Genrikh Veniaminovich Sapgir (1928 - 1999) did not immediately come to the children's theme. His multifaceted work penetrated deeply into many spheres of human life, which was duly appreciated at the unofficial level of reader sympathy and the official one - with awards for his contribution to Russian literature.
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For his great creative life, Sapgir was awarded many state awards:
- at the festival of short prose dedicated to I.S. Turgenev, he was awarded the Prize "For Special Merits"
- awards of the magazines "Znamya" and "Sagittarius"
- G.V. Sapgir was a laureate of the Pushkin Prize
The writer's path to children's creativity
Sapgir began to write poems for children after meeting with Boris Slutsky, who introduced him to the editor-in-chief of the Children's World magazine. This meeting marked the beginning of a new era in the creative activity of the poet.
Every writer has his own way in literature. Before children's poems G.V. Sapgir acted as a social satirist; landscape lyrics and civil poetry were reflected in his work. His pen belongs to the works of such a poetic genre as the sonnet. Sapgir has several cycles. His poetic gift turned to verbal experimentation, the beginning of which was laid by the futurists.
Sapgir is a great experimenter of the word
According to critics, Sapgir was looking for harmony in the language, experimenting boldly. Genrikh Veniaminovich was especially good at this in children's poems, where he gave life to a whole generation of new children's words, immortalized by him not only in literature, but also in life. Sapgir enriched poems for children with such cute and not entirely clear images, which are reflected in the titles of many of his collections and works:
- "Smeyantsy"
- "Losharik"
- "Skladen"
And, believe me, it is only for adults that it is not entirely clear what kind of heroes we are talking about. Children have long been friends with the charming characters of Sapgir. This happens because in the soul of the writer there has always lived a big child who is fluent in children's language. With this simple and completely serious language, he wrote many scripts for cartoons beloved by children:
- "Fables in faces"
- "Amazing Kitten"
- "The Train from Romashkov"
- "The Frog is Looking for Dad"
And there are more than 50 cartoons in which Sapgir was the author of the script or his co-author. He wrote the lyrics for 12 cartoons, such as:
- "Santa Claus and the Gray Wolf"
- "Cinderella"
- "The Adventures of the Yellow Suitcase"
The magic of Sapgir's poems, enchanting the child's soul
The treasury of children's poems, songs, cartoons, called Sapgir's work, is a whole library for family reading, in which there are about 20 publications. Starting from poems, very small and peculiar: alphabet books for preschool children - to the fascinating world of traveling of the best friends of children, animals, a fantastically beautiful world appears before the little reader and viewer. It is especially emphasized by its charm of the possibilities of the cartoon, which captivates kids to a bright and unusually fascinating country, where kind and noble children's heroes live, talking animals live, flowers of extraordinary beauty bloom.
And behind all this wonderful world, generous with fantasy and fiction, is a favorite children's writer - Genrikh Veniaminovich Sapgir. It is to him that parents owe the wide happy smiles of their kids, whom they simply have to “tear off” from TV screens and computer monitors, if it’s time to sleep, and the cartoon has not yet ended.
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Genrikh Sapgir Prepared by Mezina Yu.N.
Biography: Genrikh Veniaminovich Sapgir (1928-1999) - Russian poet and prose writer. Born in Biysk, Altai Territory, in the family of a Moscow engineer who was in Altai on a business trip and soon returned with his family to Moscow. Since 1944, a member of the literary studio of the poet and artist Yevgeny Kropivnitsky at one of the Moscow houses of pioneers (Leningrad region).
Since the late 1950s, a close circle of aesthetically close poets and artists formed around Kropivnitsky and his student, the artist Oscar Rabin, who later received the name of the “Lianozovo school” (Rabin lived not far from the Lianozovo station near Moscow). In the Soviet years, Sapgir published a lot as a children's writer (he wrote the scripts for the classic cartoons "The Train from Romashkovo" and others, the lyrics to the song "Green Carriage" (translated from Yiddish, poems by Ovsey Driz) and others). In 1979, he participated in the uncensored almanac Metropol. The first publication of Sapgir's "adult" poems abroad - in 1968, in the USSR - only in 1989, during Perestroika. He also acted as a translator (first of all, of the outstanding Jewish poet Ovsei Driz, German concrete poetry by the American poet Jim Cates). Compiled the poetic section of the anthology "Samizdat of the Century" (1998), on the basis of which the Internet project "Unofficial Poetry" was created. During the years of perestroika, he became a member of the Writers' Union of Moscow (since 1988), although he had a negative attitude towards the idea of the Writers' Union. Has been a member of PEN since 1995; before his death, he joined the DOS group (in 1999).
Sapgir was one of those who returned poetry to poetry for kids. In the 1960s, there was a publishing house in Moscow that produced books for the little ones. It was called "Baby". This publishing house had an editor-in-chief - Yuri Pavlovich Timofeev. It was he who once asked the poet Heinrich Sapgir: “And write poetry for us!” - About what? Saphir asked. - About anything. Well, for example, about the fact that April is in the yard. - And if it's April, can I write about cats? - Good, - said Uncle Yura. And such poems turned out Meow! Finally warm. Spring. In April, cats are not up to sleep. I don't understand how the boys can sleep in bed in April. We would walk on the roofs Under the big and red moon
And after that, children's poems fell from Sapgir like apples from an apple tree. The heroes of the poet's verse tales - Losharik, the Ogre and the Princess, the daredevils from the country of Laughing, the train from Romashkov gained wide popularity. In 1960, the publishing house "Children's World" published the first collection of works by G. Sapgir for children, called "First Acquaintance". All these characters are distinguished by a fundamental fiction: their existence depends entirely on the play of the imagination.
Heinrich Sapgir wrote children's poems in such a way that it would be interesting for himself, that adults would like it, that children would be delighted. This proves that the poems he wrote work 365 days a year. Every day. And even in the evening, and even at night ...
Editions G. Sapgir. Star Map Tale. Ed. "Children's World", 1962, fig. A. Poret G. Sapgir, Physical Culture and Sports, 1970 G. Sapgir, Library of New Russian Poetry, 1993 G. Sapgir. Smeyantsy. - M: ID PIK, 1995. - 158 p. G.Sapgir. Summer with angels. -M., NLO, 2000. - 445s. G.Sapgir. Losharik. - M: Samovar, 2000. - 48s. G.Sapgir. Flying and sleeping. - M .: NLO, 1997. - 352 p. G.Sapgir. Collected works. tt.1,2. - Third wave, 1999. - 320 p. + 320s. G.Sapgir. A book of alphabets, counting rhymes, riddles and poems. - Planet of childhood, M., Astrel, 2002. - 232 p. G.Sapgir Forests-wonders. Spb., publishing house Rech 2013. - 32p. ISBN: 978-5-9268-1475-7 artist V. Pivovarov G. Sapgir Skladen. - M.: Time, 2008. - 926 p.
Lyricist 1970 - "The Adventures of the Yellow Suitcase" 1973 - "Miracle" (in the film Merry Carousel No. 5) (animated) 1975 - "Visiting the Gnomes" (cartoon) 1976 - "Blue Elephant" (cartoon) 1978 - "Father Frost and the Gray Wolf" (cartoon) 1979 - "Cinderella" (cartoon) 1979 - "The Princess and the Ogre" (in the film Merry Carousel No. 9) (animated) 1980 - "Flashlight Ball" (cartoon) 1981 - “One - peas, two - peas” (cartoon) 1989 - “Laughter and grief at the Bela Sea” (cartoon)
This book aims to awaken in the child an interest in physical education and sports games. Funny poems, funny tales, stories, riddles and counting rhymes give the book a playful, fascinating form. At the same time, it has serious methodological significance. Parents will learn from it how to properly build a child's day, how to gradually harden him and introduce him to sports that are accessible to his age. Sofya Prokofieva, Genrikh Sapgir: Rosy cheeks "Physical culture and sport", 1987
Sapgir's children's poems are light, well-rhymed works about animals, family, and school. Game situations in Sapgir's children's poems not only serve to entertain children, but also play a milestone role in their development. So, preschoolers who master writing skills in block letters write some letters in a mirror image - this is a typical mistake, so such a text recording is not a problem for children's perception. Sapgir's game with the reader can be turned into a serious stylistic device in other texts aimed at those for whom the game remains the basis of thinking for life and becomes no longer entertainment, but a way of learning.
Also, after reading the book, you can show the children a cartoon and analyze what they saw with the ideas of the children, which also contributes to the development of the creative imagination and thinking of children. G. Sapgir's books are recommended for reading to children of preschool and primary school age. They can be used when working on: Development of imagination and creative thinking of children; The formation of a favorable microclimate in the group and the establishment of friendly relations between children. It should also be noted that the poems of G. Sapgir can not only be read, but many of them are known to us as songs, so they can also be used to develop the musicality of children. SMOYANTS - Sapgir.
In his "New primer" Sapgir defends the traditional method of learning to read by syllables. He compiled columns of words, picking them up so that the letters and sounds in the words echo vertically, horizontally and diagonally, creating graphic and sound-sense correspondences, adding up to certain phrases. In essence, these columns are a game, initial exercises in poetry: SHARLS WE-LA MA-WE WE ME LU-NA MA-LA MA U-RA
The element of the poet Sapgir - secrets, speeches, metamorphoses of words. The synthesis of graphics and music of words generates the poetry of metaphors that lead the reader into the deep labyrinths of the Word. For example, the poem "The Game", like many other works from the "New Primer", is built on the game of letters, sounds, words and phenomena: The musician played the trumpet. The pipe looked like a snail. The snail looked like a house. The house looked like a cup overturned. The cup looked like a teapot. The teapot looked like Ivan Ivanovich. Ivan Ivanovich was a musician and played the trumpet. Many of his poems for children are original exercises for the development of speech: What kind of LI? What is MON? Sounds don't make sense. But they barely whisper: LI-MON - It will immediately become sour.
He is the author of more than twenty plays for children; many of them have been staged in theaters in our country and abroad. Together with S. Prokofieva, he wrote the plays "Puss in Boots" and "Vasilisa the Beautiful", which for a long time kept in the repertoire of tyuzes.
Thank you for your attention!
The second wife of the sixties poet, writer Kira Sapgir, together with her lawyer Yulia Verbitskaya, will hold a press conference on the situation with the sale of items from the archive of her ex-husband
The press conference is scheduled for Friday, October 20, 2017 at 12:00. It will be held in the premises of the Arbitration Court on Gilyarovsky Street, house 7.
The meeting with journalists will focus on the scandalous dispute over the archive of the sixties poet Heinrich Sapgir, which, in addition to books, documents and photographs, includes works of nonconformist artists donated and bought by him - paintings and graphics. There are, or at least used to be, works by Oscar Rabin, Vladimir Nemukhin, Eric Bulatov, and many other now famous artist friends whose works are expensive on the market. At current prices, the bill goes to many millions of rubles.
The reason for bringing the inheritance dispute into public space was the fact that Kira Sapgir unexpectedly discovered at a Moscow auction items from her ex-husband's archive, some of the items from which belong to her. They were exhibited without her knowledge and consent.
Previously, the archive was kept in an apartment on Academician Abrikosov Street in Moscow, part of which was inherited by Kira Sapgir. But when she tried to get into the apartment, she could not do it. The plaintiff describes what happened as follows: “The man in the apartment, who introduced himself as Alexander Gribov, said through the door that he was also the heir, but he would not and was not going to open the door and return any property to Kira, including those jointly acquired in marriage with Heinrich Sapgir. Apparently, the result of Gribov's actions is the sale of the joint archive, which, of course, will become the subject of litigation. Moreover, the case on the apartment is already in court and the first hearing in the Tverskoy Court will take place on October 19, 2017.”
Now the ex-wife of the poet will restore her rights in court. And lawyer Yulia Verbitskaya (Linnik) will help her.
Genrikh Sapgir (1928–1999) is a well-known poet of the sixties, one of the figures of unofficial art, a samizdat worker, a student of Yevgeny Kropivnitsky, a friend of Rabin, Nemukhin, Kholin, other artists and poets of the Lianozovo group, and not only. In the USSR, he was the author of dozens of books of children's poems, translated, wrote scripts for cartoons. For example, on his poems and music by Tatiana Ostrovskaya written song "About the red mouse and the green horse" in the wonderful film "The Adventures of Petrov and Vasechkin." Sapgir died 18 years ago. According to information from open sources, he had three wives: Rimma Iosifovna Sapgir (daughter - Elena), Kira Aleksandrovna Sapgir (daughter - Maria) and Lyudmila Stanislavovna Rodovskaya.
From the book of fate. Born November 20, 1928 in Biysk, Altai Territory, the son of a Moscow engineer who was in Altai on a business trip and soon returned with his family to Moscow.
Since 1944 - a member of the literary studio of the poet and artist Yevgeny Kropivnitsky at one of the Moscow houses of pioneers. Since the late 50s, a close circle of aesthetically close poets and artists formed around Kropivnitsky and his student, the artist Oscar Rabin, who later received the name of the “Lianozovo school” (Rabin lived not far from the Lianozovo station near Moscow).
In the Soviet years, Genrikh Veniaminovich worked a lot for children: he wrote the scripts for the classic cartoons “Losharik”, “The Train from Romashkov”, “About Foma and Yerema”, “Sineglazka”, “How the donkey fell ill with sadness” and many others; what is called, the song on his words is heard - “The Green Carriage” (translated from Yiddish, poems by Ovsey Driz), as well as songs from the cartoons “The Adventures of the Yellow Suitcase”, “Visiting the Dwarves”, “Blue Elephant”, “Santa Claus and the Gray Wolf", "Cinderella", "The Princess and the Ogre" and a number of others.
In 1979, Genrikh Sapgir participated in the Metropol almanac. The first publications of "adult" poems by Sapgir: abroad - in 1968, in the USSR - in 1989. He also acted as a translator (primarily of the outstanding Jewish poet Ovsei Driz, German concrete poetry and the American poet Jim Cates).
Compiled the poetic section of the anthology "Samizdat of the Century" (1998), on the basis of which the Internet project "Unofficial Poetry" was created.
Laureate of the Pushkin Prize of the Russian Federation, prizes of the Znamya (1993) and Sagittarius (1995, 1996) magazines, the Prize for Special Merit of the Turgenev Festival of Short Prose (1998).
During the years of perestroika, he became a member of the Writers' Union of Moscow (since 1988), although he had a negative attitude towards the idea of the Writers' Union. Has been a member of PEN since 1995; before his death, he joined the DOOS group (in 1999).
He died on October 7, 1999 from a heart attack in a Moscow trolley bus on the way to the presentation of the anthology Poetry of Silence, where he was supposed to speak.
As literary critics write, Genrikh Veniaminovich successfully combined humor and irony, parody and satire, everyday episodes of an anecdotal nature and phantasmagoria in such books as Poems (1987), Moscow Myths (1989), Pushkin's Drafts (1992) , Favorites...
Fragments to the biography of the poet
Time is undoubtedly the best judge that determines the strength of a work of art or literature. I involuntarily thought about it again, opening a book of poems by Heinrich Sapgir, The Folder, published in Russia more than a year ago and which reached me quite recently. His poetry - for children and adults - the inter-age boundary between which was always a blurry space, was equally saturated with elements of play, light, kindness ... The Moscow avant-garde (late 50s - early 60s), one of leaders of which he turned out to be, was conditionally designated as "barrack poetry" ...
However, it is not the term that is important, but its essence: in the Word or groups of Words, Heinrich Sapgir looked for and found some new resources, the energy of his work led the reader into such zones of perception of the world, where seemingly known things, concepts and ideas changed, varied , were exposed in a new way, and attempts to define it, indicate the literary coordinates and the origin of his work went into the abyss, where only on the surface were the names of Kropivnitsky or Kholin, and much deeper - Kharms, Khlebnikov ... Sapgir, however, always broke out of what -the schemes that critics and literary critics selected for him, somehow imperceptibly mixed all the cards, leaving his interpreters with a nose.
Reading his poetry is a pleasure. However, to determine what exactly, I, in all honesty, will not undertake to say. How, in fact, to determine - how can we like this or that cloud, tree, bird, apple? .. Especially - a flashed shadow, the sound of raindrops, the crunch of snow ...
Sapgir's poetry is woven from the constant play of characters and things, their shadows, the sensations they evoked, ideas about what they associated with. Not at all, not from someone, but from him. In Skladnya, a volume of more than 900 pages, compiled from collections of poems from 1958 to the late nineties, that is, in fact, to those that he wrote shortly before his death, all this is clearly visible, obviously, and if I do not I am quoting nothing now, then - deliberately, because to illustrate what is at stake, I would have to quote a lot. Considering that Sapgir's texts are not particularly difficult to find in our Internet time, that is, they remain potentially available to those who wish (books that came out from under the printing press are still a different matter!), I leave the possibility of searching to the personal discretion of each . However, for those who are familiar with the poetic work of this master a little, and for those who know him quite well, it will be necessary to make an exception. This concerns a poem, which for some reason he did not include in any of his known books and which, I strongly suspect, has remained unpublished to this day ...
sat in the baby
evil
it squeezed
plump tender fists
trampled
pink feet
(all in bandages)
mouth -
wider face:
give!
earth smeared with sky
thick pie -
Over the horizon
eat - do not want ...
but when they stayed
the last crumbs
the old man howled:
My God! God!
I was devoured
evil
Printed on a typewriter on a separate sheet with the words: “In memory of Lena”, it is kept by his daughter from her first marriage, who has long lived in France, journalist of the International French Radio Elena Genrikhovna Sapgir (for me, by friendship, - Lena) - do not confuse c her namesake, collaborating with the newspaper "Russian Thought" ...
Having received kind permission to publish Evil, I learned from Lena a rather curious story about this text. Her father, she said, sometimes showed special generosity - having heard from one of his acquaintances or friends a warm response to one or another of his poems, he could make a grand gesture: “Well, I dedicate it to you!”.
However, when she asked to dedicate the "Evil" she liked very much to her, her father unexpectedly showed restraint unusual for him, obvious unwillingness ... Why? He did not speak directly about this, but, as Elena suggests, perhaps the very idea of \u200b\u200b"giving evil" was hindered by a certain psychological, subconscious-mystical barrier. However, he still made this gift. No, not handing the page with "Evil" directly into the hands of his daughter, who visited him, but, without saying anything, putting it in a magazine with her new publication, which she took with her, flying from Moscow to Paris. The date next to the signature indicates that it was August 14, 1995.
During the fire that happened to Lena in January 2005, which, among many things, took away some of the things related to the memory of his father (his typewriter also died in the fire then), but - not dedicated, but donated! - "Evil" survived. Metaphor in this case, of course, without bitterness.
For the first time, Heinrich Sapgir was able to see France in the fall of 1987. Meetings with relatives and friends were exceptionally warm and joyful. The artist William Bruy, who had a large workshop in Paris, organized the author's evening of the poet on November 27 there. The poems that Sapgir prepared for reading, the friends decided to release as a separate book. The idea was twofold: to capture a memorable event and, through the sale of the collection, to support the author financially. The notebook with a volume of 42 pages was called extremely modestly: "Poems 87". The typographical work was done in the publishing house "Syntax" by Maria Rozanova (Sinyavskaya). However, the gift was provided with a joke: instead of "Syntax" in the imprint of the collection, the non-existent publishing house "Afonya" was indicated. “Afoney” was really Elena Afanasyeva, a highly professional compositor known in the creative circles of Russian Parisians, who worked at that time for Rozanova. The drawing for the cover of "Poems 87" was made by a Russian Parisian, graphic artist Vitaly Statsinsky.
Speaking about Elena Afanasyeva, it should be noted: she took up Poems 87 not just “for the company”, but turned out to be the initiator of the action - she knew Genrikh Sapgir for a long time, she was friends with him since 1968! ..
The publishing house "Afonya", meanwhile, was also indicated in another collection of the poet: "FACES OF SOCA", published in Paris in 1990. The publisher of this small book (which, of course, was typed by E. Afanasyeva, and designed by Alexei Khvostenko) is also the Association of Russian Artists and Publishers. There were no other books in Paris under the brand name of the Afonya Publishing House, except for these two, Sapgir's, there were. However, since de facto it turned out to be indicated (and according to the Russian proverb: written with a pen - do not cut down with an ax), I think that when compiling reference books on the history of the press of Russian emigration in France, it is not necessary to forget about him, even with his mythical status. Bibliophiles will at least have one less question.
What circulation did "Poems 87" and "FACES OF SOCA" have? According to Elena Afanasyeva, each is printed in an amount not exceeding 100 copies.
1. G. Sapgir, Skladen, ed. Time, M., 2008
First publication: Literary European, 148, Frankfurt am Main, 2010.
The material for the "45th Parallel" was provided by the author of the essay.
Illustrations:
portrait of the poet by Dmitry Savitsky;
Heinrich Sapgir at the dacha of the artist William Brui
during his first visit to France in 1987
(picture from the personal archive of E. Sapgir);
original poem "Evil";
covers of some books for children.