Animators told how Pushkin ate strawberries and went to the bath
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The Mikhailovskoye Museum-Reserve hosted the first Animation and Literature Festival
In Pushkinogorye, where Alexander Pushkin rests in the Svyatogorsk Monastery, and in the places where he was exiled, and now the Mikhailovskoye Museum-Reserve is located, the Pushkin and … Festival of Animation and Literature was held for the first time. The animators presented the poet as he could be, and perhaps he was, they showed screen versions not only of his works, but also of Shakespeare, Tolstoy, Pasternak, Mandelstam, up to the diaries of the hippie Yura Diversant.
Animated film director Aleksey Demin, head of the jury, considers the main value of such a meeting to be the opportunity to look into each other’s eyes and make sure that all his colleagues are doing a common thing. After watching forty competitive films, the jury awarded the Grand Prix to “The Mistress of the Copper Mountain” by Dmitry Geller based on the stories of Pyotr Bazhov. Together with the artist Anna Karpova, he created the bizarre mining world of the Urals, and his characters bear little resemblance to those we saw in Alexander Ptushko’s Soviet film Stone Flower. Vasily Chirkov was awarded for the best director, who filmed “White-White Day” under the influence of Arseniy Tarkovsky’s poem, where the house, garden and even a rusted basin are shrouded in mystery, and children’s imagination can take them to unknown worlds. The beauty of animation is in its ability to catch something hidden, unsteady, inexplicable.
The prize for the adaptation of a literary work was given to Natalya Mirzoyan for “Giraffe” based on a poem by Nikolai Gumilyov, where “far away, on Lake Chad, an exquisite giraffe roams.” The best artistic solution is in the tragic “Oh, whose life is that” by Anna Schweigolts based on a two-hundred-year-old folk ballad and painting by primitive artists. The girls turn into trees there, and the Cossacks go to war, and when the world returns, everything in it will not be the same as before. For creating the image of the hero, Serafima Truevtseva was noted, who filmed “We Will Be Together” based on the diaries of the hippie father Yura Diversant, who died under mysterious circumstances. Reading his handwritten diaries, talking with his friends, the director tried to reproduce his world by means of documentary animation in 3 minutes 58 seconds of screen time. The jury was attracted by the fact that Serafima not only looks forward, as it should be for young people, but she is also attracted by the past. “Blind” by Anastasia Vereykina based on the play of the same name by Maurice Maeterlinck was awarded a jury diploma as the best student film.
In addition to the animators, the festival was attended by writers who literally went to the people, met with a very different audience. Anna Ignatova was asked by a second-grader about where to stroke the Firebird so that it would bring her happiness. The most numerous questions began with the word “how old”: how old are you, how much does a writer earn? They themselves knew how to answer a lot of things. A third-grade student said, “If I were asked, I would answer: 350.” Anna Ignatova also fascinated the children by sculpting a sakura branch, wild strawberries, a rain man and kitchen sets from plasticine, varnishing them, packing them in boxes and showing them to the children. Director Maria Muat and artist Maria Kurchevskaya arrived with shoeboxes, where the black-haired Mizgir with a set of various jaws lives, Snegurochka, gentle Lel, who spoke from the screen, oddly enough, in the voice of the brutal Sergei Puskepalis – and all this in “The Snow Maiden”. To the questions of the writer Anna Khrustaleva: “Who invented folk tales” and “Who is the people?” – the third-graders answered: “King”. As a gift from writers, they would like to receive not only books, but first of all a motorcycle.
Animation artist and director Sofya Kravtsova brought to Pushgory the exhibition Journey to Lukomorye, which accompanied the retrospective film Lukomorye. Nanny ”by Sergei Seregin, where Pushkin jumps along Mikhailovsky and teaches Arina Rodionovna to read and write. Here, in Mikhailovsky, she spent his exile next to Pushkin. In these places he saw her for the last time, shortly before his death. In the series that gave the name to the festival, Pushkin is also not a monument, but a person with whom you can talk, ride in a sleigh. The series “Pushkin and …” was created by director and producer Igor Gavryushkin and artist Igor Shaimardanov and told about how Alexander Sergeevich lived a rural life in Mikhailovsky, took a bath, wrote poetry and ate strawberries. No wonder one of the short stories is called “Pushkin and Appetite”.
The poet and playwright Vadim Zhuk believes that Pushkin is a very animated author, he always has an action, a verb, and this creates a picture. And the essence of the work of the cinematographer and writer can be defined by such a concept as “secret freedom”. Freedom is the first condition for creativity. “I cried in Mikhailovsky when I saw the landscape that Pushkin once saw,” Vadim Zhuk admitted and read his poems about our main poet: “I don’t understand at all who we would be without him.”
Newspaper headline:
Pushkin’s appetite and a two-minute giraffe
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