My years are getting older
will be seventeen.
Where should I work then?
what to do?
Required workers -
joiners and carpenters!
It’s tricky to work furniture:
and sawing boards
long and flat.
glowed white hot.
very round
on a lathe
We sharpen the round.
Let's cook little by little
I would go build a house
let them teach me.
as if alive.
lifts the beams
like sticks.
Will drag the bricks
oven hardened.
They laid tin on the roof.
80 on all four sides,
and the guys will live in it
comfortable and spacious.
Good for an engineer
I would go to treat the children,
let them teach me.
I'll come to Petya,
I'll come to Pole.
90 - Hello children!
Who is sick with you?
How do you live?
How's your tummy? -
the tips of the tongues.
Place this thermometer
under the arm, kids. -
And the children put it joyfully
100 thermometer under the armpits.
drink a little.
I would go to work
let them teach me.
130 cut with scissors,
hanging crane
dragging weights;
steam hammer
the rails are also bent by grass.
We melt tin,
we drive cars.
Everyone's work
needed equally.
into even holes,
| parts | |
| 150 | together |
| knock down | |
| huge. |
| There - | |
| smoke, |
170 I would become a conductor
let them teach me.
You can ride on trams.
Big and children
take a ticket,
180 different tickets,
take any -
and blue. -
We travel on rails.
The rail has ended
and we got down near the forest,
I would become a driver
let them teach me.
The ambulance snorts,
flies, gliding,
I'm a good driver
can't be contained.
Just tell me
200 where do you need -
I'll deliver to your home.
It's good to be a driver
I would become a pilot
let them teach me.
I pour gasoline into the tank,
I'm starting the propeller.
“Take it to the heavens, motor,
220 for the birds to sing."
No need to be afraid
completely distant."
Good for the pilot
240 I would become a sailor
let them teach me.
I have a ribbon on my hat,
| and Northern - | |
| Maybe. |
Having turned the book over,
wrap it around your head -
260 all works are good,
| choose | |
| taste! |
On the market square,
At the fire watchtower
All day long
Lookout at the booth
I looked around -
On North,
South,
To the west,
To the East,-
Is there any smoke visible? And if he saw a fire,
Floating carbon monoxide smoke,
He raised the signal ball
Above the fire tower.
And two balls and three balls
They soared upward, it happened.
And here from the fire yard
The team left. The alarm bell woke up the people,
The pavement shook.
And rushed forward with a roar
The team is daring... Now there is no need for a tower, -
Call by phone
And report the fire
The nearest area. Let every citizen remember
Firefighter number: zero-one! There is a concrete house in the area -
Three floors and above -
With a large yard and garage
And with a tower on the roof. Taking turns, on the top floor
The firefighters are sitting
And their cars are in the garage
The engine is looking at the door. Just a little - at night or during the day -
An alarm will sound
A dashing squad of fire fighters
Rushing along the road... Mother was leaving for the market,
She told her daughter Lena:
- Don’t touch the stove, Lenochka.
It’s burning, Lenochka, fire! Only the mother left the porch,
Lena sat down in front of the stove,
He looks through the red crack,
And the fire is roaring in the stove. Lena opened the door -
The fire jumped from the log,
I burned the floor in front of the stove,
Climbed the tablecloth onto the table,
He ran over the chairs with a crash,
Crawled up the curtains
The walls are covered in smoke,
Licks the floor and ceiling. But the firefighters found out
Where is it burning, in what quarter?
The commander gives the signal,
And now - in one single moment -
Cars break out
From the open gate. They rush into the distance with a resounding ringing.
There is no obstacle in their way.
And turns green
There is a red light in front of them. At zero minutes cars
We got to the fire,
They formed a formation at the gate,
Connected the elastic hose,
And, swollen from exertion,
He scored like a machine gun. Carbon monoxide smoke began to billow.
Gary's room is full.
In the arms of Kuzma the firefighter
He carried Lena out of the window. He, Kuzma, is an old fireman.
I've been putting out fires for twenty years,
Saved forty souls from death,
I've fought fire more than once. He's not afraid of anything
Puts on mittens
Boldly climbs the wall.
The helmet glows in the fire. Suddenly on the roof from under the beam
Someone's cry rang out pathetically,
And across the fire
Kuzma climbed into the attic. He stuck his head out the window,
I looked... - Yes, it’s a cat!
You will perish here in fire.
Reach into my pocket!.. The flames are raging widely...
With tongues waving,
Licks nearby houses.
Kuzma fights back. Looking for a way in the flames,
Calls the younger ones for help,
And hurries to his call
Three tall guys. They destroy beams with axes,
Fire hoses are used to extinguish the flames.
A thick black cloud
Smoke billows behind them. The flame shrinks and gets angry,
Runs away like a fox.
And the stream from afar
Drives the beast out of the attic. The logs have turned black...
Evil fire hisses from the crack:
- Spare me, Kuzma,
I won't burn houses! - Shut up, insidious fire!
The fireman tells him.
- I’ll show you Kuzma!
I'll put you in jail!
Just stay in the oven
In an old lamp and on a candle! On the panel in front of the house -
Table, and chairs, and bed...
Going to see friends
Lena and her mother are spending the night. The girl is crying bitterly,
And Kuzma tells her:
- You can’t fill the fire with tears,
We put out the fire with water.
You will live and live.
Just be sure not to set it on fire!
Here's a cat for you to remember.
Dry it a little! It is done. Lights out.
And again along the pavement
Cars rushed
They blew, they rang,
There is a ladder and a pump.
Dust swirls from under the wheels. Here is Kuzma in a dented helmet.
His head is in a bandage.
Bloody forehead, black eye, -
It's not the first time for him.
It was not for nothing that he worked -
Did a great job putting out the fire!
S. Marshak
Who to be?
My years are getting older
will be seventeen.
Where should I work then?
what to do?
Required workers -
joiners and carpenters!
It's tricky to work furniture:
at first
We
take a log
and sawing boards
long and flat.
These boards
like this
clamps
workbench table
From work
saw
glowed white hot.
From under the file
sawdust is falling.
Plane
in hand -
different work:
knots, squiggles
planing with a plane.
Good shavings -
yellow toys.
And if
we need a ball
very round
on a lathe
We sharpen the round.
Let's cook little by little
then the box
then the leg.
We've done this much
chairs and tables! It’s good for the carpenter,
and the engineer -
better,
I would go build a house
let them teach me.
I
at first
I'll draw
house
such,
which one I want.
The most important,
to be drawn
building
glorious,
as if alive.
It will be
before,
called a façade.
This
everyone will understand -
this is a bath
this is a garden.
The plan is ready
and around
one hundred works
for a thousand hands.
Scaffolding rests
to the very heavens.
Where the work is difficult
there
the winch squeals;
lifts the beams
like sticks.
Will drag the bricks
oven hardened.
They laid tin on the roof.
And the house is ready
and there is a roof.
Good house,
big house
on all four sides,
and the guys will live in it
comfortable and spacious. It’s good for the engineer,
and to the doctor -
better,
I would go to treat the children,
let them teach me.
I'll come to Petya,
I'll come to Pole.
- Hello children!
Who is sick with you?
How do you live?
How's your tummy? —
I'll take a look
from glasses
the tips of the tongues.
— Place this thermometer
under the arm, kids.-
And the children put it joyfully
thermometer under the armpits.
- You should
Very good
swallow the powder
and potion
spoon
drink a little.
To you
go to bed
I wish I could sleep
to you -
compress on the stomach
and then
you
before the wedding
everything will heal, of course. Doctors are fine,
and the workers -
better,
I would go to work
let them teach me.
Get up!
Go!
The whistle is calling
and we come to the factory.
There are a whole lot of people,
one thousand two hundred.
What one will not do -
let's do it together
Can
iron
cut with scissors,
hanging crane
dragging weights;
steam hammer
oppression and rails with grass.
We melt tin,
we drive cars.
Everyone's work
needed equally.
I make nuts
And you
for nut
you make screws.
And it goes
everyone's work
straight to the assembly shop.
Bolts,
climb
into even holes,
parts
together
knock down
huge.
There -
smoke,
Here -
thunder.
Gro-
mime
all
house.
And so
the locomotive comes out
so that you
and U.S
and carried
and drove it. It’s good at the factory,
and on the tram -
better,
I would become a conductor
let them teach me.
Conductors
driving everywhere.
With a large leather bag
he always
him all day
You can ride on trams.
— Big and children,
take a ticket,
different tickets,
take any -
green,
red
and blue.-
We travel on rails.
The rail has ended
and we got down near the forest,
sit down
and warm up. It’s good for the conductor,
and the driver -
better,
I would become a driver
let them teach me.
The ambulance snorts,
flies, gliding,
I'm a good driver
can't be contained.
Just tell me
where do you need -
without rails
residents
I'll deliver to your home.
E-
dem,
du-
dim:
"With pu-
you
uh-
di!” It’s good to be a driver,
and as a pilot -
better,
I would become a pilot
let them teach me.
I pour gasoline into the tank,
I'm starting the propeller.
“Take it to the heavens, motor,
for the birds to sing."
No need to be afraid
no rain
no hail.
I'm flying around a cloud,
flying cloud.
Soaring like a white seagull,
flew overseas.
Without talking
I'm flying around the mountain.
“Drive the engine,
to take us there
to the stars
and to the moon,
although the moon
and mass of stars
completely distant.” It’s good for the pilot,
and to the sailor -
better,
I would become a sailor
let them teach me.
I have a ribbon on my hat,
on a sailor suit
anchors
I sailed this summer
conquering oceans.
In vain, waves, you jump -
sea path
on the yards and along the mast
I climb with a cat.
Give up, blizzard wind,
give up, nasty storm,
I'll open it
pole
Southern,
and Northern -
probably. Having turned the book over,
wrap it around your mouth -
all works are good,
choose
taste!
V. Mayakovsky
Flew around in the yard
All the trees are ours.
Why on earth
Are there any fallen leaves? Who tidied up the yard -
Took out the leaves, swept up the trash?
Even children know:
The janitor of our yard. There was a big snowdrift
At night under the window.
And by morning through the snowdrift
There was a path. Who, waking up before everyone else,
Have you cleared the snow under your window?
Even children know:
The janitor of our yard. There is slippery ice on the paths.
You can crash.
People are sitting at home,
He's afraid to go out. Who's with a bucket and a scoop?
Sprinkles sand on ice?
Even children know:
The janitor of our yard. The coming heat
Doesn't go away overnight.
Someone since the morning
Watering the flowerbed. Who is busy on a summer day,
And who are we singing about now?
Even children know:
The janitor of our yard.
V. Kapustina
Previously, all boys wanted to be astronauts, and girls wanted to be teachers and doctors. Much has changed, but poems about professions for children by famous contemporary writers and creators of the last century are loved by children today.
Fairy tale heroes live in verse
Several funny poems and, as if from a fairy tale, the ancient images of a strong blacksmith, a well-known kozhemyaki in Rus', a wise potter and a cheerful carpenter appear before the children. Such amazing people from the past have wonderful professions. Well, how else can you tell children about them if not with the help of kind and rhythmic quatrains. This is how you can simply teach the history and life of your predecessors and entertain a restless child.
Before you even have time to blink an eye, a boy who only yesterday dreamed of becoming a hacker will decide to master the profession of a leather worker or a Sagittarius, and a girl will begin to be interested in the basics of embroidery or beading.
“But this is just a game,” many will object. Yes, a game in which the baby develops his thinking and logic. There are quite a few similar games waiting for the child, and they will be born regularly, after the next portion of funny poems about professions.
Children will be inspired by the works of Sergei Mikhalkov, Agnia Barto and other wonderful writers who have worked and are working for their little readers.
Give children a fairy tale
On our pages there are many kind and warm poems that teach to love and respect all professions. Read them to your children and you will see that the boy will never throw a piece of paper on the street again - after all, the work of a janitor is so hard. And little girls will no longer be afraid of dentists and doctors - these are good fairies and wizards who drive away pain and illness. And also, there are wise sorceresses who live in school libraries and know about everything in the world.
Kind and cheerful poems about professions for children can turn a dull morning into a cheerful fairy tale, because there are so many interesting professions around, and their representatives may not be ordinary people, but fairy-tale characters.
Learning to respect and understand
From a few funny lines the child in an accessible playful form:
— get acquainted with the professions of your great-grandfathers and the craft that hardworking grandmothers used to make a living;
- finds out what his parents dreamed of becoming;
- learn to respect the work of every person.
There are many poems about professions, but on our pages you will find only the best poetry for young readers, which develops the logical thinking of children, develops their memory, logic, imagination and attention. Turn poetic moments into a fun educational game and see how many new and interesting things your baby will tell you.
We give you good poems about professions for children, which will be excellent material for role-playing games in a children's group, a guide for holding a themed party in a kindergarten, and the best assistant when choosing a New Year's costume. After all, every kid dreams of trying on his future work suit, at least for one day.
M.-L., GIZ, 1929. 24 p. c ill. Described from the chromolithographed cover. 21.7x17.5 cm. Published without title page. Circulation 10,000 copies. Price 35 kopecks. First lifetime edition. One of the most famous Soviet children's books. Extremely rare!
Written no later than the first half of June 1928. Mayakovsky spoke in Moscow at a children's book festival on June 11, 1928, reading this poem. In September 1929, it was published as a separate edition with fig. thin N. Shifrina. The book “Who Should I Be?” has always been popular among children of the 20th century. with illustrations by Nisson Schifrin. During 1929-1932 it was reprinted annually. The illustrator examines production themes here through the prism of theatrical, carnival aesthetics. At each spread, he dresses up the little hero as a representative of one profession or another, and hands him the appropriate “outfit” and tools. In search of his calling, the child ends up in a carpentry shop, then in a locomotive depot, then in a doctor’s office, then on the deck of a ship. The game method of introducing the world of crafts was certainly close and interesting to children. But this work did not escape severe criticism: “If the invention here is interesting, the execution is much weaker. You can’t give kids a purple-pink, defective boy with a stupid face, pondering the question of choosing a profession; It is impossible, when dressing this boy, for example, as a doctor or an engineer, to give him an appearance that was “used” 30-40 years ago. The cartoon in the form in which it is given is inappropriate and unconvincing here,” wrote the unfortunate scribblers at the turn of the 20s-30s of the last century. Nisson got it "nuts" ... But nevertheless, this publication was wildly popular among children: to find now "Who to be?" from 1929 is simply unrealistic class!
Who to be?
My years are getting older
I'll be seventeen.
Where should I work then?
what to do?
Required workers -
joiners and carpenters!
It's tricky to work furniture:
at first
We
take a log
and sawing boards
long and flat.
These boards
like this
clamps
workbench table
From work
saw
glowed white hot.
From under the file
sawdust is falling.
Plane
in hand -
different work:
knots, squiggles
planing with a plane.
Good shavings -
yellow toys.
And if
we need a ball
very round
on a lathe
We sharpen the round.
Let's cook little by little
then the box
then the leg.
We've done this much
chairs and tables!
Good for the carpenter
and to the engineer -
better,
I would go build a house
let them teach me.
at first
I'll draw
house
such,
which one I want.
The most important,
to be drawn
building
glorious,
as if alive.
It will be
before,
called a façade.
This
everyone will understand -
this is a bath
this is a garden.
The plan is ready
and around
one hundred works
for a thousand hands.
Scaffolding rests
to the very heavens.
Where the work is difficult
there
the winch squeals;
lifts the beams
like sticks.
Will drag the bricks
oven hardened.
They laid tin on the roof.
And the house is ready
and there is a roof.
Good house,
big house
on all four sides,
and the guys will live in it
comfortable and spacious.
Good for an engineer
and to the doctor -
better,
I would go to treat the children,
let them teach me.
For children
I'm flying
diseases-
where is the most useful activity?
I'll come to Petya,
I'll come to Pole.
Hello children!
Who is sick with you?
How do you live?
How's your tummy? -
I'll take a look
from glasses
the tips of the tongues.
Place this thermometer
under the arm, kids.
And the children put it joyfully
thermometer under the armpits.
You should
Very good
swallow the powder
and potion
spoon
drink a little.
To you
go to bed
I wish I could sleep
to you -
compress on the stomach
and then
you
before the wedding
everything will heal, of course.
Doctors are good
and for workers -
better,
I would go to work
let them teach me.
Get up!
Go!
The whistle is calling
and we come to the factory.
There are a whole lot of people,
one thousand two hundred.
What one will not do -
let's do it together
Can
iron
cut with scissors,
hanging crane
dragging weights;
steam hammer
oppression and rails with grass.
We melt tin,
we drive cars.
Everyone's work
needed equally.
I make nuts
And you
for nut
you make screws.
And it goes
everyone's work
straight to the assembly shop.
Bolts,
climb
into even holes,
parts
together
knock down
huge.
There -
smoke,
Here -
thunder.
Gro-
mime
all
house.
And so
the locomotive comes out
so that you
and U.S
and carried
and drove.
It's good at the factory
and on the tram -
better,
I would become a conductor
let them teach me.
Conductors
driving everywhere.
With a large leather bag
he always
him all day
You can ride on trams.
Big and children
take a ticket,
different tickets,
take any -
green,
red
and blue.
We travel on rails.
The rail has ended
and we got down near the forest,
sit down
and warm yourself.
Good for the conductor
and to the driver -
better,
I would become a driver
let them teach me.
The ambulance snorts,
flies, gliding,
I'm a good driver
can't be contained.
Just tell me
where do you need -
without rails
residents
I'll deliver to your home.
E-
dem,
du-
dim:
"With pu-
you
uh-
di!"
It's good to be a driver
and as a pilot -
better,
I would become a pilot
let them teach me.
I pour gasoline into the tank,
I'm starting the propeller.
"Take it to the heavens, motor,
for the birds to sing."
No need to be afraid
no rain
no hail.
I'm flying around a cloud,
flying cloud.
Soaring like a white seagull,
flew overseas.
Without talking
I'm flying around the mountain.
“Drive the engine,
to take us there
to the stars
and to the moon,
although the moon
and mass of stars
completely distant."
Good for the pilot
and to the sailor -
better,
I would become a sailor
let them teach me.
I have a ribbon on my hat,
on a sailor suit
anchors
I sailed this summer
conquering oceans.
In vain, waves, you gallop -
sea path
on the yards and along the mast
I climb with a cat.
Give up, blizzard wind,
give up, nasty storm,
I'll open it
pole
Southern,
and Northern -
Maybe.
Having turned the book over,
wrap it around your head -
all works are good,
choose
taste!
1928.
10 children's books by V.V. Mayakovsky. It's like "ten Stalinist blows." They burst into our lives and left a deep, indelible mark on our culture and in our consciousness from the earliest years of our mortal existence. Let's try to consider which graphic artists of the 1920-1930s. turned to Mayakovsky's children's poetry. It should be noted that this author always took an active part in the publication of his works; the invitation of this or that artist largely depended on him, and he often gave specific advice and instructions to his illustrators. As A. Rodchenko recalls, “wherever he was, in institutions, in publishing houses, editorial offices, he always encouraged his comrades to work. He believed that where he worked, all Lefovites should work there. He never changed our tastes. We could argue and fight, but we still worked together. He knew that his covers should not be made by Chekhonin or Mitrokhin.” Indeed, during the poet’s lifetime, the design of his books was considered the prerogative of artists of the “left front” - not necessarily nominally members of the LEF group, but certainly involved in avant-garde aesthetics. This rule was also observed when publishing children's poems, although (due to the specifics of the genre) not as scrupulously as in books for adults. It is difficult to imagine Mayakovsky's lifetime publications with naturalistic or refined aesthetic illustrations. Some artists were afraid to work with the famous author, knowing his irritability, penchant for far from harmless jokes and categorical judgments. “In matters of art, he was uncompromisingly principled even in small things, he did not like and did not consider it necessary to be diplomatic, to prevaricate, to speak in circumlocutions and equivocations. Bad means bad, and “no nails.” The unwritten law remained in force for some time after the death of the great futurist. The essence of the matter lay not in his personal aesthetic preferences, but in the very nature of his poetics, which made very specific demands on designers. Artists of different movements understood this perfectly well: “It never occurred to me to illustrate Mayakovsky, I believed that the roar and satirical poison of his poetry was inaccessible to my quiet talent.” However, in the late 1930s, Pakhomov changed his mind and designed “What what is good and what is bad?", and then a number of other poems, trying to reveal the "simplicity, clarity and gentle humor" inherent in them. However, these books can hardly be considered among the artist's indisputable successes. Mayakovsky's children's poetry is very unique.
The poet periodically worked in this new field of creativity, mainly in the last five years of his life. The leader of LEF, who usually showed enviable independence, independence from the judgments of critics and opponents, in children's literature, unfortunately, often followed dubious pedagogical theories, which noticeably impoverished his arsenal of figurative means. “He began to re-educate himself to be more useful. Mayakovsky, according to Marshak, talked with children “carefully, restraining his thunderous voice.” He restrained not only his voice, but also spiritual impulses - a passion for play and fantasy, a thirst for fairy tales.” The poet most often was not interested in the phenomenon of childhood itself, he considered child as a potential “fighter and activist" who had to grow up as soon as possible and join adult life. Hence the frank didactics, the desire to clearly and clearly outline the principles of that “single human community” into which the young citizen will soon join, the politicization of even the most neutral themes. This approach also determined the architectonics of children's works: episodes, as a rule, are united not by a cross-cutting plot, but by a general thesis; the correctness of a certain statement is proven by numerous examples, individual facts are systematized and arranged into a clear concept. "Mayakovsky's poems are comparable to specialized encyclopedias and reference books , notes the researcher. “Who should I be?” - a reference book like “Where to go to study”; “What is good and what is bad?” - a short dictionary on ethics; “Read and go to Paris and China” - a guide for preschoolers; “Every page is an elephant, then a lioness” is a guide to the zoo; “We’re Walking” is also a guide: around Moscow for the little ones.” Undoubtedly, this method had significant costs; it sometimes led to excessive schematism and exaggerated rationalism, not characteristic of children's consciousness. And yet, the poet’s enormous talent, powerful temperament, and unique way of thinking broke through the barriers of any pedagogical doctrines and voluntary self-restraint; All of the books listed very quickly became one of the classic works of Russian literature for children. Illustrators played an extremely important role in introducing young audiences to Mayakovsky’s unusual poetics. Very often the author gave them advice not only verbally or graphically, but also in the text of the poems (“For such people, the page is small, they gave a whole spread,” etc.). After all, even before the start of real collaboration with the artist, the writer conducted an imaginary dialogue with him, constructing his texts as edifying explanations or humorous comments on drawings that had not yet been created. In the absence of visuals, lines such as, for example, “I’m showing the lion, look, here” would sound more than strange. The poet’s first book for children was “The Tale of Petya, the Fat Child, and Sima, the Thin One” (1925) in the witty, satirically pointed design of N. Kupreyanov. In his autobiography, the artist recalled that in those years he felt interest and sympathy for LEF, although he accepted the unification program with some reservations. “Kupreyanov read Mayakovsky’s work as a poetic poster, as a rally in verse. The artist made the drawings for the fairy tale in the manner of poster graphics, bringing them closer to book graphics. Poster laconicism and rally passion of political characteristics determined the images of the main characters.” But, in addition to journalistic pathos, the artist’s work demonstrated keen observation and ingenuity, and an impeccable sense of rhythm. These qualities make the illustrations much more meaningful than it might seem at first glance. Even the negative characters, including the pathological glutton Petya (his huge jaws evoke associations with Hoffmann’s Nutcracker), are not without their own charm. Generalized plastic solutions are enlivened by funny details. At the same time, the graphic shows creative initiative; it does not always follow the text literally. In one of the drawings, the postman carries an envelope on which is written the name of the addressee - the critic P. Ettinger, with whom Kupreyanov himself corresponded in those years. On the cover, the graphic characteristics of the characters are clearly emphasized using fonts. Critics greeted the appearance of the fairy tale with open hostility, certifying it as “just a stupid and rude book.” 
Mayakovsky's first performance as a children's poet was so unexpected that some reviewers even doubted the sincerity and seriousness of the author's intentions and suspected an insidious trick in his work. “Isn’t this book a parody of all that literature that, under the sign of the drum, sickle, hammer, pioneer, October and all other politically modern attributes of children’s books, floods the Soviet book market? - this was the question asked by someone A. Grinberg. - Did Mayakovsky decide to give the reading public a strong satire that would reflect the political preschool literary fabrications of publishing houses and authors who, deep down, are alien to the politics of new education? The book by Mayakovsky and Kupreyanov is a malicious bunch of these publishing houses and these authors.” Critics were especially outraged by the fantasy elements in the text and illustrations. After such reviews, the poet no longer turned to the genre of children's fairy tales. One of the most interesting and significant in terms of design of Mayakovsky’s lifetime publications is the poem “Every page is an elephant, then a lioness” (1928) with illustrations by a member of the Tiflis futurist group “41°” K.M. Zdanevich. This book exceptionally successfully and organically combines different stylistic trends: cubist generalization of forms and constructivist games with fonts, poster-like catchiness of compositions and subtlety in the elaboration of textures. Cheerful eccentricity was manifested in the inventively constructed architectonics of the book, in its bright and at the same time refined color scheme. Although the text is about a zoo, the scenes depicted by the artist have much more to do with the circus; already on the first page the animals are making a parade. Circus motifs are scattered throughout the book: a zebra kicks a clown in a top hat, a kangaroo rides a motorcycle, an elephant juggles rolls. Even showing animals in unusual circumstances (a giraffe trying on starched collars or a monkey warming itself by a potbelly stove), the illustrator does not “humanize” the characters, but carefully preserves their pristine, natural appearance. People play only cameo roles in these compositions. Next to the former king of animals, demoted to chairman, Zdanevich places the figure of the author, mounted from geometric blocks, in his hand the poet holds the famous collection “Mayakovsky for Voice”. Perhaps none of the subsequent illustrators of these poems (including V. Lebedev) managed to achieve the freshness and spontaneity of perception of the text, that level of interpenetration of word and image that are characteristic of the first edition. P. Alyakrinsky in the lithographs for the book “Read and Travel to Paris and China” (1929) also combines constructive clarity with decorativeness. Using only three colors - red, green and black, the artist supplements the laconic text with important information about nature, architecture, morals and customs of different peoples. In just a few pages, Red Square and the Eiffel Tower, a Chinese pagoda and Fuji, a panorama of the New York port fit freely. Particularly pathetic is the depiction of a kind of symbol of modernity - a giant steamship, next to which even American skyscrapers seem like toys. The book “Let's Walk,” published in 1930 by the Priboi publishing house, is also very expressive. In designing it, I. Sunderland boldly uses not only the style of satirical magazine graphics, but also the language of avant-garde art. The types of modern streets, buildings and objects are subject to cubist deformations and are generalized to geometric schemes. Inclined planes constantly collide with each other; only individual figures (for example, a spherical bourgeoisie in checkered trousers or an angular sentry with a rifle) have a certain stability in this coordinate system. It would seem that such a graphic style is obviously incomprehensible to the preschoolers to whom the book is addressed. But the strict selection of details, compositional laconicism and rich colors largely adapt innovative techniques to the child’s level of perception. These qualities are also present in the illustrations for the poem “What is good and what is bad,” made in 1925 by N. Denisovsky. The artist finds witty design solutions, following the words of the poet almost verbatim. “If / a crappy fighter beats / a weak boy, / I / don’t / want / to / even / put this in the book,” -Mayakovsky writes, and Denisovsky seals the drawing with a thick blot. In the book there are always not only poetic, but also graphic hyperboles. For example, a crow, at the sight of which a cowardly boy takes flight, is significantly larger than a child. The cover drawing (in which you can find obvious touches from Lebedev’s “Ice Cream”) is repeated in a smaller version on one of the spreads: the father answers his son’s questions, holding in his hands the very book in which he himself is located. In some lithographs, the conventional manner of execution is emphasized by inclusions of foreign, clearly detailed fragments (a wallpaper pattern, a watch dial, a soap wrapper). A. Laptev, who illustrated “What is Good...” in 1930, repeated the most successful semantic and compositional discoveries of Denisovsky (“the trashy brawler” is crossed out with a wavy line, etc.), but gave his drawings a somewhat more realistic character, supplemented the compositions with landscape motifs. The artist recalls that “at the editor’s request, he had to show Mayakovsky the sketches. But I didn’t have time. I went to see him - he lived near the Polytechnic Museum, but I didn’t find him at home. And the next day the newspapers reported his death...” In the 1930s the poem became a real bestseller; it was published in Moscow, Gorky, Rostov-on-Don, Pyatigorsk. Almost as popular was the book “Who Should I Be?” with illustrations by N. Shifrin. During 1929-1932 it was reprinted annually. The illustrator examines production themes here through the prism of theatrical, carnival aesthetics. At each spread, he dresses up the little hero as a representative of one profession or another, and hands him the appropriate “outfit” and tools. In search of his calling, the child ends up in a carpentry shop, then in a locomotive depot, then in a doctor’s office, then on the deck of a ship. The game method of introducing the world of crafts was certainly close and interesting to children. But this work did not escape severe criticism: “If the invention here is interesting, the execution is much weaker. You can’t give kids a purple-pink, defective boy with a stupid face, pondering the question of choosing a profession; It is impossible, when dressing this boy, for example, as a doctor or an engineer, to give him an appearance that was “used” 30-40 years ago. The cartoon in the form in which it is given is inappropriate and unconvincing here.” Thematically for “Who be?" adjoins the poem “Horse-Fire,” brilliantly designed by L. Popova in 1928. Workers of different specialties combine their efforts to make a toy horse, their images are interpreted in a poster-like manner, brightly and generally. Different-scale images can easily coexist on one spread. Equally expressive and rich in color are the lithographs by B. Pokrovsky for the publication “This little book of mine is about the seas and about the lighthouse” (1927). In a completely different, light, improvisational manner, black and white drawings by V. Ivanova were made for poems dedicated to International Youth Day (“IJD”), or by T. Mavrina for a feuilleton about the costs of the pioneer movement (“We are waiting for you, comrade bird... "). Already in the early 1930s. It became clear that the children's poems of the most talented poet of the era allow for diverse graphic interpretations and provide illustrators of different directions with the widest scope for creativity. The design of the first editions of these works laid down certain traditions that were developed by the graphic artists of the following decades. One of the researchers wrote in the 1970s: “As before, so now, the illustrator uses an active dialogical method, imperceptibly including the young reader in an exciting game, the fascination of which inevitably draws him into the serious world of social life. A picture book, a poster book, an agitator book, as conceived by the author himself, turned out to be the most active and effective form of communication.”
Shifrin, Nisson Abramovich (1892, Kyiv, - 1961, Moscow) - Soviet theater artist, book graphic artist. People's Artist of the RSFSR (1958). Winner of two Stalin Prizes (1949, 1951). Member of the CPSU(b) since 1942. Born into the family of a poor businessman. As a child, he received a traditional Jewish education, then studied at the gymnasium. In 1911, at the insistence of his parents, he entered the Kiev Commercial Institute, which he graduated in 1916. Without interrupting his studies at the institute, from 1912 he also attended classes at the art school of A. Murashko, and during 1917–18. studied in the studio of one of the leaders of the Russian artistic avant-garde - artist Alexandra Ekster. Shifrin's contacts with the radical creative intelligentsia began even earlier - already in January 1914, together with I. Rabinovich, he designed the performances of the futurists - D. Burliuk, V. Mayakovsky and V. Kamensky - in Kiev, a month later Shifrin participated in the exhibition "Ring" , organized by A. Exter and A. Bogomazov. At that time, Shifrin combined his passion for the ideas of “leftist” art with the search for a “national” Jewish art form. Together with his like-minded young Kiev Jewish artists, among whom were I. Rabinovich, I. B. Rybak, A. Tyshler and I. Rabichev (1894–1957), Shifrin in the summer of 1918 took part in the organization of the Art Section of the Cultural League, which proclaimed as one of its goals the creation of “modern Jewish art.” Shifrin's works were exhibited at two exhibitions of the Art Section held in Kyiv (February–March 1920 and March–April 1922); he taught in the art studio created under her, actively collaborated with Jewish publishing houses - during 1922–24. In Kyiv, several books were published in Yiddish with his illustrations (“Dos pantofele” - “The Shoe”, Kyiv, 1923; “Dos tsigeiner” - “Gypsy”, Kyiv, 1924; both by I. Kipnis). In 1919, Shifrin made his debut as a theater artist in Kyiv productions by K. Mardzhanov (C. Lecoq’s operetta “The Green Island” at the Musical Comedy Theater and “Blanche the Shirt” based on the play by I. Ehrenburg at the Solovtsov Theater). In 1920, Shifrin completed sketches of scenery and costumes for performances of the Jewish Kyiv theaters “Onkhoib” (directed by Sh. Semdor) and the Kultur-League Theater Studio (directed by E. Loiter). In 1923, he moved to Moscow, but did not break ties with the Art Section of the Cultural League, maintaining membership in its Moscow branch until the section was liquidated (late 1924). Shifrin's paintings and graphic works of this period are characterized by the use of open color, cubist techniques when depicting objects, and a desire for expressive decorativeness. In his theatrical works of that time, Shifrin developed the principles of cubo-futurist scenography, using volumetric combinations of pictorial planes to create a stage space. In 1925, Shifrin joined the OST (Society of Easel Painters), whose members also included some Jewish artists who had previously been part of the Art Section of the Cultural League - A. Tyshler, I. Rabichev, D. Shterenberg (Chairman of the Society) and A. Labas (1900–83). The society existed until 1932, when it, like all other artistic groups and associations of the USSR, was dissolved after the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the restructuring of literary and artistic organizations.” In the 1920s – early 1930s Shifrin painted pictures, worked in the field of easel and book graphics in Russian publishing houses and in Jewish periodicals (for example, Yungvald). However, it was scenography that became the main type of creative activity of Shifrin, and he performed mainly as a theater artist in Russian and Ukrainian theaters in Moscow and Kharkov (E. Vakhtangov Studio, Moscow; MGSPS Theater; Berezil Theater, Kharkov, and others) and in Jewish theaters (the play “Business Man” based on the play by V. Gazenklever in UkrGOSET, 1928, Kharkov, director S. Margolin; “Volpone” based on the play by Ben Jonson in BelGOSET, 1933, Minsk, director V. Golovchiner; sketches of scenery and costumes for this performance Shifrin performed together with his wife, the artist M. Genke /1889–1954, from a Swedish noble family, converted to Judaism; she also designed the play “Our Youth” based on the play by V. Keene in BelGOSET, 1935, director K. Rutshtein/). In his theatrical works in the mid-1920s. – early 1930s Shifrin introduced elements of constructivism, exposing the stage design and emphasizing the conventionality of decorative techniques. He inventively used various types of composition of the stage space, changing design fragments, rotating the stage circle, combining different textures of materials, etc. From 1935 until the end of his life, Shifrin was the chief artist of the Central Theater of the Soviet Army (CTSA) in Moscow. He was constantly invited to design performances in other Russian theaters in Moscow and Leningrad; throughout the 1930s and 40s. His collaboration with Jewish theaters was also uninterrupted. Designed by Shifrin, performances were staged at the Birobidzhan GOSET (“Uriel Acosta” based on the play by K. Gutskov, 1938, directed by M. Goldblat), at the Moscow GOSET (“Tsvei Kunilemlekh” - “Two Simpletons” - based on the play by A. Goldfaden, 1940, director I. Kroll, scenery and costumes together with M. Genke; “On the Eve of the Holiday” based on the play by M. Broderzon, 1947, director B. Zuskin). In the best theatrical works of the late 1930s–50s. (for example, “The Taming of the Shrew” based on the play by W. Shakespeare, 1937; “Marriage” based on the play by N. Gogol, 1959; both performances at the Central Theater Academy, directed by A. Popov) Shifrin managed to overcome the everyday descriptiveness and pomposity that were then established in Soviet scenography, and keep your own original style. He also acted as a painter and author of illustrations ["Who to be?" V.V. Mayakovsky (published in 1929) and many others. etc.]. N. A. Shifrin studied at art school from his early youth. As a theater artist, Shifrin made his debut in 1919 in Kyiv productions by K. Mardzhanov (C. Lecoq’s operetta “The Green Island” at the Musical Comedy Theater and “Blanche the Shirt” based on the play by I. Ehrenburg at the Solovtsov Theater). And since then he has worked on stage for almost fifty years. An artist of brilliant talent, versatile knowledge, impeccable taste, he worked himself until the end of his days and passed on his experience to young people. Died April 3, 1961. He was buried in Moscow at the Vvedensky cemetery. His book was published in 1964"The Artist in the Theater" is a collection of articles by Nisson Abramovich, compiled from verbatim recordings of his conversations that he conducted in the 1959-1960s with theater artists in his creative laboratory...
"Who to be?" Vladimir Mayakovsky
My years are getting older
will be seventeen.
Where should I work then?
what to do?
Required workers -
joiners and carpenters!
It's tricky to work furniture:
at first
We
take a log
and sawing boards
long and flat.
These boards
like this
clamps
workbench table
From work
saw
glowed white hot.
From under the file
sawdust is falling.
Plane
in hand -
different work:
knots, squiggles
planing with a plane.
Good shavings -
yellow toys.
And if
we need a ball
very round
on a lathe
We sharpen the round.
Let's cook little by little
then the box
then the leg.
We've done this much
chairs and tables!Good for the carpenter
and the engineer -
better,
I would go build a house
let them teach me.
I
at first
I'll draw
house
such,
which one I want.
The most important,
to be drawn
building
glorious,
as if alive.
It will be
before,
called a façade.
This
everyone will understand -
this is a bath
this is a garden.
The plan is ready
and around
one hundred works
for a thousand hands.
Scaffolding rests
to the very heavens.
Where the work is difficult
there
the winch squeals;
lifts the beams
like sticks.
Will drag the bricks
oven hardened.
They laid tin on the roof.
And the house is ready
and there is a roof.
Good house,
big house
on all four sides,
and the guys will live in it
comfortable and spacious.Good for an engineer
and to the doctor -
better,
I would go to treat the children,
let them teach me.
I'll come to Petya,
I'll come to Pole.
- Hello children!
Who is sick with you?
How do you live?
How's your tummy? —
I'll take a look
from glasses
the tips of the tongues.
— Place this thermometer
under the arm, kids.-
And the children put it joyfully
thermometer under the armpits.
- You should
Very good
swallow the powder
and potion
spoon
drink a little.
To you
go to bed
I wish I could sleep
to you -
compress on the stomach
and then
you
before the wedding
everything will heal, of course.Doctors are good
and the workers -
better,
I would go to work
let them teach me.
Get up!
Go!
The whistle is calling
and we come to the factory.
There are a whole lot of people,
one thousand two hundred.
What one will not do -
let's do it together
Can
iron
cut with scissors,
hanging crane
dragging weights;
steam hammer
oppression and rails with grass.
We melt tin,
we drive cars.
Everyone's work
needed equally.
I make nuts
And you
for nut
you make screws.
And it goes
everyone's work
straight to the assembly shop.
Bolts,
climb
into even holes,
parts
together
knock down
huge.
There -
smoke,
Here -
thunder.
Gro-
mime
all
house.
And so
the locomotive comes out
so that you
and U.S
and carried
and drove.It's good at the factory
and on the tram -
better,
I would become a conductor
let them teach me.
Conductors
driving everywhere.
With a large leather bag
he always
him all day
You can ride on trams.
— Big and children,
take a ticket,
different tickets,
take any -
green,
red
and blue.-
We travel on rails.
The rail has ended
and we got down near the forest,
sit down
and warm yourself.Good for the conductor
and the driver -
better,
I would become a driver
let them teach me.
The ambulance snorts,
flies, gliding,
I'm a good driver
can't be contained.
Just tell me
where do you need -
without rails
residents
I'll deliver to your home.
E-
dem,
du-
dim:
"With pu-
you
uh-
di!"It's good to be a driver
and as a pilot -
better,
I would become a pilot
let them teach me.
I pour gasoline into the tank,
I'm starting the propeller.
“Take it to the heavens, motor,
for the birds to sing."
No need to be afraid
no rain
no hail.
I'm flying around a cloud,
flying cloud.
Soaring like a white seagull,
flew overseas.
Without talking
I'm flying around the mountain.
“Drive the engine,
to take us
to the stars
and to the moon,
although the moon
and mass of stars
completely distant."Good for the pilot
and to the sailor -
better,
I would become a sailor
let them teach me.
I have a ribbon on my hat,
on a sailor suit
anchors
I sailed this summer
conquering oceans.
In vain, waves, you jump -
sea path
on the yards and along the mast
I climb with a cat.
Give up, blizzard wind,
give up, nasty storm,
I'll open it
pole
Southern,
and Northern -
Maybe.Having turned the book over,
wrap it around your mouth -
all works are good,
choose
taste!
Analysis of Mayakovsky's poem "Who to be?"
The positive images of adults created in Mayakovsky’s children’s poetry are engaged in creative work for the benefit of the new society. Each of the characters has a specific profession, acts as a specialist in his field, confidently mastering a specific craft. The poet considers it necessary and useful to tell children how this or that product appears. In the work “Horse-Fire”, a children’s toy becomes the result of the coordinated work of energetic and friendly people of different professions.
In the poetic text of 1928, which has become a classic of Soviet literature, the author continues a sincere emotional conversation that determines the moral life guidelines of young citizens. The question that makes up the title of the work indicates the topic of the conversation - the choice of profession. It sounds from the lips of Mayakovsky’s growing reader. Like the responsible father from “,” the lyrical hero patiently, intelligibly, and with gentle humor informs the child about the features of the vast world of professions. The author is convinced: the new republic needs independent, dedicated people, and the education of such qualities is a priority pedagogical goal.
The driving force behind the composition of the poem is the principle of play. Young listeners take turns trying on different images, like carnival costumes. Having played enough and felt the external specifics of the profession, they turn to the next lesson. A refrain serves as a signal for a change in topic.
It is interesting that the depiction of everyday work is given from a point of view that combines adult and child perception. The doctor’s manipulations, his questions and prescriptions, or the advantages of the conductor’s work, riding with pleasure on a tram - these and other details indicate the special position of the subject of speech, which models the original artistic space of the text. It is this that determines the specificity of specific tropes: the wooden shavings seem like “yellow toys,” and the car “snorts” like mounts.
The expression of the game is conveyed by numerous means of sound recording and rhythm, which the poet masterfully masters. The most expressive examples are in the episodes that convey the speed of the car and the noise in the assembly shop.
The central place in the list of miniature pictures belongs to the images of workers employed in the field of transport engineering. Here the theme of joyful unity, united creative work, symbolic for Mayakovsky’s poetics, reaches its culmination.
The linnet is singing on the pine tree The snow has melted in the clearing, it will be spring But the whole forest is a little chilly in the morning The songbird's paws are freezingThe forelock is tousled from the cold, it’s harder to sing
Warm the sun well
write down the words that contain
1) unstressed vowels in the root of words checked by stress
2) tested consonants at the end and in the middle of a word
3) separating signs ъ and ь
Underline the words that have the suffix -k-. mink grass old lady cleaning lesson Underline the words whose root coincides with the stem. table hawk berryprick tape
Underline the name of the part of the word that changes the form of the word. root suffix ending prefix
Without which part the word cannot exist, underline. root suffix ending prefix
Underline the words in which the first letter O is a prefix. ravine perch mow obil autumn
Underline the words that correspond to the pattern of coppice found aspen
Underline the words with the same root. sadok ambush Sadko sits sore (wound)
Underline the words that contain the prefix POD-.gift tinted the podula sang along
Find and underline synonymous words. beautiful terrible charming beautiful good red
Underline the antonym for the word STRONG important weak strong powerful
Choose a sentence in which the word WOKE UP is used in its literal meaning. A) Tanya woke up very early. B) Spring came and nature slowly woke up. C) The dog shuddered and woke up.
Underline the word that corresponds to the interpretation of “a dish made from cooked cereals” porridge soup compote
Underline the word that is used to describe the words WHITE – BLACK synonyms antonyms ambiguous words unchangeable words
Underline the word that is close in meaning to the word RUN crawl move fly Underline the prefix that will give the word the opposite meaning.
1.Indicate a word that corresponds to the following phonetic characteristics: one syllable, one vowel sound; 4 consonant sounds - voiced, paired, hard paired; deaf paired, soft paired; deaf double, soft double
1) six 2) handful 3) day 4) will eat
2. Indicate a word that has the same composition as the word “night”.
1) herbs 2) transitions 3) sagging 4) bones
.
3. Indicate the verb of the 2nd conjugation.
1) eat 2) serve 3) accumulate 4) use
4. Choose a timeless statement. In a sentence
The camel is well adapted to life(n) in the desert
in the underlined (LIFE) noun ending - AND, BECAUSE
1) noun 3rd declension prepositional case
2) existing 3 sk. dative case
3) existing 3rd slope. genitive case
4) existing 1 skon. genitive case
