Vladimir Vysotsky. The hot heart of the Russian mentality
Today he could have turned 75. He could still sing, write poetry, live … Fate pleased to cut the poet's life almost in half. Such tight deadlines are given to people who seem to live not just one, but several lives at once.
The wind blows into my god soul
tears and flutters and urges, to faster, faster.
V. Vysotsky "Parus"
Today he could have turned 75. He could still sing, write poetry, live … Fate pleased to cut the poet's life almost in half. Such tight deadlines are given to people who seem to live not just one, but several lives at once. It is no coincidence that Vladimir Vysotsky answered the question “What is missing” in monosyllables: “Time”. The vital energy of incredible concentration, it seemed, was just waiting to sprout into this surprisingly strong body, compressing its physical existence into short, monstrously intense forty-two years.
Vysotsky was always in a hurry. He was even born, as he believed, prohibitively late: "I wish I knew who was playing for so long, / Would have recouped the scoundrel!" Vladimir Vysotsky had to grow up after the war, to which his best songs are dedicated. In the last video recording of the Poet dated January 22, 1980, which later became the film "Monologue", Vysotsky several times tries to sing one of his most poignant songs about the war, "We rotate the earth": "I left my feet behind, / In passing grief over the dead, / I rotate the earth ball with my elbows / From myself, from myself!"
The song breaks down, does not go, the words are confused. There are tears in Vysotsky's eyes. But he gathers and plays verse after verse the story of the Great War as it is. All the pain, all the horror, all the incredible return of the victorious people in twelve stanzas of a poetic text compressed like a spring. Many veterans, not knowing Vysotsky's age, were sure that he was from their generation, the generation of fighters. Only those who were there could describe the war in this way.
I am the Yak fighter …
“In my songs, I always say“I”not from the food, it’s easier for me,” Vysotsky admitted. It is easier, because it’s a responsibility to write in the first person, because it’s easier to pull apart “a rope stretched like a nerve” into its constituent threads - life from several lives at the same time. It is easier, because the "I" of Vladimir Vysotsky is in absolute internal correspondence to the Russian people, the Russian mentality. At the lectures of Yuri Burlan "System-vector psychology" such a mentality is called urethral-muscular, this mental is determined by the urethral vector of the leader of the pack.
Vysotsky was often asked if he had flown a fighter jet, had sailed in a submarine, had not been in prison. People could not imagine that such songs could be the fruit of the author's imagination. They were not fantasies, they came from the depths of the psychic, from the very heart, which gives itself to people without a trace. He sang what he wanted to hear, gave it out of lack. The urethral measure is the only bestowing of the entire eight-dimensional matrix of the psychic, which is why it is so attractive for all other measures, measures of receiving. At the human level, this is expressed in incredible charm and power of influence on people. Vysotsky undoubtedly possessed such charm and power.
Perhaps the recording was heard from the windows …
The first recording of Vysotsky's singing was made by accident. In the circle of close friends in the apartment of actors Svetlana Svetlichnaya and Vladimir Ivashov in the summer of 1967, the guitar went in a circle. Everyone sang. Vysotsky also sang. Some of the friends could not resist and pressed the record button on the tape recorder. The tapes went "for a walk" in Moscow, then throughout the country, they were rewritten, given to listen, even forged. Soon the entire Soviet Union sang Vysotsky, not even knowing what he looked like and how old he was. Either a former prisoner, or a pilot, or a submariner, in general, his boyfriend Volodya Vysotsky sings great songs.
National glory accompanied Vysotsky all his life. Somehow the Moscow Theater on Taganka came on tour to Naberezhnye Chelny, to KamAZ. The artists walked down the street to the house where they were supposed to live. The windows of the houses were thrown open, and Vysotsky's songs sounded from each window. “So he walked through the city like Spartak,” recalls Yuri Lyubimov. Nevertheless, only four small Vysotsky records were officially released. It was not then accepted that the author of music, words and performer was one and the same person. “Unprofessional,” was the verdict of cultural bureaucrats.
As in a vague volost, a fierce evil province …
For recording at Melodiya, permission from Rosconcert was required, and for it - permission from the Ministry of Culture. Party functionaries did not give such permission. Vysotsky was forbidden even by those who listened to him with pleasure. Moreover, libels against the Poet began to appear in the press, where his songs were ridiculed, however, for some reason, the words were quoted from the songs of others. The period of stagnation was characterized by a stifling atmosphere for creative people, the 60s with the "thaw" and "spirit of freedom" have sunk into oblivion.
In 1973, Vladimir Vysotsky wrote a letter to the secretary of the CPSU Central Committee, USSR Minister of Culture Demichev: “You probably know that in the country it is easier to find a tape recorder on which my songs are played than the one on which they are not. For nine years I have been asking for one thing: to give me the opportunity of live communication with the audience, to select songs for the concert, to agree on the program. " The letter remained unanswered. All this plunged Vysotsky into despair.
Who is with me? Who should I go with?
It would seem, why should the popular favorite with his French wife and the only Mercedes car in Moscow be discouraged? Material wealth was not the main thing for Vysotsky, although he loved to show off, "dude". Much more important for the Poet was the constant feeling of his need for listeners, spectators, people. His creative potential was enormous, his energy was inexhaustible, his dedication seemed endless. After playing the performance, after walking with friends, at night Vysotsky sat down "to communicate with silence" - he wrote poetry, prose. If the poems still had a chance to be heard in the form of songs, the prose was written deliberately on the table. And this is in the most reading country in the world!
Now we fondly remember those few films where the actor Vladimir Vysotsky starred, but he did NOT star in more than thirty films! His songs have NOT been performed in more than two dozen films and performances! It is difficult to say what it was in each individual case, the director's decision or the ban from above. Most importantly, Vysotsky received a refusal for his work, a refusal to give himself up in a country where his songs rushed from every window, from every courtyard. He passionately longed for live communication with his listeners, his flock, of which he felt himself, but did not receive it in full.
Give us all good, and how much did I demand?
Everything that Vysotsky achieved, he achieved not thanks to, but in spite of the circumstances of life. The first and only poem of the Poet was published only in 1975. More during Vysotsky's life did not publish. In 1978, rather out of despair, he took part in the creation of the scandalous almanac Metropol, officially recognized as anti-Soviet. Writing poetry and not seeing the lines printed is an unbearable test for a poet.
Vysotsky was never an anti-Soviet, a dissident, he was a patriot in the best sense of the word, it could not be otherwise: only together with the country and its people, only soaring in soul and the Russian word over the crowd of his listeners, could he exist. Its power required a different scale of creativity than chamber singing in a circle of loved ones. Alas, this dream was not destined to come true.
The urethral vector of the leader and the sound vector of the spiritual search “cut the soul” of Vysotsky in half. He was now in a state of complete happiness of self-giving (in a urethral way), now in an endless depressive sound drop. "And ice from below, and from above - toil in between. / Whether to break through the top or drill through the bottom?" If you can be filled with the happiness of creative bestowal and love, get pleasure from this bestowal, then you can only win temporary respites from an endless sound, throwing a few poetic lines into it, like into a well.
Lost in the sound - and again the strongest desire for life and love takes possession of a person: for a short time he is again in happiness with friends, feasts and beautiful women until the next failure into depression and the emptiness of an unfulfilled sound black hole.
Marina Vlady recalls these terrible black failures: “My life, together with Vysotsky, was like a mixture of delight and despair, when darkness constantly replaces the light and vice versa. In those years I was two-core and could bear everything. " For 12 years he was kept by this amazing woman-sorceress, but her human strength was eventually exhausted.
A crystal house on the mountain for her …
They met in 1967. He showed promise, she is a world-class actress. Her Witch with her hair down and a dress over her naked body became, as they say now, a "style icon", her physiological femininity was smitten on the spot. Moscow Don Juans swarmed around Marina with money and position in society, and even before that, Vladi had been spoiled by the attention of not the last men in her homeland, in France, she had someone to choose from. But she chose him - an ugly, short, poor Russian guy, in whom something more crossed out all these "not".
"I was shocked!" - recalls Marina. It turns out that he really was "rich like the King of the Sea" - rich in soul, talent, endowed with incredible power of temperament. Because of Vysotsky, Marina actually abandoned a successful film career, completely sharing all the hardships of the poet's life in Russia, pulling him out of depression and hard drinking, knocking him out of the opportunity to go to Paris, arranging his concerts there, trying to cure drugs. Life with Marina was not a family in the conventional sense of the word. They led a wandering life, moving from place to place, traveling and enjoying each other. For happiness, they did not need anyone else, together they made a single whole. If not for his ever deeper dips into sound voids …
Sail! Broke the sail! I repent! I repent! I repent!
These disturbing lines from the mood song "Parus", the only song by Vysotsky, completely devoid of a plot, probably most clearly reflect the fall into a state of utter impotence, unbearable for a person like Vysotsky. He could subjugate a crowd to his will, could make a multi-million flock of his admirers cry and laugh, easily charmed the most beautiful women, but it was beyond his human strength to get the rusted state machine of the partocracy moving off the ground.
Solo concerts in Paris, Mexico, Eastern Europe could not fill the lack of live communication with their listeners in their homeland. He needed to see the eyes of people, to feel the beating of their hearts, to feel their emptiness, in order here and now to throw his piercing verses into these emptiness, giving himself over to everyone's shortages. "I will fill your thirst," says Vysotsky in Monologue. He made up for it.
Those who survived the cataclysm were pessimistic …
In the most dull times of the 1990s and after the song of Vysotsky, they did not let people disappear, they kept them on the surface, they inspired hope. Deep sound meanings, conveyed by a simple and precise oral word, reached and reach every heart. In Vysotsky's poems - not a single wrong word, not a single far-fetched emotion or incomplete stanza. Each word is one hundred percent hitting the meaning, each meaning is the most accurate expression in a word.
Vysotsky's songs still touch the souls of various people. In the film "White Nights" Mikhail Baryshnikov dances Vysotsky. He perceived with his developed skin and was able to bring out the meanings of the song "Fussy Horses". He showed not a three-bird in a dance, not a cat's skin plastics, the great dancer showed a breakthrough, a sound breakthrough through the body. This is a dance of pain, anguish, a dance of the impossibility of comprehending meanings and the impossibility of refusing to comprehend them. And in life Mikhail Baryshnikov is a ballet dancer perfectly realized in the skin as he is. All. Only Vysotsky could convey this.
And this becomes especially deeply understood in the classes "System-vector psychology" by Yuri Burlan, where the deep meanings of what Vladimir Vysotsky did for our people are very clearly and clearly understood. You can sign up for free online lectures here.
Vysotsky did not have time to fight, and the prison happily passed him, with the exception of the prison of the body, from which a sound burst, tearing the flesh in order to eventually destroy this body. “He sings to rupture the aorta,” they said about him. How else to drive the mental matrix of Russia into the listener's soul? Giving to the hall for the true lack of everyone. On!.. Shake yourself and feel in yourself the urethral-muscular mentality of the bestowal, and not the "Russian soul" soiled by eternal grievances. Vysotsky, filling in the common mental values in the mental unconscious of the people with his songs, gave the standard of what we should be. Holding nerves with ropes and a wheezing voice, he kept our integrity from decay as a flock. "You won't take me so easily!"
They won't take us, Vladimir Semyonovich! Let's be alive.