (2001). "Soviet modernity in life and fiction: The generation of the "new Soviet person" in the 1930s". The Johns Hopkins University, ProQuest Dissertations Publishing.
- ^ Gough, Maria (Summer 2009). "Back in the USSR: John Heartfield, Gustavs Klucis, and the Medium of Soviet Propaganda". New German Critique. 107 (2): 133–183. doi:10.1215/0094033X-2009-004.
- ^ Marc Slonim, Russian Theater: From the Empire to the Soviets (New York: Collier, 1962), p. 337.
- ^ Pogodin, Nikolai Fyodorovich in Encyclopedia of Soviet Writers.
- ^ https://www.revolvy.com/main/index.php?s=Nikolai+Pogodin&item_type=topic
- ^ Skinner, Amy (Nov 2016). "Exploring the hinterlands: avant-garde temporality, socialist realism, and Pogodin's Aristocrats". Studies in Theater & Performance. 36 (3): 257–268. doi:10.1080/14682761.2016.1225184. S2CID 64322157 – via EBSCOhost.