Pavel (Minsk):

OlegDikun: The question of whether to join the Belarusian Republican Youth Union or not is the business of each young person specifically. But the organization is a platform for young people to express themselves. If a person is not set up for active work, in principle, he is not interested in anything, then, probably, he will not find himself in the organization. But if a person has some specific projects, ideas, or he feels the potential in himself, then the organization will certainly help him open up.

It seems to me that there are even too many areas of activity for the organization. They are for every taste. These are cultural projects, and educational ones, and the movement of student groups (we help children find jobs), and the youth law enforcement movement, volunteering, work on the Internet - that is, there are enough directions for everyone, so we are waiting for everyone in our organization. I am sure that every young person can find a place for himself here. The main thing is that the guys should not be shy, come to our organizations, offer ideas, and we will definitely support them. Today, the policy of our organization is to support the ideas of every young person to the extent that the organization can do so.

We have a lot of projects that are being implemented at the national level, but it was the guys who initiated them. A project that has recently begun to be implemented - "PapaZal" came to us from a family in the Gomel region. It is about the participation of dads in the upbringing of children. Dads come with their children to gyms and play sports with them, thereby instilling in children a love of physical culture and promoting a healthy lifestyle. Unfortunately, our dads often cannot devote enough time to their children, because they work and provide for the family - this is the main thing for a man. "PapaZal" will allow them to spend more time with their children.

AlexandraGoncharova: And as a plus, at this time, mom can relax a little and take time for herself.

I will add. Oleg did not say about the direction that is now developing very much in our country - this is international cooperation. Our organization makes it possible for children from different countries to communicate, to gather at some international platforms and events. So, being a member of the Belarusian Republican Youth Union, you can also visit international forums and participate in interesting programs.

How many people are now members of the Youth Union? Is there an age limit or can one be a member of the Belarusian Republican Youth Union for life?

Nikolay (Brest):

Oleg Dikun: Every fifth young person in the country is a member of the Belarusian Republican Youth Union, and we are certainly proud of this. We cannot say that we are chasing quantity. We try to organize and hold high-quality events so that people come to us. And quality will turn into quantity.

I have an idea for the improvement of my hometown. Where can I apply?

Ekaterina (Orsha):

OlegDikun: Of course, the organization is engaged in this direction. In order to get help (for example, you want to create a playground or just organize people for a community work day to improve your hometown, and you do not have enough equipment or need technical assistance), you can contact the district or city organization of the Belarusian Republican Youth Union. I am sure that you will not be refused, because we must make the places where we live cleaner, better. In addition, we are having the Year of the Small Motherland, so we urge everyone to join and take part in the improvement of their cities and villages.

AlexandraGoncharova: You can go to the “Contacts” section on the brsm.by website, find the regional organization of the city of Orsha and go there with all the ideas, not only for the improvement of the city.

OlegDikun: I would also like to add that we are widely represented in social networks. If you don’t want to visit the site, we are on Instagram, VKontakte, look for us there.

I heard about your application "I vote!" Please tell us what it is for and how it was developed? How secure will my device be if I install it?

Alexandra (Minsk):

AlexandraGoncharova: The application was not developed this year, it was prepared by our activists for the elections to local Councils, an addendum was passed, and now our developers from the BSUIR primary organization have offered it to everyone for download. The application allows you to enter your address and find out how to get to the polling station, get directions on foot, by transport or by bike, and most importantly, find out about the candidates who run for the House of Representatives of the National Assembly of the Republic of Belarus of the 7th convocation.

OlegDikun: The main task of the application was to make it easier and faster to learn about elections. Young people are very mobile now. The same information that the CEC will place on the stands will be provided in the application. So there will be no need to waste time at the polling station, we urge everyone to install the "I vote!" application, it is available in the App Store and Play Market.

Host: What about security?

AlexandraGoncharova: There were no complaints. It was developed by professionals, our IT university students, so I think they took care of security.

OlegDikun: The application is also posted on the CEC website, if you don’t trust us, then the CEC should, they definitely checked everything there.

The Belarusian Republican Youth Union keeps up with the times and I constantly hear that you are developing and inventing applications. Why such an emphasis on this area, what is the effectiveness? It seems to me that few people already clog their phone with various applications?

Alena (Vitebsk) :

OlegDikun: Today we are actively working on the creation of the BRSM application. It will be possible to see what the organization is doing, quickly receive information about our projects, and it will be possible to contact us. Today, young people want to receive information in the most convenient way, and we believe that the most convenient is the application. I downloaded it, logged in, and received a notification that such and such an event is taking place in your city today.

How many projects have found their practical application and been implemented from "100 Ideas for Belarus"?

Mikhail (Bobruisk):

OlegDikun: The project "100 Ideas for Belarus" is already 8 years old. The project is developing, and today I can proudly say that it covers all regions. Now we have zonal stages, after them - regional and Minsk city stages. We plan that the Republican one will be held in February. First of all, this is a platform for the guys to show their projects, work with mentors who will tell them where, what and how they can improve. And this gives young people the opportunity to reach a new level, to improve their project.

10 winners of the republican stage get the opportunity to develop a business plan for free. The presence of a business plan gives automatic participation in the competition of innovative projects. The winners of the competition for innovative projects receive the first funding for the implementation of their projects. It is difficult to say how many projects have been implemented to date, because there were a lot of regional projects. One of the most striking recent examples is a prosthetic hand, which was developed by Maxim Kiryanov. There are many such guys, and every year there are even more of them, which we are glad about. Therefore, we will develop "100 Ideas for Belarus" and make it more mobile so that it is more interesting for young people.

AlexandraGoncharova: Another star of our organization is a young mother, she herself conquered the peaks of volcanoes and developed a sorbent with a very difficult name. And she already has two patents as a young scientist. There are many bright stars in the Belarusian Republican Youth Union!

OlegDikun: The more the guys declare themselves and their projects at various venues, including "100 Ideas for Belarus", the more opportunities there are to find an investor, a sponsor who will invest money in their implementation.

Our youth is active and proactive. And how, in your experience, does this manifest itself in political campaigns? What initiatives does the Belarusian Republican Youth Union have?

Tatyana (Grodno):

Alexandra Goncharova: We have a game of the same name. We are not a political party, but we have a very active position. There are guys who participate at different levels in the composition of precinct election commissions as observers (on the days of early voting and November 17, they will observe at polling stations). There are candidates for deputies - members of our organization. We are very active in this campaign, and not only in this one.

Oleg Dikun: To date, we support 10 of our young candidates. Yesterday, we did not gather all of them at one site, where they discussed what they are going to the House of Representatives with, what projects they would like to implement, what ideas they have, what the population voiced to them during the collection of signatures, meetings. We will accumulate all information from voters and seek opportunities to resolve people's issues. Even though our guys will pass or not, we really hope that the population will support the young candidates.

Facilitator: How actively do members of your organization respond to such events as, for example, an election campaign?

Alexandra Goncharova: Every Saturday in large cities we hold youth campaign pickets, where we tell when the elections are held, how to find their own polling station, and introduce residents to our application "I vote!".

In Gomel, the initiative “ABC of a Citizen” was developed, when you can try on the role of a parliamentarian. The guys themselves develop bills, send them for revision. Thus, we are not only working with young people who already have the right to vote, but with those who will vote in a year or two. A lot of information work is being done with the guys.

Maybe the question is expected, but still. The Internet, social networks - a lot of young people and a lot of ambiguous information are concentrated there. Please tell us about this direction. How do you work on the Internet, is it necessary? Maybe there are some informational seminars, because children need to be taught in this stream to choose what is necessary and useful, and not a stream of fakes.

Xenia (Mogilev):

Oleg Dikun: Complex issue. Today it is the problem of all mankind. There are a lot of cybersecurity conferences going on. We can say that the Internet brings benefits and negatives at the same time. We are actively working on the Internet, and this is certainly necessary, because all young people are online, and therefore we must convey information in any way convenient for them. We are on social networks, groups have been created on VKontakte, on Instagram and on Facebook for all our regional organizations. We work in messengers - Telegram, Viber. We are thinking about programs that would, perhaps, in a playful way, convey to the guys what is good and what is bad. We will be glad to any proposals and initiatives, because in fact - this is a sore point.

Is it worth banning the Internet, recently the Head of State was asked this question. In my opinion, it is not worth it, because the ban creates interest. You just need to correctly present information and tell what is useful and how to get it on the Internet. Well, no one canceled parental control, you need to be interested in what children do on social networks, what sites they visit.

Alexandra Goncharova: When we discussed how to remove the guys from the Internet, we came to the conclusion that there is no way. And then the question is how we will saturate this information field, where they communicate. Now there are a lot of projects for pioneers and even for octobers placed on our platform. I’ll immediately boast that our resource was awarded the TIBO-2019 award as the best site for children and teenagers. We have a lot of projects, thanks to which children learn how to find information, use it correctly and spend time positively on the Internet. In our Votchyna Bai project, children create QR codes for one or two. We try to fill this information field with useful and interesting information.

Please tell us about the Open Dialogue project. With whom, how and why this dialogue?

Elizabeth (Minsk):

AlexandraGoncharova: This is one of the communication platforms that has been organized by the Belarusian Republican Youth Union for several years, where we invite experts, and young people in an open format on various topics can communicate with government officials, athletes, our famous people, and discuss issues that concern the younger generation. Now we have opened a series of dialogues under the general title "Belarus and I", which is dedicated to the electoral campaign. This project has been running successfully for a long time.

OlegDikun: It is important to clarify why "Belarus and me". Everyone says that the state did not give us that, did not do this, the state is bad. We thought about it and decided to discuss the topic: "What the state has done for the youth, and what the youth has done for the state." What each of us personally gave to the state or plans to give, what ideas and projects we have. It's easy to criticize, but you suggest something. If you have ideas, suggestions, we are always ready for dialogue.

How did you personally end up in the Belarusian Republican Youth Union? Do you regret it, is it hard to be active and a leader, and what did it give you?

Gleb (Shklov):

Oleg Dikun: I came to the organization because I had a good teacher-organizer at school, who managed to captivate me with various activities, including the Youth Union. We took an active part in cultural programs, competitions, and as a reward we got to the profile shift of the Belarusian Republican Youth Union in Zubrenok, where we were specifically introduced to what the organization does. The secretaries of the Central Committee came to replace me, for me they were almost gods. I watched, listened, admired and thought, such busy people, so serious. I started my active work at school, then entered the university, where over time I became the secretary of the faculty, then the secretary of the primary organization of the university. Today I work in the Central Committee of the Belarusian Republican Youth Union. Is it difficult - not easy, but when you implement a project, and it is at the completion stage, you get a buzz from the fact that the guys' eyes are burning. Most of all I like to support and help to realize the ideas of the guys. This is great!

Alexandra Goncharova: Some time ago, I was in the role of that teacher-organizer who carried away the guys. Now there are so many public associations, and I had to involve the guys in this activity. I did not agree with something in the work of youth organizations, and now the desire to change this and make the organization better played in me. When guys start hanging out in the room of public associations - you understand that they need it ... Is it difficult - difficult. But the feedback that you get every time after events and projects convinces me that what I am doing is right. And most importantly, I get it from my own child. This is the coolest thing, when the guys' eyes are burning, they want to make the organization better, and I hope that we succeed. And we will not stop there.

“His generosity was legendary. He once sent a piano as a gift to the Kyiv School of the Blind, just as others send flowers or a box of chocolates. his creative personality: he would not be a great artist who brought so much happiness to any of us if he did not have such a generous benevolence towards people.
Here one could feel that overflowing love of life with which all his work was saturated.

The style of his art was so noble because he himself was noble. By no tricks of artistic technique he could have developed in himself such a charmingly sincere voice if he himself did not have this sincerity. They believed in the Lensky created by him, because he himself was like that: careless, loving, simple-hearted, trusting. That's why as soon as he appeared on stage and uttered the first musical phrase, the audience immediately fell in love with him - not only in his game, in his voice, but in himself.
Korney Ivanovich Chukovsky

After 1915, the singer did not conclude a new contract with the imperial theaters, but performed at the St. Petersburg People's House and in Moscow at the S.I. Zimin. After the February Revolution, Leonid Vitalievich returns to the Bolshoi Theater and becomes its artistic director. On March 13, at the grand opening of the performances, Sobinov, addressing the audience from the stage, said: “Today is the happiest day in my life. I speak in my own name and in the name of all my theater comrades, as a representative of truly free art. Down with the chains, down with the oppressors! If earlier art, despite the chains, served freedom, inspiring fighters, then from now on, I believe, art and freedom will merge into one.

After the October Revolution, the singer gave a negative answer to all proposals to emigrate abroad. He was appointed manager, and somewhat later commissioner of the Bolshoi Theater in Moscow.

He performs all over the country: Sverdlovsk, Perm, Kyiv, Kharkov, Tbilisi, Baku, Tashkent, Yaroslavl. He also travels abroad - to Paris, Berlin, the cities of Poland, the Baltic states. Despite the fact that the artist was approaching his sixtieth birthday, he again achieves tremendous success.

“The entire former Sobinov passed in front of the audience of the crowded hall of Gaveau,” wrote one of the Paris reports. - Sobinov opera arias, Sobinov romances by Tchaikovsky, Sobinov Italian songs - everything was covered with noisy applause ... It is not worth spreading about his art: everyone knows it. Everyone who has ever heard him remembers his voice... His diction is as clear as a crystal, “it’s like pearls are pouring onto a silver platter.” They listened to him with emotion ... the singer was generous, but the audience was insatiable: she fell silent only when the lights went out.
After his return to his homeland, at the request of K.S. Stanislavsky becomes his assistant in the management of the new musical theater.

In 1934, the singer travels abroad to improve his health.
Already ending his trip to Europe, Sobinov stopped in Riga, where he died on the night of October 13-14.
On October 19, 1934, the funeral took place at the Novodevichy cemetery.
Sobinov was 62 years old.

35 years on stage. Moscow. Grand Theatre. 1933

* * *

version 1
On the night of October 12, 1934, not far from Riga, in his estate, Archbishop John, the head of the Orthodox Church of Latvia, was brutally murdered. It so happened that Leonid Sobinov at that time lived in Riga, where he came to see his eldest son Boris (he emigrated to Germany in 1920, where he graduated from the Higher School of Arts and became a rather famous composer). Russian emigrants who flooded Riga after the revolution spread rumors that Sobinov, using the fact that he was closely acquainted with the archbishop, led two NKVD agents to him, who committed a monstrous crime. Leonid Vitalyevich was so shocked by these accusations that on the night of October 14 he died of a heart attack.

On the night of October 12, 1934, Archbishop John (Ivan Andreevich Pommer) was brutally murdered at the bishop's dacha near Kishozero: tortured and burned alive. The murder was not solved and the reasons for it are still not completely clear. from here

The saint lived without guards in a dacha located in a deserted place. He loved being alone. Here his soul rested from the bustle of the world. Vladyka John spent his free time in prayer, working in the garden, and carpentry.
The ascent to the Heavenly Jerusalem continued, but most of the way had already been covered. The martyrdom of the saint was announced by a fire at the bishop's dacha on the night of Thursday to Friday, October 12, 1934. No one knows who subjected Vladyka John to what tortures. But the torment was cruel. The saint was tied to a door taken off its hinges and subjected to terrible tortures on his workbench. Everything testified that the martyr's feet were burned with fire, they shot at him from a revolver and set him alive on fire.
Many people gathered for the funeral of Archbishop John. The cathedral could not accommodate all those who wished to see off their beloved archpastor on his last journey. Crowds of believers stood along the streets along which the remains of the holy martyr were to be carried. fully

* * *

from an article by Dm. Levitsky THE MYSTERY OF THE INVESTIGATION CASE ON THE MURDER OF ARCHBISHOP JOHN (POMMER)

Sobinov was connected with Riga by the fact that his wife, Nina Ivanovna, came from a family of Riga merchants Mukhins, who were the owners of the so-called. Red barns. Nina Ivanovna inherited part of this property and received some income from it, which went to one of the Riga banks. It was because of this money that the Sobinovs repeatedly came to Riga, and the money they received made it possible to pay for trips abroad.

Sobinov was not familiar with Fr. John.
As for Sobinov's acquaintance with Archbishop John, T. Baryshnikova and me categorically denied such an acquaintance. At the same time, she repeated what L. Koehler wrote from her words: Sobinov, who did not know Vladyka, saw him during the Easter procession and exclaimed: “But I thought he was small, shabby, and this is Chaliapin in the role of Boris Godunov ".
In newspaper publications about the death of L.V. Sobinov, there are often words that his death was mysterious and the circumstances surrounding the death were suspicious. The authors of two books speak about this: Neo-Sylvester (G. Grossen) and L. Koehler, and it is noted that Sobinov's death occurred a few hours after the death of the lord. This is wrong and, I think, is explained by the fact that both authors wrote their books many years after the events in Riga in the autumn of 1934, from memory and without access to the Riga newspapers of that time. And from these newspapers it turns out that Sobinov died not on October 12, but on the morning of October 14.
There was nothing suspicious about what happened to the body of the late Sobinov, since this was reported in detail in the Russian newspaper Segodnya and the German Rigashe Rundschau. It was in this newspaper, but in Russian, that two notices of his death appeared. One on behalf of the Soviet embassy, ​​and the other on behalf of his wife and daughter.
Notices in the newspaper "Rigashe Rundschau", in the issue of October 15, 1934 on page 7 read:

Let us turn to the newspaper Segodnya, on the pages of which several detailed articles and reports about Sobinov and his death were published. A picture emerges from them. The Sobinovs (he, his wife and daughter) arrived in Riga on Thursday evening; October 11, and stopped at the St. Petersburg hotel. On Saturday, on the last evening of his life, Sobinov let his daughter, 13-year-old Svetlana, go to the Russian Drama Theater. In the morning, Sobinov's wife heard that he, lying in his bed, was making some strange sounds, similar to sobs. She rushed to him shouting "Lenya, Lenya, wake up!". But Sobinov did not respond and there was no longer a pulse. The called doctor made an injection, but Sobinov was already dead.

This information from the Russian newspaper should be supplemented. The name of the called doctor was named in the German newspaper. It was Dr. Mackait, well-known in German circles. The same newspaper noted that on the eve of Sobinov and his daughter visited the Russian theater. But this detail is at odds with what Segodnya wrote and what T. K. Baryshnikova told me.
According to her, in the evening before Sobinov's death, it was decided that Svetlana would go with her to the Russian Drama Theater, and after the performance she would go to spend the night with the Baryshnikovs.

Therefore, it so happened that Nina Ivanovna Sobinova telephoned the Baryshnikovs early in the morning, at about 5 o'clock, and then they and Svetlana learned that Leonid Vitalievich had died.

I continue the message from the newspaper "Today". Sobinov's death was immediately reported to the embassy in Riga and a telegram was sent to Berlin to Boris, Sobinov's son from his first marriage, who managed to fly to Riga on the same day.

Sobinov's body was placed in the bedroom of a double hotel room. The body was embalmed by Prof. Adelheim, and the sculptor Dzenis removed the mask from the face of the deceased. (These details were also reported in the German newspaper.) Friends and acquaintances of the Sobinovs, who had come to say goodbye to the deceased, were moving in both rooms. At seven o'clock in the evening, Sobinov's body was placed in an oak coffin, taken out of the hotel and transported in a funeral chariot to the embassy building.

Another fact, about which nothing was reported in the press, was told by G. Baryshnikova, namely: “After Sobinov’s death, in the morning in the hotel, in the Sobinovs’ room, a monk, Father Sergius, served a full funeral service and burial of the body to the earth. A handful of earth was taken from the Riga Cathedral.”

The next day, October 15, a ceremony was held in the embassy building, which was described in detail by the Segodnya newspaper in an article entitled "L. V. Sobinov's remains sent from Riga to Moscow." The subtitles of this title give an idea of ​​what happened in the embassy, ​​and I quote them: “Civil memorial service at the embassy. Chargé d'Affaires Speech Wrinkle. Quote from Yuzhin's greeting. Kalinin's telegram. Memories of Sobinov in the crowd. Arrival of Sobinov's son. Funeral wagon.

What was said in the newspaper reports cited dispels the fog that shrouded the events around Sobinov's death. For example, L. Koehler writes that no one was allowed into the hotel where the body of the deceased was lying, not only reporters, but also the judicial authorities "... some type from the Soviet embassy was in charge there." And G. Grossen says that in the hotel "some red-haired comrade was in charge of everything."

Such arbitrariness of the embassy is unlikely. Apparently, both authors convey the echoes of those implausible rumors that were circulating at that time in Riga. In fact, the reports and photographs that appeared, for example, in the newspaper Segodnya, testify to the fact that no one put obstacles in the way of reporters.

JI.Kehler also writes that Vladyka's brother confirmed to her that "the famous singer Sobinov called Vladyka on Thursday afternoon... They agreed that he would come to Vladyka in the evening." Here again there are inconsistencies. According to the Segodnya newspaper, the Sobinovs arrived in Riga on Thursday evening, October 11th. This time specifies the timetable of the Latvian Railways for 1934, according to which the train from Berlin via Koenigsberg arrived at 6.48 pm. Therefore, one wonders how Sobinov (according to Vladyka's brother) could call Vladyka during the day, since he arrived only in the evening. As already mentioned, the fact of Sobinov's acquaintance with Vladyka has not been proven in any way. In addition, if Sobinov called Vladyka later, after his arrival, is it likely that he would agree to go for the night looking to a country cottage, along a secluded road? And this was immediately after a long and tiring trip (as far as I remember, the trip from Berlin to Riga lasted about 30 hours).

Finally, it remains to say a few words about the rumor that Sobinov's death was violent. This is also speculation, not based on anything.

It was known that Sobinov had a heart condition and, on the advice of doctors, went to Marienbad for treatment. And from there he wrote on August 12, 1934 to K. Stanislavsky:

“I expect to stay here for a whole month from the day the treatment began, but here I had it unsuccessfully interrupted from the very beginning by a heart attack that happened for no reason at all.”

Therefore, there is nothing strange and surprising in the fact that the long journey of the Sobinovs (after Marienbad they still went to Italy) could affect the health of Leonid Vitalyevich, and he had a second heart attack in Riga.
The persistent circulation of all sorts of rumors about the cause of Sobinov's death, perhaps, to some extent due to the atmosphere created in Riga around the arrival of the Sobinovs there. Here is what Milrud, the editor of the Segodnya newspaper, who was well aware of the mood of Russian residents of Riga, wrote in his letter dated October 11, 1937 to journalist Boris Orechkin: “The Sobinovs often visited Riga. Here, Sobinov himself behaved in such a way lately that in Russian society they always spoke of him extremely negatively. The sudden death of Sobinov, coinciding with the death of arch. John (very mysterious) even caused persistent rumors that arch. was killed by Sobinov on the orders of the Bolsheviks. This, of course, is complete fiction, but these rumors are stubbornly held to this day.

69 years have passed since the death of Archbishop John (Pommer), but the mystery of his brutal murder has not yet been solved.
But the time has come not to associate the name of L.V. Sobinov with the murder of Archbishop John. For, as T.K. Baryshnikova-Gitter once wrote, the rumor about this is false and must be stopped forever.

Svetlana Leonidovna Sobinova-Kassil recalled:
We were in Riga, we had already bought tickets to Moscow, and once, when I stayed overnight with friends, my mother's friends suddenly came for me ... When I entered the hotel, I understood everything by their faces. Dad died suddenly, in a dream - he had a completely calm face. Then dad was transferred to the Soviet embassy, ​​and I did not let the coffin be taken out, because Borya (note - the eldest son of L.V. from his first marriage) didn't make it to the funeral. Borya was a professor at the conservatory and lived in West Berlin.

In 2008, with the efforts and efforts of the Yaroslavl House-Museum of Sobinov, the book “Leonid Sobinov. The stage and the whole life. The authors of the catalog - museum staff Natalya Panfilova and Albina Chikireva - have been preparing for its publication for more than seven years. The 300-page catalog, made in the style of the Silver Age, consists of six large chapters and includes 589 illustrations that have not been published anywhere before. All of them are from the unique collection of the museum-reserve, numbering more than 1670 items. from here

why is the Sobinov House-Museum closed today??

• Specialty HAC RF17.00.01
• Number of pages 181

Chapter I. Stages of spatial and decorative searches of K.A. Mardzhanishvili from 1901 to 1917.

Chapter 2. Scenographic image of the revolutionary era in the performances of K. A. Mardzhanishvili.

Chapter 3

Chapter 4. The last performances of K.A. Mardzhanishvili on the Russian Soviet stage. III

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Introduction to the thesis (part of the abstract) on the topic “Spatial and decorative searches of K.A. Marjanishvili on the Russian stage. 1917-1933"

The creative work of K.A. Mardzhanishvili occupies a prominent place in the history of the director's theater of the early twentieth century. K. Marjanishvili had a decisive influence on the formation and development of the entire theatrical art of Soviet Georgia, at the origins of which he was. Meanwhile, the live practice of the theater proves that interest in the legacy of the rising director has not faded to this day, and many successes of modern Georgian stage masters should be perceived not only as a result of innovative searches, but also as a direct continuation of the traditions that were laid during the formation of the Soviet theater. Therefore, the refusal to understand the searches taking place in the theater today encourages us to come to grips with the analysis of the key moments of its development, which means again and again, already from the position of the present, to turn to the creative heritage of K.A. Mardzhanishvili.

An expressive feature of Marjanishvili's director's thinking was his awareness of the high role of each component of the performance and a keen sense of the whole, as a result of the complex interaction of these components. Naturally, in Georgia, his reforming activity affected the entire theatrical organism and had a decisive influence on all the creators of the performance: playwrights, directors, actors, artists, composers, choreographers.

As the issues of interaction between various expressive means in art, the problems of stage synthesis attract more and more attention in the theory and practice of modern theater, the interest in studying the very process of creating the artistic image of a performance is also growing. It is in this aspect that the creative lessons of K. Marjanishvili acquire special significance, which in the historical perspective are so obviously large-scale and fruitful that there is an urgent need to consider in detail the principles of the relationship between the director and other authors of his performances.

This study is devoted to one of the facets of Marjanishvili's activity, namely his cooperation with artists in creating theatrical design and, more broadly, the image of the performance.

Marjanishvili's work with artists really deserves to be singled out for special consideration. The first practical attempts to create a synthetic theater are associated with the name of Marjanishvili. The idea of ​​the synthesis of arts within the framework of one theater found different interpretations throughout the life of the director, starting from the organization of the Free Theater in 1913, which turned out to be in fact a common roof and stage for performances of various kinds and genres, and to the dying unfulfilled plan of staging under the dome of the Tbilisi Circus , where he wanted to show the world what a "synthetic actor" should be: a tragedian, a poet, a juggler, a singer, an athlete. Wherein

1 Mikhailova A. The image of the performance. M., 1978; Tovstonogov G. The image of the performance - In the book: G. Tovstonogov. Stage Mirror, vol.2. L., 1980; Collections - Artist, stage, screen. M., 197; Artist, stage. M., 1978; Soviet theater and film artists - 1975, 1976, 1977-1978, 1979, 1980, 1981, etc.

2 Vakhvakhishvili T. II years with Kote Marjanishvili. - "Literary Georgia", 1972, £ II, p.72. the attitude towards the stage design of the stage action as one of the strongest expressive means of the theater remained constant. Therefore, the change in aesthetic programs naturally reflected on the results of Marjanishvili's spatial and decorative searches, and was partially embodied in them. Indeed, the interests of the director were not limited to the achievements of any one and only theatrical direction. Often in his biography, performances that differed in spirit and principles of staging coincided chronologically. Of course, as a consequence of the above, the types of stage design also varied. At the same time, a common feature of Mardzhan's directorial style is clearly indicated - an accentuated attention to the form of the performance, expressive, bright, spectacular, which was reflected in the special requirements of the director, primarily to the actors, but to a large extent to the set designers as the main assistants in creating the spectacle. However, one should not think that the requirements of the relsisser to the artists were limited to the pictorial side; the scenery in his performances must bear both the psychological and emotional load. The artist was the director's first assistant in the creation of new principles of communication between the theater and the audience each time. Finally, in collaboration with the artist, the first material embodiment of the director's interpretive intention was born.

The best works of V. Sidamon-Eristavi, I. Gamrekeli, P. Otskheli, E. Akhvlediani, L. Gudiashvili and other artists who went through the “Marjanishvili school” became remarkable milestones in the development of Georgian culture. Possessing high aesthetic merits, they are not only objects of study for art historians, but even today they attract the close attention of theater practitioners.

A wide flow of critical, scientific and memoir literature, the appearance of which over the past decade is due to many reasons, makes it possible to relatively fully recreate the chain of development of Georgian Soviet stage design and determine the measure of Marjanishvili's influence in this area.

The limitation of this study to the Russian-Georgian creative relationships of Marjanishvili in his work with artists is not accidental. Significant for us was the fact that Mardzhanishvili came to Soviet Georgia as an established, mature master, whose work until 1922 was an integral part of the art of Russia. According to A.V. Lunacharsky: “Konstantin Alexandrovich returned to Georgia not only with the stock of knowledge, skills and cultural strings in himself that he had originally when he came to the impudent; through the Russian theater, even if it was pre-revolutionary, he came into contact With all world art and world culture, he has already tried his hand at implementing the most diverse theatrical systems, and with this vast culture he returned his genius to Soviet Georgia.

Biographers of Marjanishvili recorded such important stages of his life as moving to Russia in 1897 and returning to his homeland twenty-five years later. In addition, performances that he staged in Moscow, already being the head of the II Georgian Drama Theater, became significant events in his biography. It is natural, therefore, that when it comes to the art of Marjanishvili, one can clearly see the interlacing

I Kote Marjanishvili (Marjanov). Creative heritage. Memories. Articles, Report. Articles about Marjanishvili. Tbilisi, 1958, p.375. shading and echoing the traditions of two cultures - Georgian and Russian. Marjanishvili himself, clearly feeling this fusion of two principles in the nature of his work, tried to define it in a lyrical digression of his memoirs: "Thanks to great Russia, she gave me a great insight - the ability to look into the recesses of the human soul. This was done by Dostoevsky. She, Russia, taught me to look at life from the inside, look at it through the prism of my soul; Vrubel did it. She taught me to hear hopeless sobs in my chest - Scriabin did it. Thanks to her, my second homeland, thanks to wonderful Russia. She didn’t cool for a minute my Kakhetian blood, the blood of my mother. Her wonderful frosty days did not kill in me the memories of the hot stone of my mountains. Her magical white nights did not dilute the dark southern velvet sky, generously covered with ringing stars. Her calm good nature did not delay the native rhythms for a minute, Georgian temperament, unbridled flight of fancy - this was given to me by my little, my beloved Georgia.

It is interesting and natural that the creative fate of the artist not only confirms the historical roots of cultural relations between Georgia and Russia, but also becomes one of the initial pillars in the creation of new traditions: we are talking about the intensive mutual enrichment of the theatrical art of the peoples of the USSR as a historical feature of the Soviet theater.

With regard to the narrow sphere of scenography, what has been said can be illustrated with an eloquent example. In the section on

1 Marjanishvili K. 1958, p.65.

2 Anastasiev A., Boyadzhiev G., Obraztsova I., Rudnitsky K. Innovation of the Soviet theater. M., 1963, p.7. the thirties of the book by F.Ya. Syrkina and E.M. Kostina "Russian theatrical and decorative art" (M., 1978, p. 178) we read: ". In the practice of theaters, one can notice a tendency to attract artists from other national republics. M Saryan, A. Petripkiy, P. Otskheli, Y. Gamrekeli and other masters participate in productions of various Moscow and Leningrad theaters.The gradual, complex process of interaction of Russian art with the art of artists from Armenia, Ukraine, Georgia during this period was especially intensified and was very significant for the Soviet artistic culture as a whole".

The trend has grown into a tradition. During the Soviet period, Georgian artists staged about a hundred performances on the stages of the capital alone, and their number increases from season to season. The first of the Georgian Soviet stage designers who worked in Moscow theaters was P. G. Otskhel, who in 1931 was a member of the staging group of the performance based on the play by G. Ibsen "The Builder Solnes" at the theater b. Korsh, directed by K. Mardzhanishvili.

It cannot be said that the area of ​​creative contacts between the director and the artist has completely fallen out of sight of historians of his art. The brightness of the plastic concepts, the consistency of scenery and costumes in Marjanishvili's productions with the general structure of the stage action prompted to pay attention to the work of set designers in almost every study devoted to the theatrical heritage of the director. However, no independent study of this issue has been done so far. This is the first time such an attempt has been made.

At the same time, a detailed analysis of the co-creation of Marjanishvili and the artists who designed his performances reveals a number of significant problems, both historical and theoretical. First of all, this is the question of the development of Marjanishvili's creative principles in different years of his activity and in the process of working on one performance. It should not be forgotten that the development of Marjanishvili as a director coincides with a period of intensive development of directing. Therefore, it is important to understand the new that Marjanishvili introduced into the sphere of spatial and decorative ideas of this art. Working with young artists after the establishment of Soviet power, the master passed on to them his rich experience in staging culture, sometimes determining their creative destiny for a long time. It is impossible to determine the exact extent of its influence, but for us it is also significant when and how it manifested itself. A concrete historical analysis of the evolution of Marjanishvili's staging ideas allows one to penetrate into the complex patterns of the process of creating his performances, clearly revealing the methods of his work and relationships with artists, as well as the qualities that he most appreciated in co-authors-scenographers at different stages of his creative path.

The answers to these questions are important for a more accurate and comprehensive understanding of Marjanishvili's art, in particular, and the theatrical culture of his time in general. It is the content of this study.

It should be noted why the title of the dissertation is specifically Russian-Georgian theatrical relations, while the director's activities in Ukraine in 1919 became, perhaps, the most exciting page in his biography. The defining moment for us was the fact that the troupes of the Kyiv theaters in which Mardzhanishvili staged were Russian, which means that \/ and the connection with Ukrainian culture was carried out through Russian4

Without taking into account the essential experience that the director had accumulated before the revolution, it is impossible to grasp the logic and pattern of his subsequent creative development and to get a complete picture of the scale of his spiritual and aesthetic quest. Proceeding from this, the main part of this work, devoted to the productions of the Soviet period, is preceded by an overview section, which highlights the main stages in the evolution of his approach to the image of the performance from the beginning of directing until 1917.

A short period of time, several months in 1919, the period of creative activity in Soviet Kyiv, turned out to be not only the most responsible and fundamentally important in the biography of Marjanishvili, a man and artist, but also constituted a certain stage in the development of the entire young Soviet theater. That is why in the second chapter of the dissertation devoted to this period, the dissertation student set himself the task of reviewing and analyzing, with the possible completeness, the scenographic solutions of the performances produced at that time.

Marjanishvili's theatrical hobbies were extremely versatile, but it is completely wrong to interpret them as a kind of eclecticism. Starting from the 1910s, the idea of ​​creating a synthetic performance runs like a red thread through all of Marjanishvili's work, a performance whose stage form would be born in the process of using the expressive means of various arts. Naturally, music played a special role in the productions of the Free Theatre. The first decades of our century were a time of decisive renewal of the traditional forms of musical theatre, and here the experiments of musical productions of the luminaries of direction were of decisive importance: K.S. Stanislavsky, V.I. Nemirovich-Danchenko, V.E. Meyerhold, A.Ya. Tairov. A worthy place in this series rightfully belongs to KD. Mardzhanishvili. The director's innovative search in the field of musical theater, in our opinion, was most fully expressed in the performances of the Comic Opera Theater, which he created in 1920 in Petrograd. The most significant of them to characterize his creative searches and principles are the focus of attention in the third chapter of this study.

The performances staged by Mardzhanishvili in Moscow in the thirties are not numerous, they are scattered over the stages of different theaters and, at first glance, are not connected with each other either chronologically or in content. And yet, each of them was the creation of the creative thought of one of the founders of Soviet directing at the very last stage of his activity and, therefore, requires research attention.

The main material of the research was Z. Gugushvili's doctoral dissertation, dedicated to the work of Marjanishvili, and two volumes of the director's published creative heritage. The specifics of the topic implied a wide appeal also to the primary source - archival and iconographic materials concentrated in the TsGALI, the Archive of the October Revolution, the Archive of the USSR Academy of Sciences, the museums of the Theater, music and cinema of the GSSR, the Maly Theater, the Moscow Art Theater, theaters named after. K.A.Mardzhanishvili and Sh.Rustaveli, the State School of Music named after A.A.Bakhrushin, the Museums of Ir.Gamrekeli and Z.Akhvlediani, etc., as well as to the press and literature, modern Mardzhan productions. Some of the materials are introduced into scientific use for the first time.

The author does not intend to confine himself to this study of the co-creation of K. Marjanishvili with stage designers and in the future intends to continue it on the basis of the work of the director of the pre-revolutionary period, as well as his productions in the Georgian theater.

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164. Mindlin E. Art by I. Rabinovich Ogonyok, 1924, No. 22.

168. Nikulin L. Three-dimensionality and Imagism Bulletin of the theater, 1920 No. 55 p.7.

169. Piotrovsky A. Sheets of memories. Theaters that no longer exist Worker and Theatre, 1932 No. 29-30.

171. Rabinovich M. D. R. / Letter from Kyiv Theater and Art, 1907 No. 38.

172. Ravich N. Revival of Ibsen. "The Builder Solnes" at the Moscow Theater of the former Korsha Worker and theatre, 1931 No. II.

173. Radin E.M. "Builder Solnes" Modern Theatre, 1931 No. 10.

174. Rolland R. Notes and memoirs Foreign Literature, 1966 No. I p.211.

175. Romm G. "Mardzhanovsky shift" Life of Art, 1920 13 June.

176. Sadko. 0 closed theater and open letter Bulletin of the Theater 1920 No. 50 p.9.

177. Stark E. "Singing Birds" Theater Bulletin, 1921 No. 9 p.2.

178. Strigalev A. "Stepan Razin in the art of revolution Artist, 1971 No. II

180. Talnikov D. "Builder Solnes" in the theater b. Korsh Soviet theater, 1931 No. 2/3.

183. Turkin N. Mistakes of criticism Theatrical newspaper, 1913 $ 5.

184. Teph-Teph. "Princess Malene" Odessa News, 1908 September 4, No. 7510.

188. Zetkin K. Heinrich Ibsen Foreign Literature, 1956 No. 5 p.157.

190. Chagovets V. "Lorenzaccio" A. de Mgasse, Solovtsov Theater Kyiv Thought, 1907 September 26, No. 244.

194. Efros N. "Peer Gynt" Rampa and Life, 1912 No. 42 p.5-8.

196. Efros A. Artist and stage Culture of the theater, 1921 No. I p.1G "

197. Efros N. Theatrical essays Life, 1922 No. I.

198. Yuzhin A.I. 0 Georgian theater Theater and music, 1923 No. 6/9/

201. Yaron G. Chronicle of the operetta Evening Moscow, 1934 January 3.U. Archival materials and dissertations

202. Abezgaus Iz.V. Russian opera culture on the eve of October. M., 1954, Candidate's thesis.

203. Azrov A. Memories of working with K.A. Mardzhanov. Museum of Theatre, Music and Cinema of Georgia, f.1, d.18, 6 14607.

204. Anjaparidze V.I. Speech at the evening in memory of K.A. Mardzhanishvili May 31, 1962, WTO. /transcript/. Museum of Theatre, Languages ​​and Cinema of Georgia, f. I, d.18 6 - 15379.

205. Arapov A. Autobiography. TsGALI, Arapov, f. 2350, op. 1, ex. 134.

206. Arapov A. Album with sketches. Ibid., e. x. III.

207. Arapov. Memories. TsGALI, Fedorov, f.2579, op.1, ex.2£ - 5.7. Arapov A. "On the role of the artist in the theater" /manuscript of the article/.1930s. TsGALI, Arapov, f., 2350, on. I, e.x. 130.

208. Arapov A. Costume designs for Don Carlos. ibid., ex.31.

210. Akhmeteli A.V. Essay on the history of the Georgian theater named after Sh.Bustaveli. TsGALI, f.2503 /Glebov/, op.1, ex.565.

211. Bronstein G.H. Heroes of the moment. /Memories of the viewer/. Manuscript Department of the State Public Library named after V.I. Lenin, f.218, No. 856.

212. Gogoleva E. Speech at the anniversary evening in memory of K.A.Maj Janishvili on May 31, 1962. WTO /transcript/. Museum of Theatre, Music and Cinema of Georgia, f. I, l.18, 6 - 15376.

213. Golubeva 0. Memories of the Free Theatre. TsGALI, f. 2016, op.1, ex. 276.

214. Donauri E. About K.A. Mardzhanov. May 12, 1962. TsGALI, E.A. Pole-vitskaya No. 2745, op. 1, ex. 277.

216. Ivanov V.V. The first experiences of creating a Soviet tragic performance / Shakespeare and Schiller on the Russian Soviet stage in the early 1920s /. Candidate's dissertation. M. 1978.

217. Kara-Murza S. Konstantin Aleksandrovich Mardzhanov. Ways of development of director's theatre. manuscript department of the V.I. Lenin All-Union Public Library, f.561, k.XIII.

218. Koonen A. Memories of K.A. Mardzhanov. TsGALI, f.2768, op.1, ex. 67.

219. Kryzhitsky G.V. Speech at the evening in memory of K.A. Mardzhanishvili at the WTO on May 31, 1962. Museum of Theater, Music and Cinema of Georgia, f.1, d. 18, b - 15376.

220. Kundzin K.E. History of the Latvian theatre. Doctoral dissertation. b.m., 1969.

221. Lenin M. Speech at the civil memorial service of Mardzhanov at the Maly Theater. Transcript. - Museum of Theatre, Music and Cinema of Georgia, f. I, d. 18, 6 - 14879.

222. Litvinenko V.K. Life is like life. Memories. 1966. - TsGALI, f. 1337, e.h. 16.

223. Lundberg E. Tsut and legacy of the master. Museum of Theatre, Music and Cinema of Georgia, f. I, d. 18, 6 - 20644/8, 21563.

224. Marjanishvili K.A. Zhivokini's letter to N.D. b.d. 1910 - Museum of Theatre, Music and Cinema of Georgia, f.1, d. 18, 6 - 20814.

225. Marjanishvili K.A. Theater of the Comic Opera /Two words about the ways of the theater and its meaning/. - October 6, 1920 - LGALI, f.6047, op.Z, f.28, ​​l.22, 23.

226. Marjanishvili K.A. Application to the economic department of the VAEIS. - May 18, 1921. LGALI, f.6047, op.4, d.280, l.4.

227. Marjanishvili. Diaries of rehearsals. ^ Games of interests "in the theater named after Sh. Rustaveli. Museum of theatre, bubbles and cinema of Georgia, f.1, d.18, 6 - I50I9.

228. Marjanishvili K.A. Speech at a meeting of leaders and heads of drama circles of the Tiflis workers' clubs on April 22, 1929. Museum of the theater, music and cinema of Georgia / transcript /, f.1, d.18, 6 - 17687.

229. Marjanishvili K.A. Interludes for the play "Shine the Stars". -1932 Ibid., 6 - 3441-3442.

231. Marshak N. Memories of K. Mardzhanishvili, % of the theater, music and cinema of Georgia, f.1, d.18, 6 - 16544.- 180

232. Machavariani I. Georgian Soviet theater. /The main ways of development 1926-1941/. Doctoral dissertation. Tb. 1968.

233. Movshenson A.G. Materials for the history of the Leningrad theaters. 25.X.I9I7 7.XI.1937 /For 20 years after October/. - Museum of theatre, music and cinema, f, I, d.18, 6 - 12860.

234. Mokulsky S.S. Memories of Mardzhanov in Ukraine in 1919. TsGALI, f.2579, op.1, ex.852.

235. Marine D.L. Memories of K.A. Mardzhanov. TsGALI, f.2698, op.1, ex. 23.

236. Discussion of the tour of the II State Drama Theater of Georgia in Moscow. - Archive of the Academy of Sciences of the USSR, fund 358, file 189, FG 5/1, OF I4/I, OF 18/3, FG 18/3.

237. Popov N.A. Gus theater artists of the XX century. Album. TsGALI, f.837, op.2, f, x. 1322.

238. Simov V. Sheets of acting tests. 1913 State Central Theater Museum named after A.A. Bakhrushin, f, 158,137040.

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241. Talnikov D.L. Autobiography. manuscript department of the V.I. Lenin State Public Library, f.218, No. 856.

242. Ushin N.A. Memories of K.A. Mardzhanov. TsGALI, f.2579, on. I, e.x. 852.

243. Fedorov V.V. Diary entry concerning K.A. Mardzhanov. TsGALI, f. 2579, on. I, e.x. 24.

244. Kharatashvili G.I. To the study of the director's activity of K. Marjanishvili. Tb. 1365 Candidate's thesis.

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246. Khorol V.K. K.A.Mardzhanov in Kyiv 1907-1908. TsGALI, f.2371 /Yureneva/, op.1, ex. 402.

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Current state

Since 2006, the FIVB has united 220 national volleyball federations, volleyball is one of the most popular sports on Earth. In August 2008, the Chinese Wei Jizhong was elected as the new president of the FIVB.

Volleyball is the most developed sport in such countries as Russia, Brazil, China, Italy, USA, Japan, Poland. The current world champion among men is the Brazilian team (2006), among women - the Russian team (2006).

Development of volleyball in Russia

As noted by the publication "All About Sports" (1978), volleyball was born overseas, but at first it was a stepson on the American continent. “Our country has become his true homeland. It was in the Soviet Union that volleyball acquired its remarkable qualities. He became athletic, fast, agile, as we know him today.

Pre-war volleyball in the USSR was jokingly called "the game of actors." Indeed, in Moscow, the first volleyball courts appeared in the courtyards of the theaters - Meyerhold, Chamber, Revolution, Vakhtangov. On July 28, 1923, the first official match took place on Myasnitskaya Street, in which the teams of the Higher Artistic Theater Workshops (VKHUTEMAS) and the State School of Cinematography (GShK) met. From this meeting, the chronology of our volleyball is being conducted. The pioneers of the new sport were the masters of arts, the future People's Artists of the USSR Nikolai Bogolyubov, Boris Shchukin, Anatoly Ktorov and Rina Zelyonaya, the future famous artists Georgy Nissky and Yakov Romas. The level of skill of the actors at that time was not inferior to the sports one - the club "Rabis" (trade union of art workers) beat the team of the sports society "Dynamo" (Moscow).

In January 1925, the Moscow Council of Physical Education developed and approved the first official rules for volleyball competitions. According to these rules, Moscow championships have been regularly held since 1927. An important event in the development of volleyball in our country was the championship played during the first All-Union Spartakiad in 1928 in Moscow. It was attended by men's and women's teams from Moscow, Ukraine, the North Caucasus, Transcaucasia, the Far East. In the same year, a permanent panel of judges was established in Moscow.

For the development of volleyball, mass competitions held at the sites of parks of culture and recreation in many cities of the USSR were of great importance. These games became a good school for foreign guests - in the early 30s, competition rules were published in Germany under the name "Volleyball - a Russian folk game."

In the spring of 1932, a volleyball section was created under the All-Union Council of Physical Culture of the USSR. In 1933, during a session of the Central Executive Committee on the stage of the Bolshoi Theater, an exhibition match between the teams of Moscow and Dnepropetrovsk was played in front of the leaders of the ruling party and the government of the USSR. And a year later, the championships of the Soviet Union, officially called the "All-Union Volleyball Holiday", are regularly held. Having become the leaders of domestic volleyball, Moscow athletes were honored to represent it on the international arena, when Afghan athletes were guests and rivals in 1935. Despite the fact that the games were held according to Asian rules, the Soviet volleyball players won a landslide victory - 2:0 (22:1, 22:2).

During the Great Patriotic War, volleyball continued to be cultivated in military units. Already in 1943, volleyball courts in the rear began to come to life. Since 1945, the championships of the USSR have been resumed, and volleyball has become one of the most popular sports in our country. The number of people involved in volleyball was estimated at 5-6 million (and according to some sources, several times more). As the legendary coach Vyacheslav Platonov notes in his book The Equation with Six Known Ones, “those days, those years are unimaginable without volleyball. A ball flying through a net stretched between two pillars (trees, racks) had a magical effect on teenagers, on boys and girls, on brave warriors who returned from the battlefield, on those who were drawn to each other. And then everyone was drawn to each other. Volleyball was played in yards, parks, stadiums, on the beaches… Together with amateurs, recognized masters such as Anatoly Chinilin, Anatoly Eingorn, Vladimir Ulyanov did not hesitate to go to the net. Thanks to such a mass character, schoolchildren who took the ball in their hands for the first time quickly grew into real stars of Soviet and world volleyball.

Competitions for the championship of the USSR were held exclusively in open areas, most often after football matches in the neighborhood of stadiums, and major competitions, such as the 1952 World Cup, were held in the same stadiums with crowded stands.

In 1947, Soviet volleyball players entered the international arena. At the first World Youth Festival in Prague, a volleyball tournament was held, in which the Leningrad team participated, strengthened, as was then customary, by Muscovites. The national team was led by legendary coaches Alexei Baryshnikov and Anatoly Chinilin. Our athletes won 5 matches with a score of 2:0, and only the last 2:1 (13:15, 15:10, 15:7) against the hosts, the Czechoslovak national team. The first "women's" departure took place in 1948 - the metropolitan team "Lokomotiv" went to Poland, supplemented by colleagues from the Moscow "Dynamo" and "Spartak" and the Leningrad Spartak team. In the same 1948, the All-Union Volleyball Section became a member of the International Volleyball Federation (and not American, but our rules of the game formed the basis of international ones), and in 1949, our players took part in official international competitions for the first time. The debut turned out to be "golden" - the USSR women's team won the title of European champion, and the men's team won the world championship. In 1959, the USSR Volleyball Federation was formed.

Our men's team also became the first Olympic champion in Tokyo 1964. She also won the Olympics in Mexico City (1968) and in Moscow (1980). And the women's team four times (1968, 1972, 1980 and 1988) won the title of Olympic champion.

Soviet volleyball players are 6-time world champions, 12-time European champions, 4-time World Cup winners. The women's team of the USSR won 5 World Championships, 13 European Championships, and 1 World Cup.

The All-Russian Volleyball Federation (VVF) was founded in 1991. The president of the federation is Nikolay Patrushev. The Russian men's team is the winner of the 1999 World Cup and the 2002 World League. The women's team won the 2006 World Championship, the European Championships (1993, 1997, 1999, 2001), the Grand Prix (1997, 1999, 2002), the 1997 World Champions Cup.

Under the auspices of the FIVB

The Olympic Games are held every 4 years. The World Championship is also held every 4 years. The World Champions Cup is held every 4 years. The World League is held once a year. The Grand Prix is ​​held once a year. Under the auspices of the CEV, the European Championship is held every 2 years.

In the spring of 1932, a volleyball section was created under the All-Union Council of Physical Culture of the USSR. In 1933, during a session of the Central Executive Committee on the stage of the Bolshoi Theater, an exhibition match between the teams of Moscow and Dnepropetrovsk was played in front of the leaders of the ruling party and the government of the USSR. And a year later, the championships of the Soviet Union, officially called the "All-Union Volleyball Holiday", are regularly held. Having become the leaders of domestic volleyball, Moscow athletes were honored to represent it on the international arena, when Afghan athletes were guests and rivals in 1935. Despite the fact that the games were held according to Asian rules, the Soviet volleyball players won a convincing victory - 2:0 (22:1, 22:2).

Competitions for the championship of the USSR were held exclusively in open areas, most often after football matches in the neighborhood of stadiums, and major competitions, such as the 1952 World Cup, were held in the same stadiums with crowded stands.

The All-Russian Volleyball Federation (VVF) was founded in 1991. The president of the federation is Nikolai Patrushev. The Russian men's team is the winner of the 1999 World Cup and the 2002 World League. The women's team won the 2006 World Championship, the European Championships (1993, 1997, 1999, 2001), the Grand Prix (1997, 1999, 2002), the 1997 World Champions Cup.

Outstanding Volleyball Players

Karch Kiraly (USA) won the most medals in the history of volleyball at the Olympic Games - 2 gold medals in classical volleyball and one in beach volleyball. Among women, this is the Soviet volleyball player Inna Ryskal (USSR), who won 2 gold and 2 silver medals at 4 Olympiads 1964-1976. Among them:

Georgy Mondzolevsky (USSR)