Bulgakov set upon working on it in July and finished the first draft in September. The White Guard (Russian: Белая гвардия) is a novel by 20th-century Russian writer Mikhail Bulgakov, famed for his critically acclaimed later work The Master and Margarita. This resulted in Bulgakov's finally joining the MAT stuff and spending the last years of his life in a kind of 'internal exile', increasingly frustrated and now unable to go abroad, to visit his brother Nikolai who lived in Paris. With an epilogue by. Bulgakov gave the younger Turbin brother some of the characteristics of his own younger brother. As well as the novel The White Guard, which served as a blueprint for it, the play was based upon its author's personal experience in Kiev of late 1919 and early 1920, when, at the height of the Russian Civil War, the city succumbed to anarchy and violence. Later it was revealed that the Soviet leader have seen the play at least fifteen times in the course of three years, often visiting the theatre incognito. This was the basis for the English translation by Michael Glenny, first published in 1971. The White Guard first appeared in serial form in the Soviet-era literary journal Rossiya in 1925, but the magazine was closed down before the serial was completed. This article is about the novel. He later tried helplessly to rationalize what had happened. The novel's characters belong to the sphere of Ukrainian and Russian intellectuals and officers. The White Guard first appeared in serial form in the Soviet-era literary journal Rossiya in 1925,[1] but the magazine was closed down before the serial was completed. Bulgakov's maternal grandmother Anfisa Ivanovna, in marriage Pokrovskaya, was born Turbina, hence the name of the family. The play's second version (never published in Russian) was translated into German and first came out in Munich in 1934. On 16 February 1932, resulting from the direct interference of Joseph Stalin, it was re-started and continued until June 1941, to considerable public acclaim. "[6] Such a line of argument served as red herring for Stalin, the critic Marianna Shaternikova argued, for "there was nothing in the play which might have been interpreted even as a hint at the Bolshevism's invincibility. "[9], In April 1929 the production was cancelled. It was not reprinted in Russia until 1966. It was written in 1925 and premiered on 5 October 1926 in Moscow Art Theatre, directed by Konstantin Stanislavsky. It was not reprinted in Russia until 1966. Next to me, an old worker, my Party chief, rose up too. As well as the novel The White Guard, which served as a blueprint for it, the play was based upon its author's personal experience in Kiev of late 1919 and early 1920, when, at the height of the Russian Civil War, the city succumbed to anarchy and violence. The title The Days of the Turbins was also used for the novel itself, the latter's Paris (1927, 1929, Concorde) edition was titled The Days of the Turbins (The White Guard). Also, several new lines were given to Myshlayevsky, to indicate that he, bitterly disillusioned, as he was, with the White movement, was now ready to join the Red Army. Why Did Stalin Loved The Days of the Turbuns. For the 1976 film, see. Your Turbin's small mustachios even visit me in my dreams, I cannot forget them," he told the MAT actor Nikolai Khmelyov.[5]. [5], It was obvious for both that this 'extraordinary' order could not have been issued by any one other that Stalin himself. "That the likes of the Turbins decide to lay down the arms and succumb to the will of the people, conceding the defeat, could mean only one thing: that the Bolsheviks are invincible. In April 1929 the MAT production was cancelled as a result of severe criticism in the Soviet press. Novy Zritel (Modern Viewer, on 2 February, 1927) described is as the "cynical attempt to idealize the White Army". Stanislavski, trying to appease the Repertoire Committee (Glavrepertkom) suggested that it should be called "Before the End" (Перед концом) which Bulgakov vehemently protested against. [2], What seemed to enrage the critics most was the fact that the White Army officers in the play were portrayed almost as Chekhov-type characters. In 1920, while in Vladikavkaz, he'd written a play called The Turbin Brothers, which was set during the times of the 1905 Revolution, and since then has been thinking of coming up with some kind of sequel. The family of the Turbins are caught in this turmoil, suffering their own tragedies, watching their whole world crash, amidst mindless violence, feeling abandoned and betrayed.
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