Terms 

Summary of place in the life of m tents. Mikhail Shatrov gave Berezovsky a prostitute wife. Completion of creative activity

Shatrov Mikhail Filippovich.

Soviet and Russian screenwriter and playwright Mikhail Filippovich Shatrov ( real name- Marshak) was born in Moscow on April 3, 1932 in the family of engineer Philip Semenovich Marshak. He is a relative of Samuil Yakovlevich Marshak. Baby and youth Mikhail Shatrov were very difficult, filled with tragic events. In 1937, his own aunt was arrested, his father was arrested and shot in 1938. And in 1949, when Mikhail was still at school, his mother was arrested. Mikhail went to school in 1940, but with the outbreak of World War II, the family was forced to evacuate to Samarkand, where the boy continued his studies. He returned to Moscow in 1944, and graduated from school in 1951. Mikhail studied well, after finishing school he received a silver medal. I decided to enter the Mining Institute. There were reasons for this - firstly, the students of Gorny were given uniforms, and secondly, they had the opportunity to earn extra money. But money was needed.

Mikhail's first literary experiments - scripts and stories - were published in Altai in the newspaper "Gornaya Shoria" in 1952. Here Mikhail underwent student practice and worked as a driller. He spent the money he earned on trips to his mother, who was imprisoned in those years. When did Michael start literary activity, his relative, Samuil Yakovlevich Marshak, noticed that there could not be two Marshaks. Mikhail understood - a pseudonym is needed. This pseudonym, on the advice of Rolan Bykov, was taken in 1954 - it was then that Mikhail wrote a play from school life"Clean hands". Shatrov is the surname of one of the heroes of this play. The youth theme was continued by Shatrov in the next play A Place in Life (1956). In those years, many famous playwrights addressed the youth issue - V. Rozov, A. Volodin. Subsequently, Mikhail Shatrov returned to youth themes more than once in his dramaturgy. But in general, his work big influence had a political situation in the country, in particular, the exposure of the cult personality of Stalin. The entire subsequent dramaturgy of Mikhail Shatrov was permeated with the idea of ​​loyalty to revolutionary dogmas, the nobility and honesty of the people who took part in the revolution, bitterness from the fact that the new generation not only forgets, but also tramples on these ideals. , the artistic director (with whom Shatrov collaborated more than once) spoke about the work of this talented playwright - Mikhail Shatrov played a significant role in the theatrical process. His plays were of particular importance at the time of the resurgent Stalinism, which had to be resisted. Mikhail Shatrov in his works very convincingly relied on the promises, plans and norms of Lenin, on his ideology.

Mikhail Shatrov collaborated with many theaters - Lenkom, the Moscow Art Theater, Sovremennik, the Ermolova Moscow Drama Theatre, the Lomonosov Arkhangelsk Drama Theatre, the Perm Drama Theatre, the Riga Youth Theatre. His most famous plays are "" (play, staging, director, scenography, musical arrangement

Mikhail Filippovich Shatrov(real name - Marshak; 1932, Moscow, USSR - 2010, Moscow, Russia) - Soviet and Russian playwright and screenwriter.

Biography

Mikhail Shatrov was born into the family of engineer Philip Semyonovich Marshak (1900-1938, shot) and Tsetsiliya Alexandrovna Marshak (arrested in 1949, amnestied in 1954).

Relative of S. Ya. Marshak. Mikhail Shatrov's aunt - Nina Semyonovna Marshak (1884-1942) - was married to the leader of the Comintern Osip Pyatnitsky in her first marriage, and in her second marriage to a Soviet statesman A. I. Rykov.

He graduated from school with a silver medal and entered the Mining Institute (he studied on the same course with the future vice-mayor of Moscow Vladimir Resin). In the early 1950s, he had an internship in Altai, where he worked as a driller, where he began to write. In 1954, the first play, Clean Hands, was written.

Laureate State Prize USSR (1983), holder of the Order of the Red Banner of Labor (1982) and the Order of Friendship of Peoples (1984).

In 1990, he became one of the co-chairs of the April organization. He was a member of the public council of the Russian United Social Democratic Party.

Since the mid-1990s, he has been president and chairman of the board of directors of CJSC Moscow - Krasnye Holmy, which manages the Russian cultural and business center Krasnye Holmy, opened in 2003, which, in particular, includes the Swissotel Krasnye Holmy. According to Shatrov himself, he had nothing to do with the financial and economic activity, and was engaged only in creative work.

He died in Moscow at the age of 79 from a heart attack in his apartment in the House on the embankment. He was buried at the Troekurovsky cemetery.

Head of the Moscow Art Theater National artist USSR Oleg Tabakov said after the death of Shatrov:

Former Minister of Culture Russian Federation Mikhail Shvydkoy:

Family

The second wife is actress Irina Miroshnichenko. He was married for the fourth time to Elena Gorbunova, who soon after her divorce from Shatrov became the wife of Boris Berezovsky.

Daughter - Natalya Mironova (Shatrova) (born 1958, Moscow). Graduated from the philological faculty of Moscow State University. Slavic philologist. She was married to Andrey Karaulov. Mother of two children - Philip and Sophia.

Creation

Plays

about Lenin

    • "In the Name of the Revolution" (1957)
    • "Sixth of July" (1964)
    • "Bolsheviks" ("Thirtieth of August", 1968)
    • "Blue horses on red grass" ("Revolutionary etude", 1979)
    • "So we will win!" (1982)
    • "Dictatorship of Conscience" (1986)
    • "Brest peace" (1987)
    • “More…more…more!” (1988)
  • "Clean Hands" (1955)
  • "Place in Life" (1956) - created under the influence of the play "Good Hour" by V. Rozov.
  • "Przewalski's Horse" (1972) - about students on the development of virgin lands
  • "Weather for Tomorrow" (1974) - about a car factory
  • "My Hopes" (1977) - about weavers three generations
  • "Gleb Kosmachev"
  • "The rain poured like a bucket"

The latest 5-volume collected works were published by the corporate publishing house of the Turkish construction company"Enka".

Play productions

Shatrov's plays were staged in many theaters of the country.

One of the most repertoire playwrights of the USSR.

  • "Contemporary".
    • 1967 - Bolsheviks, dir. O. Efremov, G. Volchek, - "to the 50th anniversary of the Great October Revolution."
  • "Lenkom".
  • Moscow Drama Theatre. M. N. Ermolova.
  • Arkhangelsk Drama Theater named after M. V. Lomonosov.
  • Perm Drama Theatre.
    • "Blue Horses on Red Grass".
  • Riga Theater for Young Spectators.
    • 1962 - "Gleb Kosmachev"

Screenplays

  • 1963 - In the name of the revolution
  • 1968 - Sixth of July
  • 1975 - Trust (together with Vladlen Loginov and Väinyo Linna)
  • 1976 - My love in the third year
  • 1980 - Tehran-43 (together with Alexander Alov and Vladimir Naumov)
  • 1981 - Two lines in small print (together with Vladlen Loginov and Vitaly Melnikov)
  • 1984 - When others were silent (Wo andere schweigen, with Ralf Kersten and Peter Wuss)
  • 1987 - So let's win! (teleplay)
  • 1988 - Seven Days of Hope (TV movie)

Prose

  • "February" (co-authored with V. Loginov, 1979) - chronicle novel
  • When Mikhail Marshak in 1955 brought to the Central children's theater to the young director Oleg Efremov, his first play, Clean Hands, who, having learned that the young playwright's name was Marshak, considered him a psychopath who took an unsuccessful pseudonym.
  • When Mikhail Marshak began to write, his relative Samuil Yakovlevich Marshak told him: you understand that there cannot be two Marshaks. Therefore, the playwright Mikhail Shatrov appeared.
  • On the advice of Rolan Bykov, Mikhail Marshak took as a pseudonym the name of one of the heroes of his first play, Clean Hands.
  • In the summer of 2003, Mikhail Shatrov was threatened that a bomb had been planted at his dacha in Peredelkino. Arriving experts did not find the bomb.

Mikhail Shatrov was born into the family of engineer Philip Semyonovich Marshak (1900-1938, shot) and Tsetsiliya Alexandrovna Marshak (arrested in 1949, amnestied in 1954). Relative of S. Ya. Marshak. Mikhail Shatrov's aunt - Nina Semyonovna Marshak (1884-1942) - was married for the first time to the leader of the Comintern Osip Pyatnitsky, and for the second marriage to the Soviet statesman A. I. Rykov.

He graduated from school with a silver medal and entered the Mining Institute (he studied on the same course with the future vice-mayor of Moscow Vladimir Resin). In the early 1950s, he had an internship in Altai, where he worked as a driller, where he began to write. In 1954, the first play, Clean Hands, was written.

Laureate of the State Prize of the USSR (1983), holder of the Order of the Red Banner of Labor (1982) and the Order of Friendship of Peoples (1984).

In 1990, he became one of the co-chairs of the April organization. He was a member of the public council of the Russian United Social Democratic Party.

Since the mid-1990s, he has been president and chairman of the board of directors of CJSC Moscow - Krasnye Holmy, which manages the Russian cultural and business center Krasnye Holmy, opened in 2003, which, in particular, includes the Swissotel Krasnye Holmy. According to Shatrov himself, he had nothing to do with financial and economic activities, but was only engaged in creative work.

He died in Moscow at the age of 79 from a heart attack in his apartment in the House on the embankment. He was buried at the Troekurovsky cemetery.

The head of the Moscow Art Theater, People's Artist of the USSR Oleg Tabakov, said after Shatrov's death:

Former Minister of Culture of the Russian Federation Mikhail Shvydkoi:

Creation

Plays

    • "In the Name of the Revolution" (1957)
    • "Sixth of July" (1964)
    • "Bolsheviks" ("Thirtieth of August", 1968)
    • "Blue horses on red grass" ("Revolutionary etude", 1979)
    • "So we will win!" (1982)
    • "Dictatorship of Conscience" (1986)
    • "Brest peace" (1987)
    • “More…more…more!” (1988)
  • "Clean Hands" (1955)
  • "Place in Life" (1956) - created under the influence of the play "Good Hour" by V. Rozov.
  • "Przewalski's Horse" (1972) - about students on the development of virgin lands
  • "Weather for Tomorrow" (1974) - about a car factory
  • "My Hopes" (1977) - about three generations of weavers
  • "Gleb Kosmachev"
  • "The rain poured like a bucket"

The latest 5-volume collection of works was published by the corporate publishing house of the Turkish construction company Enka.

Play productions

Shatrov's plays were staged in many theaters of the country.

One of the most repertoire playwrights of the USSR.

  • "Contemporary".
    • 1967 - Bolsheviks, dir. O. Efremov, G. Volchek, - "to the 50th anniversary of the Great October Revolution."
  • "Lenkom".
  • Moscow Drama Theatre. M. N. Ermolova.
  • Arkhangelsk Drama Theater named after M. V. Lomonosov.
  • Perm Drama Theatre.
    • "Blue Horses on Red Grass".
  • Riga Theater for Young Spectators.
    • 1962 - "Gleb Kosmachev"

Screenplays

  • 1963 - In the name of the revolution
  • 1967 - Strokes to the portrait of V. I. Lenin
  • 1968 - Sixth of July
  • 1975 - Trust (together with Vladlen Loginov and Väinyo Linna)
  • 1976 - My love in the third year
  • 1980 - Tehran-43 (together with Alexander Alov and Vladimir Naumov)
  • 1981 - Two lines in small print (together with Vladlen Loginov and Vitaly Melnikov)
  • 1984 - When others were silent (German: Wo andere schweigen, together with Ralf Kersten and Peter Wuss)
  • 1987 - So let's win! (teleplay)
  • 1988 - Seven Days of Hope (TV movie)

Prose

  • "February" (co-authored with V. Loginov, 1979) - chronicle novel
  • When Mikhail Marshak brought his first play, Clean Hands, to the Central Children's Theater in 1955, the young director Oleg Efremov, having learned that the young playwright's name was Marshak, considered him a psychopath who took an unsuccessful pseudonym.
  • When Mikhail Marshak began to write, his relative Samuil Yakovlevich Marshak told him: you understand that there cannot be two Marshaks. Therefore, the playwright Mikhail Shatrov appeared.
  • On the advice of Rolan Bykov, Mikhail Marshak took as a pseudonym the name of one of the heroes of his first play, Clean Hands.
  • In the summer of 2003, Mikhail Shatrov was threatened that a bomb had been planted at his dacha in Peredelkino. Arriving experts did not find the bomb.

Mikhail Shatrov is a playwright whose name is associated with the whole era of the Soviet public life and Russian drama. In his plays dedicated to the period of the revolution and civil war, reflected the romance of those years and all the contradictions inherent in that time.

Mikhail Shatrov is one of the most famous playwrights of the latest Soviet era, the author of plays about the revolution and the life of its leaders. The characters of the heroes of his revolutionary plays go far beyond the official Soviet history. The images of Lenin, Stalin, Trotsky, Sverdlov in his work are full of voluminous dramatic features. Mikhail Shatrov staged his plays in many leading theaters of the country - in Lenkom, Sovremennik, the Yermolova Theater. The performances have always caused great resonance. The audience of one of his plays, which was shown at the Moscow Art Theater, was once the entire composition of the Politburo, headed by Secretary of the Central Committee of the CPSU Leonid Ilch Brezhnev.

Mikhail Shatrov: biography

The future playwright was born on 04/03/1932 in Moscow, in the family of the famous engineer F. S. Marshak and Ts. A. Marshak. The father of the future celebrity was repressed and shot in 1938. The mother was also repressed and amnestied in 1954. He is a relative of S. Ya. Marshak, a famous Soviet poet. The playwright's aunt, N. S. Marshak, in her first marriage was the wife of the leader of the Comintern O. Pyatnitsky, in the second - a prominent Soviet figure A. Rykov.

It is known that after school, which he graduated with a silver medal, Mikhail Shatrov became a student at the Moscow Mining Institute, where among his fellow students was the future vice-mayor of Moscow Vladimir Resin. In the early 1950s, Mikhail Shatrov (the photo is presented in the article) had an internship in the Altai Territory. Here, while working as a driller, he began to write. Mikhail Shatrov is a playwright who first made himself known in 1954, when the first play of the young author, Clean Hands, was published. In 1961, the writer joins the party.

Mikhail Shatrov - playwright, winner of the State Prize Soviet Union(1983), holder of the Orders of the Red Banner of Labor and Friendship of Peoples.

In the 1990s, Shatrov became co-chairman of the April organization, which brought together many Soviet writers, publicists, journalists and critics who supported political and economic reforms Mikhail Gorbachev, member public council SDPR, heads the council of leaders of the Moscow-Red Hills association.

The famous playwright died of a heart attack on May 23, 2010, in Moscow, at the age of 79. He was buried at the Troyekurovo cemetery.

Shatrov Mikhail Filippovich: creativity

The great Ranevskaya, hinting at the playwright's close attention to Leninist themes, called him "modern Krupskaya." Oleg Tabakov, People's Artist of the Soviet Union, believed that Mikhail Shatrov, biography and creative way who has always been the subject of active interest of admirers, is a "very independent and special figure in Soviet drama" of the post-Khrushchev period. M. Shvydkoy, the former Minister of Culture of the Russian Federation, believed that Shatrov's plays reflected an entire historical era, all stages of formation and development social forces in the USSR, the phenomena born of the Khrushchev thaw and the Brezhnev stagnation were deeply analyzed.

Start

Mikhail Shatrov (photos in his youth have not been preserved) published his first works in 1952. These were short stories and scripts, the publication of which brought the aspiring writer the funds he needed to travel to visit his mother, who was serving time after her arrest in 1949.

The most serious shocks of those years were: the so-called "doctors' case" and the death of Stalin, at whose funeral the young playwright was present. These significant events for the country remained forever in his memory and were reflected in his subsequent work.

In 1954, as a student, Shatrov created a drama about school life - Clean Hands. As a negative hero, he portrayed the secretary here Komsomol organization. The playwright also pays attention to youth issues in subsequent plays: “A Place in Life” (1956), “Modern Guys” (1963), “Przewalski's Horse” (1972). The latter was staged under a different name - "My love in the third year." Serious critics spoke favorably about the first works of Shatrov.

Revolution Theme

The first play devoted to the theme of the revolution and written after the exposure of the cult of Stalin was "The Name of the Revolution", designed for a teenage audience (staged by the Moscow Youth Theater). The core of the play, as well as all subsequent dramaturgy, was the proclamation of loyalty to the ideas of the revolution, the glorification of the honesty and nobility of its participants and the debunking of oblivion and trampling on high revolutionary achievements. current generation. The Communists (If Each of Us), The Continuation (1959, Gleb Kosmachev), in which the playwright attempted to take a deeper look at the revolutionary events, were banned.

The image of Lenin

A significant event in creative life The playwright became acquainted with the film director M. Romm, which resulted in the formation of an idea to create the image of V.I. Lenin without any textbook gloss. No less important, the playwright considered the description of the actions of the leader in a real historical situation, the restoration of the dramatic context of the era, the image of the people around the great man and their relationship with him.

In 1969, Shatrov began work on a film novel based on historical events- "Brest peace". IN this work all real historical heroes acted according to their political and ideological views. Drama was in the foreground. political life full of irreconcilable struggle and conflicts. The announcement of the novel took place in 1967, the work itself was published in the magazine " New world» A. Tvardovsky 20 years later - in 1987.

Maturity of the master

The play The Sixth of July (documentary drama, 1962) embodied the playwright's fundamentally innovative approach to portraying the images of enemies: Maria Spiridonova, an opponent of the Bolsheviks, was portrayed as a whole, sincere, ideologically convinced person. The play was a resounding success, but caused a sharply negative response in the party press. At the same time, M. Shatrov wrote the script, according to which the director J. Karasik made a film that won at the XVI Film Festival (Karlovy Vary) Grand Prize(1968).

At the same time, the playwright begins work on the creation of the cycle "Drama of the Revolution", in which he raises the most acute problems of society at sharp turning points in history. One of the most important in the cycle is the question of revolutionary violence, its limits, admissibility and conditions of use. In the play "Bolsheviks" from this cycle, the story of the assassination attempt on V. I. Lenin was taken as a basis. In the foreground, the playwright addressed the issue of the causes of the emergence of the "white" and "red" terror, of violence as a means of control and power. Around the work of Shatrov, a real party-ideological struggle flared up. The play was shown without official permission from the censors. The blessing for her show was given personally by the Minister of Culture E. Furtseva. It was an unprecedented event in the history of the Soviet theater.

Departure from Leninist themes

This period of creativity of M. Shatrov includes the creation of the script of four film novellas about V. I. Lenin, staged on television by director L. Pchelkin. A campaign was gaining momentum to accuse the playwright of distorting historical truth. The ill-wishers claimed that the author was juggling documents, and a revisionist line was being pursued. As a result, the television series was released only in 1988. The playwright was forbidden to write on historical and revolutionary topics. Threatened expulsion from the party. M. Shatrov departs from the Leninist theme and turns to the present.

Other topics

In 1973, he wrote the production drama The Weather for Tomorrow. The material for the creation of the work was the grandiose building of the Volzhsky car factory and the processes taking place in the work team. In 1975, the Theater of the Soviet Army staged a performance dedicated to the 30th anniversary of great victory play "The End" Last days Hitler's rates). The performance was fraught with many difficulties. At the same time, the play was staged in the GDR. M. Shatrov dedicated the script "When Others Are Silent" (in 1987) to the history of the Nazis coming to power. On the example of the life and fate of the revolutionary Clara Zetkin, the problem of personal responsibility was raised in the work politician for the mistakes he made before the party and the people. M. Shatrov's social comedy "My Hopes" (staged by the Moscow Theater named after Lenin Komsomol) had great success. The play shows the fate of three women, expressing the ideals of the generations of the 20-70s.

Return to the theme of V. I. Lenin

In 1978, the playwright returned to his favorite historical and revolutionary theme. In the play "Blue Horses on Red Grass" ("Revolutionary Etude") Shatrov tested new possibilities of the documentary drama genre. The author saturates it with lyrical pathos, freely combining historical realities with poetic fiction. The novelty of drama was that the image of the leader was created without the use of portrait resemblance features. The actor reincarnated without using makeup and the usual pronunciation. Only a few "textbook" elements remained appearance(cap, polka-dot tie, etc.). The main thing was the reproduction of behavior and type of thinking. The play was built in the form of an appeal to the descendants and a testament to them.

Since 1976, the playwright has been working on the study and reflection in his work of various aspects of the interaction between morality and politics. Scripts come out from under his pen: “Trust”, “Two lines in small print”, plays: “I bequeath to you” (“So we will win!”), “Dictatorship of conscience”, etc. In his works, the playwright deepens the analysis of the mistakes made in years of revolution and civil hard times. In 1983 Shatrov was awarded the State Prize of the Soviet Union for his play The Dictatorship of Conscience.

The play "Further ... further ... further!" (1988), was the last work of M. Shatrov, which summed up his reflections on the political legacy of V.I. Lenin, on the role of I.V. Stalin in Soviet history, on the problem of Stalinism in general. The work caused a heated discussion in society. Retrograde scholars came out sharply against Shatrov, appealing to the old party dogmas, there was a whole stream of letters from readers supporting the views of the playwright and accusing him of betraying lofty historical ideals. In 1989, the text of the play was published with all the responses caused by its appearance, in the book “Further ... further ... further! Discussion around one play.

Completion of creative activity

The last work of the playwright was the play “Maybe”, written by him in 1993 in the States, where Shatrov stayed at the invitation Harvard University. The play was produced by the Theater Royal Manchester, it ran for two months and was presented 60 times. Relevant for the American public was that the work recreated the atmosphere of fear that had spread in America during the years of McCarthyism. Fear, capable of disfiguring the psyche of people and turning them into traitors and scoundrels in any country. In the spring of 1994, Shatrov returned to his homeland.

During the years of perestroika

In the turbulent years of perestroika, the writer took an active part in journalistic and social activities, to which he had previously devoted great attention (long time served as the head of the seminar for beginner playwrights in the Writers' Union, secretary of the board of the Union of Writers and Theater Workers (STD). In 1988, he published articles written at different times in the book The Irreversibility of Change.

Immediately after his election as the secretary of the STD board, M. Shatrov began to achieve the realization of his most cherished dream - the creation in the capital of an international center of culture, which would unite under its roof many types of arts: painting, cinema, theater, music, literature, television. In 1987, by a resolution of the Moscow City Council, a plot of land was allocated for construction on the embankment of the Moskva River. The project for the future construction was developed by theater architects Yu. Gnedovsky, V. Krasilnikov, D. Solopov. M. Shatrov focused entirely on construction. In the autumn of 1994, a closed Joint-Stock Company"Moscow - Red Hills". M.F. Shatrov took the positions of president and chairman of the board of directors. In July 1995, construction began on the center, which was opened in 2003.

The meaning of creativity

The resonance evoked in society by many of M. Shatrov's plays was very great. The playwright has received many state awards. The film critic Alla Gerber defined the significance of his work as follows: “At a time when there was no truth at all, the half-truth that Shatrov’s plays carried was very important to us.”

Mikhail Shatrov: personal life

According to relatives, Shatrov was a rather secretive person. The playwright confessed to his friends that he had been married several times. But, as his entourage testifies, the press long time it was not possible to find out with whom Mikhail Shatrov lives: the playwright's personal life was sealed with seven seals. After his death, journalists learned some details. In particular, it is known that the cult playwright was officially married four times.

However, in his declining years, Mikhail Shatrov himself told something about himself in an interview. The wives of the outstanding playwright: actresses Irina Mironova, Irina Miroshnichenko, Elena Gorbunova, the last marriage was with Yulia Chernysheva, who was 38 years younger than her husband. The playwright's children: daughter from his first marriage, Natalia Mironova, Slavic philologist, daughter from Alexander's fourth marriage, Michelle, who was born in the USA in 2000. Mikhail Shatrov and Irina Miroshnichenko (the playwright's second wife) had no children.

Born April 3, 1932 in Moscow. Father - Marshak Philip Semenovich (1900-1937), engineer. Mother - Marshak Cecilia Alexandrovna (born in 1904), taught German in high school. Wife - Yulia Vladimirovna. Daughters: Natalya (born in 1959) and Alexandra (born in 2000).

Childhood and youth years of the famous playwright Michael Shatrova painted in tragic tones. Native sister his father was the wife of A.I., a member of the Central Committee of the All-Union Communist Party of Bolsheviks. Rykov. In 1937 she was arrested. The same fate was prepared for the father Michael, Philip Semenovich. He was shot, which his relatives learned about only after rehabilitation in 1956.

In 1940 Michael went to school. When the Great Patriotic War began, the family evacuated to Samarkand, where he continued his studies until returning to Moscow in 1944. At school Michael Shatrov was an activist, secretary of the Komsomol organization, deputy editor of the handwritten magazine Our Word, for which he wrote articles on political topics.

In 1949 my mother was arrested Michael and he was left without a livelihood. Wanting to help him, the teachers of the school gathered a group of elementary school students who did not study well, and offered to study with them, to do their homework. The parents of the children brought bread, potatoes ... In 1950, hoping for a meeting with their mother, who was serving time in the Krasnoyarsk Territory (she was amnestied in 1954), Michael went to relatives in Tyumen, where he studied for some time in high school. In the school drama circle, he staged "Two Captains" by V. Kaverin. In 1951, upon returning to Moscow, he graduated from the ten-year course with a silver medal and entered the Mining Institute. The choice of the institute was dictated by the fact that they provided students with uniforms and there was an opportunity for vital Michael additional income.

First literary works Michael Shatrova- stories, scripts - were published in 1952 in the newspaper "Gornaya Shoria" (in Altai M. Shatrov did an internship and worked as a driller in order to have money to travel to his mother). Serious turmoil those years: "the case of doctors", the death of I.V. Stalin and the presence at his funeral - forever remained in the memory of the playwright and were reflected in his subsequent work.

In 1954, while still studying at the institute, Michael Shatrov wrote a play from school life - "Clean Hands", in which the secretary of the Komsomol organization was the negative hero (the playwright will return to the genre of school comedy many years later, in 1972, when, together with A. Khmelik, he will write the play "It rained like a bucket") . In the next play Michael Shatrova- "A Place in Life" (1956), as in the dramaturgy of A. Volodin and V. Rozov of those years, youth issues were developed. Main question which rose in it - where to apply one's strength - was decided in the spirit of the times: a person's place is not determined by his social position but a spiritual vocation, an opportunity to reveal your human potential. The playwright does not leave the youth theme even afterwards: it is reflected in his play "Modern Guys" (1963) and the "student comedy" "Przhevalsky's Horse" (1972) about the movement of construction teams, which received positive reviews from serious criticism (K. Shcherbakov and A. Smelyansky ). "Przewalski's Horse" was also shown in theaters under the title "My Love in the Third Year".

Exposure of the cult of personality I.V. Stalin was supported in M. Shatrov faith in the possibility of restoring the "Leninist norms of party life", and in 1957 he applied to the party. However, the admission was postponed for almost three years, since some of his plays of those years (in particular, "Gleb Kosmachev") were perceived by the party authorities as revisionist. Even then, the young playwright turns to the theme of the revolution. This undertaking was supported by his mentors A. Arbuzov, A. Salynsky, A. Stein, the leaders of the seminar for young playwrights, in which M. Shatrov. His first play, devoted to this subject, "In the Name of the Revolution" plot adjoined previous work and was designed for a teenage audience (staged by the Moscow Youth Theater). It already contained something that would form the ideological core of his subsequent dramaturgy: loyalty to the ideas of the revolution, the honesty and nobility of the people who participated in it, and oblivion, trampling of all this by subsequent generations.

A serious request for a more in-depth development of this idea, which is being implemented on modern material, became the play "If each of us ..." ( original title"Communists"), intended for the Theater named after Evg. Vakhtangov. The main character, a student, secretary of a Komsomol organization who opposes the cult of personality, was opposed by a teacher of Marxism, holding on to old dogmas. The text of the play was already typed in the Young Communist magazine, but censorship prevented its publication. The same fate befell M. Shatrova"Continuation" (1959), which under the name "Gleb Kosmachev" was staged at the M. Yermolova Theater and was soon banned. In this play, the action of which develops on the construction of the Siberian railway(M. Shatrov visited Siberia in 1959 and published a number of essays on construction sites in the newspaper "Trud"), the principle of historical allusion was used: the viewer had to read the real situation as a model of the socio-political structure in the Stalin era. After some time, the play nevertheless returned to the stage and entered the repertoire of many theaters in the country.

A significant mark in the further creative life of M. Shatrova left an acquaintance with the film director M. Romm, in conversations with whom the desire to create the image of V.I. Lenin, devoid of textbook gloss, to inscribe his actions in a real historical situation, restore the dramatic context of the era, show the people around him and their relationships. Thus, in 1969, the idea was born of the "film novel" "Brest World" based on historical documents, in which real historical figures would act in accordance with their political positions and ideological views, and most importantly, the dramaturgy of political life itself, full of conflicts and irreconcilable struggle, would come to the fore, that is, what the author himself formulated in the title of one of his publicistic speeches: "History is the best playwright." New attitude to the historical document of M. Shatrov In many ways, he also owed a meeting with V. Loginov, a researcher at the Institute of Marxism-Leninism (IML), who later became his co-author on several works (with discoveries in the field of "documentary drama" made by Western playwrights P. Weiss, R. Kiephardt and R. Hochhut, he met later.) The severity of the political conflict indicated in the play - the clash between the Bolsheviks and the left communists over the conclusion of peace - was fueled by the political situation of the late 1950s, when the Chinese " cultural revolution". However, the presence among actors L. Trotsky and N. Bukharin ruled out the possibility of this work appearing in print. The novel was announced in A. Tvardovsky's "New World", but appeared on the pages of this magazine only 20 years later - in 1987.

The impossibility to name the names of people who actually participated in the most important historical events of the era determined the direction of M. Shatrova in the docudrama The Sixth of July (1962), where forbidden names were spoken in a telephone conversation. The historical outline of this work was the events of 1918 associated with the rebellion of the Left Socialist-Revolutionaries. The fundamental innovation of this drama was the disclosure of the character of the enemy of the Bolsheviks - Maria Spiridonova as a whole, sincere, ideologically convinced person. It was also important to consider the possibility of the existence of a multi-party system, the implementation of which in the country was prevented by circumstances. The idea of ​​the relationship between political goals and the means to achieve them sounded sharp. The principal ideological and moral result was the conclusion that unrighteous means can change, correct, even distort the right goal. The play was successfully staged in Moscow at the Moscow Art Theater and the Stanislavsky Theater, as well as in many theaters of the country. It received a wide response in the press and caused sharp dissatisfaction with the party press. At the same time M. Shatrov a script was written, according to which director J. Karasik made a film that won the Grand Prize at the XVI Film Festival in Karlovy Vary in 1968.

The playwright has an idea to create a cycle of "Drama of the Revolution" (R. Rolland was supposed to serve as a model here). The drama "Bolsheviks" ("Thirtieth of August") raises one of the most acute problems life of society at the turning points of history - revolutionary violence, its limits, admissibility and conditions of application. Taking as a basis the story of the attempt on V.I. Lenin, M. Shatrov brought to the fore the question of the causes of the emergence of "red" and "white" terror in the country, of the gradual replacement of historically explicable and necessary, limited by time limits of violence - violence as a means of power and control, showed the process of mastering this idea by the minds and feelings of people. It was easy to draw a parallel with 1937. Around the play, a party-ideological struggle began: the censorship of the IML, the propaganda department of the Central Committee of the party, spoke out against its production. On November 7, an unprecedented event in the history of the Soviet theater took place - the play "Bolsheviks" was shown on the stage of the Sovremennik Theater with the personal permission of the Minister of Culture E. Furtseva without the official blessing of censorship. Together with the plays by L. Zorin about the Decembrists and A. Svobodin about the people of the People's Will, she composed a theatrical trilogy about Russian revolutionaries, which lasted a long time in the theater's repertoire. Among the undeniable artistic merits of the play, critics noted a special theatrical technique used by the author: the absence of the protagonist on the stage, and his invisible presence in the thoughts and conversations of the participants in the action, as well as the vivid elaboration of characters, the ultimate compression of stage time.

During the same period M. Shatrov creates a script for four film novellas about V.I. Lenin: "Roll-by-call voting", "An hour and a half in Lenin's office", "Air of the Council of People's Commissars", "VKHUTEMAS Commune", in which echoes of his previous plays (including the unpublished " Brest Peace") and which was staged on television by director L. Pchelkin. In connection with the growing campaign against M. Shatrova in the distortion of historical truth, in the juggling of documents, in carrying out a revisionist line, this television series was shown on the television screen only in 1988. The playwright was forbidden to write works on historical and revolutionary topics (he had to interrupt work on a play about Lenin "Unfinished Portrait"), he was threatened with expulsion from the party. All this determined the departure of M. Shatrova from the Leninist theme and an appeal to the present.

In the genre of industrial drama, the play "Weather for Tomorrow" (1973) was written, the material for which was the construction of the Volga Automobile Plant and the processes taking place in the work team. The characters fit into the types of "business people" being developed in drama during these years.

In connection with the 30th anniversary of the Victory in the Great Patriotic war M. Shatrov writes the play "The End" ("The Last Days of Hitler's Headquarters"), the appearance of which on the stage of the Theater Soviet army also turned out to be fraught with many difficulties (GlavPUR prevented the release of the performance). In the same 1975, the play was staged in the GDR. The history of the Nazis coming to power was studied by M. Shatrov in the script "When Others Are Silent" (1987), where, using the example of the fate of Clara Zetkin, the question was raised of the politician's personal responsibility for the mistakes committed by his party before the people.

Great success accompanied the social comedy of M. Shatrova"My Hopes" staged by the Moscow Lenin Komsomol Theater - a play about three women whose fates expressed the ideals of the generations of the 1920s, 1940s and 1970s.

The return to the historical-revolutionary theme was indicated by the play "Blue Horses on Red Grass" (1978; another name is "Revolutionary Study"), in which M. Shatrov tested new possibilities of documentary drama, saturating it with lyrical pathos. It freely combined poetic fiction and historical realities. Innovative was an attempt to create an image of V.I. Lenin, without resorting to portrait resemblance. The actor had to reincarnate, using not make-up and the usual pronunciation, but only individual "textbook" details of clothing (a tie with polka dots, a cap, etc.). The main thing was to reproduce the type of thinking and behavior. The play was built as an appeal-testament to posterity ("If you do not succeed, history will question us") and consisted of conversations-meetings of V.I. Lenin with people, during which it turned out that a substitution had taken place: everything human was emasculated from the idea of ​​​​socialism, leaving the wretched, primitive, misinterpreted, which led to the creation of barracks socialism.

Two scenarios (together with V. Loginov) - "Trust" (1976) and "Two lines in small print" (1980) dealt with various aspects of the interaction between morality and politics. Trust as the basis of the solution national question became, in the opinion of the author, the program of the young Soviet government in the most acute situation of secession of Finland. A sharp rebuke to the quasi-patriotism of some communists was voiced in the conversation of V.I. Lenin with G. Pyatakov. In the center of the second plot is the story of a young scientist whose efforts to rehabilitate a man declared to be an Okhrana officer do not bring him a "visible" result - from all the searches only a few lines typed in a footnote remain - but become a school of morality for him.

In 1980 M. Shatrov work began on the play, originally called "I bequeath to you" (later "So we will win!"), which passed through the slingshots of censorship, but received negative feedback IML scientists. In it, for the first time, the text of Lenin's testament was heard from the stage, containing the characteristics of the closest associates, it was said in full voice about the isolation of the leader of the revolution in Last year life, initiated by I.V. Stalin. In Lenin's reflections-memoirs there was an analysis of the mistakes made by him and picked up and exacerbated by his followers. The production, in which the elements of tragedy are emphasized, was staged at the Moscow Art Theater in 1981 and received positive reviews from leading theater critics: M. Stroeva, Yu. Rybakov, G. Kapralov, A. Karaulov and others. In 1983, M. Shatrov was awarded the State Prize of the USSR.

The growing flurry of accusations against the founder of the socialist state, the split that arose in society, the appearance different points views on the essence and fate of socialist ideas, the discussion of which became possible with the advent of glasnost, prompted the playwright to attempt to reproduce on the stage "the trial of Lenin." The desire to involve a modern auditorium in a discussion on morality and politics (the play "The Dictatorship of Conscience" was given the genre definition "disputes and reflections of 1986 in two parts") brought to life a new art form - a journalistic carnival, where not only historical characters acted how many historical masks, carriers of certain political trends. The performance staged by M. Zakharov at the Lenin Komsomol Theater caused numerous positive responses from critics (O. Kuchkina, A. Svobodina, Yu. Shchekochikhin, etc.) and an enthusiastic reception from the audience.

Last work M. Shatrova, summing up his reflections on Lenin's political legacy, on the role of I.V. Stalin in Soviet history, over the problem of Stalinism as a whole and its connection with everything that preceded it, was the play "Further ... further ... further!" (1988), who finally formalized the concept of "the political theater of M. Shatrova". She caused a heated discussion in society, a sharp reaction from retrograde scientists who appealed to the old party dogmas, a stream of reader letters with support and accusations of betraying the ideals of the past. Interesting experience publication of the text of the play with all the responses accompanying its appearance was the book "Further ... further ... further! Discussion around one play" (M., 1989).

The playwright's last play "Maybe" (1993) was created abroad (in 1992 by M. Shatrov left at the invitation of Harvard University in the USA) especially for the famous English actress V. Redgrave and staged at the Royal Theater of Manchester, where she went for 2 months and withstood about 60 performances. The play recreates the atmosphere of fear that spread in America during the years of McCarthyism, disfiguring the psyche of people, turning them into scoundrels and traitors. To Russia M. Shatrov returned in the spring of 1994.

Much of what was found in the dramaturgy of M. Shatrov used in his only prose work - "a novel-chronicle in documents and letters" "February" (1979; co-authored with V. Loginov), where history speaks with the voices of real participants in the events February Revolution, its witnesses and eyewitnesses. During the years of perestroika, the writer was actively involved in journalistic and social activities, which he paid attention to before (for a long time he led a seminar for young playwrights in the Writers' Union, was secretary of the board of the Writers' and Theater Workers' Union). In 1988 articles different years published by him in the book "The irreversibility of change".

Back in 1986, after being elected secretary of the board of the newly created Union of Theater Workers (STD) and not wanting to turn into " high-ranking official from culture, M. Shatrov began to achieve the realization of his cherished dream - the creation in Moscow of a large international cultural center that would unite under one roof all possible types of art - theater, painting, music, cinema, television, literature. This idea was also liked by other STD secretaries - O. Efremov, K. Lavrov, M. Zakharov, V. Shadrin. The work had to start from scratch. “We didn’t even have money for paper clips,” recalled M. Shatrov. - And I went to the authorities ... In 1987, the Moscow Council signed a resolution on reserving for the construction of a plot of land on the embankment of the Moskva River opposite the Novospassky Monastery. The project of the future Cultural Center was developed by excellent theater architects Yu. Gnedovsky, V. Krasilnikov, D. Solopov.

After tragic events October 1993 there was a pause in his creative life. In the autumn of 1994, CJSC "Moscow - Krasnye Holmy" was established, which M.F. Shatrov led as President and Chairman of the Board of Directors. On July 20, 1995, the first stone of the Russian Cultural Center "Red Hills" was laid, which was put into operation in 2003.

On the night of May 22-23, 2010 Michael Filippovich died in his sleep at the age of 79 from a heart attack.

Shatrov awarded the Order of the Red Banner of Labor (1982) and Friendship of Peoples (1984).