Cultural "cleanings"

Begun on a decline of the NEW ECONOMIC POLICY campaign of struggle against a formalism proceeded all premilitary decade. In a press and by radio branded, suggesting «to burn out kalyonym iron» the products dissonant to an aesthetics of a socialist realism. Headings of newspapers of these years dazzle with names: «Cacophony in architecture», «External shine and the false maintenance», «About artists-slovens», «Levatsky ugliness in an opera», «… petty-bourgeois innovation which conducts to a separation from original art …», etc. Without fail were organised discussions of "pseudo-innovative" products on which to death their frightened authors – writers, musicians, artists, architects accused each other of a formalism, a separation from the people and so forth mortal sins, and also practised in the restrained self-criticism.
Under the certificate of one official from culture it have sent to guide «a definitive order» in Russian museum where the valuable collection of domestic avant-guard was stored. Having come to a museum, he has seen in halls of a heap of dust of which K.Malevich and P.Filonov's works – pictures which were ordered for destroying stuck out. Risking a head, it has hidden them in store rooms, having kept for the future generations.

The cursed books withdrew from libraries and destroyed, plays forbade to statement, art exhibitions closed (exhibits at the best reliably immured in store rooms, in the worst – destroyed). Cultural "cleanings" of 1936 in which course the power formed the Soviet art and the literature became the culmination of long process. The intimidated and broken leaders of Russian avant-guard surrendered one after another, mobilizuja the talents on eulogy of a socialist reality. (Similar refusal of the creative principles was called as reorganisation). For example, K.Malevich tried to be reconstructed – having ceased to work in suprematicheskoj to a manner, he has addressed to a genre of a realistic portrait. (In 1935 the artist has died in the apartment on the Isaakievsky area, d. 9/2, remained in the history of painting by the suprematism founder).
Were successfully reforged were "feksy", begun to deliver the masterful and intelligible film production comprehensible to the heads and willingly absorbed weights. 27.01.1935 on screens left «Maxim's Youth» – the first part of the trilogy of directors G.Kozintseva and L.Trauberga (founders of Factory of the eccentric actor) which will follow «Maxim's Returning» and «the Vyborg party» – the films which have received the hot response at spectators, and supported by all power of the Soviet state. The success of a picture has made directors, and also featured actor Maxim – B.Chirkova widely known.
After a failure in hire of "New Babylon» (1929) and its landslide ponoshenija in G.Kozintsev and L.Trauberg's press (also as well as authors k/f "Passer" – F.Ermler and S.Jutkevich) have sharply felt changes of conditions of game. As their tragical ekspressionistskie film opuses had no to a court yard, they have devoted themselves to searches of new ways in a cinema the film «Maxim's Youth» – a myth about transformation of the simple guy from Petersburg working suburb in the professional revolutionary-Bolshevik became which result, sustained in a clear wide audience to a realistic aesthetics. Stories about Maxim («Maxim's Youth», 1935, «Maxim's Returning», 1937, «the Vyborg party», 1939) have deserved national love and Stalin's personal approval. Their new hero – Maxim created by imagination of directors, as well as possible corresponded to plans of the leader on destruction of memory of real characters of the revolutionary events which have grasped in 1917 The power, which names (as, however, and they) should disappear for ever.
At the same time the Great city melel, as the Great river "does not stop unilateral perekachivanie talents from Leningrad to Moscow, begun right after carrying over of capital to Moscow to 1918 Under the remark of the artist of V.Milashevskogo". Moscow took away to itself money, people … energy, the initiative … ". So, in the beginning in 1930 in capital leading figures of the Leningrad ballet among whom were M.Semyonova, A.Yermolaev, V.Semyonov (appointed the art director of choreographic school at the Bolshoi theatre) have got over some, F.Lopuhov (become by the main ballet master of the Bolshoi theatre, the truth, for a short while), etc. In Moscow has appeared the true Petersburger O.Mandelshtam.

The general cultural isolation of the country was especially sharply felt in Leningrad historically focused on interaction with the European culture. The situation was aggravated taken in 1934 on arms with a course on Russian patriotism. In the conditions of spent terror it has strongly changed position of ex-territorial minority - Poles, Germans, Finns, pribaltijtsev - representatives of these nationalities even more often began to accuse of espionage in favour of the foreign states. So, in September, 1937 "the Leningrad truth" has accused the daily newspaper in the Finnish language "Vapuas" of the Finnish nationalism. The Finnish House of education and a drama school have undergone to similar charges at it. (Articles were a signal to liquidation of the marked establishments).
Continuation of a policy of russification was also universal reduction of number of national schools. And after the decision about obligatory teaching of Russian at such schools in March, 1938 few remained national schools of Leningrad have been liquidated. Also national Houses of education and last patriotic editions on national languages have been closed.