Soldiers on the bridge resonance. Shtetl Kulturträger

01-03-2005

In defense of Galich

On February 8, 2005, our Nadezhda station was again struck by illness. She is often beset by various misfortunes. Somehow the audience was filled with two, one might say, crooks from political science journalism. Thank God, after the article “Radiocicades” fell off.

And on February 8, in his series “Famous Jews,” a certain Nahum Beauclair stunned listeners. As a rule, I never listen to such programs - not according to my profile. Because these programs are extremely limited, wretchedly parochial, sowing arrogance and even racism, performed, moreover, by unpleasant-sounding (not “phonogenic”) voices with a lot of speech errors, an absurd accent, incorrect stresses, coughing, snorting and blowing their nose directly at pipe (as if it were difficult at this time to take the pipe away and cover it with your palm) and other delights of sickly pique vests. It is very good that the invasion is not yet transmitted through the air.

But I accidentally caught this program at the very beginning, and then, huddled into a ball, I listened to the end. Because it was about Alexander Arkadyevich Galich. About that Galich, whom I knew well, talked with him a lot, recorded almost all of his songs at home, rode with him on a motorcycle and car, visited his home, and in Bolshevo, and at his dacha in Serebryany Bor, and Minsk , where he lived for weeks in a temporarily empty apartment with my friend Albert Shklyar in Borovlyany (near Minsk). Over the years I have talked and discussed with Alexander Arkadyevich many different topics and problems. And therefore I could not remain indifferent to what and how they say about my older friend.

The program did not contain a single song of his and almost not a single quote from his songs (there was only one of two stanzas, and it would have been better if it had not been, it all sounded so flat, unartistic and pathetic).

The program consisted of reading the biography of A. Galich. Moreover, this “biography” itself contained a large number of errors. If the program had been structured as an analysis of his poetics, the dramaturgy of his songs, his philosophy, then some factual errors in the biography would have been excusable. But when the focus is on the biography, then no. The Internet is full of sites with Galich’s biography, and it would seem that one could easily read one of them. Better yet, take a few and review them, choosing the most interesting.

I’ll start with the fact that Beauclair told listeners that after Galich’s performance at a gathering of bards at the club “Under the Integral” (Novosibirsk Academic Town) in March 1968, Alexander Ginzburg “was subjected to such terrible persecution that he was forced to take this pseudonym - Galich.”

Everything here is wrong - and this is not a small thing. Young Sasha Ginzburg almost immediately began his literary life with this name. Let me remind you here that this pseudonym is based on the first syllables of his full name Ginzburg Alexander Arkadyevich. But besides, it’s his grandmother’s maiden name and an ancient Russian city. And yet - Alexander Sergeevich Pushkin had a literature teacher Galich.

His very first works were not yet signed with the name Galich. At that time he was just trying on a literary name and used the pseudonym Guy. His first experiments in drama were the post-war play "Boys Street" (1946), and the play "March" (original title - "Funeral March, or An Hour Before Dawn", 1945-1946). But they were staged later (“March” in 1957) under the name Galich. This is the same play in which the song “Goodbye, Mom, Don’t Cry,” which was often broadcast on the radio at that time, was sung. It became one of the most popular songs of the time. I think they still remember her:

Goodbye, mom, don't worry -
Kiss your son goodbye!
Goodbye, mom, don't worry, don't be sad -
Wish us a good journey!...

Why did it take so long to stage this “March”? Well, firstly, because of its original title - “Funeral March”. What a name in the cheerful Stalinist times, when life became more and more fun. Secondly, as Galich’s daughter Alena reports, the play was accepted for production in Moscow Chamber Theater. But soon the production was banned. The reason was the denunciation of the playwright V. Vishnyakovsky, who was appointed political commissar to the Chamber Theater."

But the very first play, the comedy “Taimyr is calling you” (1948), which was accepted and extremely successful in the country’s theaters, was immediately signed with the name Galich. She brought him the name of one of the best playwrights and decent material wealth. The newspaper Pravda attacked her, and now it’s even difficult to understand why. A typical light sitcom with various confusions - in the French style.

The official biography states:

“In the early 50s, Galich was already a successful playwright, the author of several plays that were performed with great success in many theaters across the country. Among them are “An Hour Before Dawn”, “The Steamboat’s Name is “Eaglet””, “How Much Does a Man Need”, etc. In 1954, the film “True Friends”, filmed according to the script by Galich (and his constant co-author K. Isaev), took 7th place at the box office, collecting 30.9 million viewers.”

After the film based on Galich’s script “True Friends” (1954), in which the best actors Boris Chirkov, Vasily Merkuriev, Andrei Borisov, Alexey Gribov, Mikhail Pugovkin played, it was later filmed by one of the best directors in the country, Mikhail Kalatozov. Music of songs - Khrennikov, words by Matusovsky. These names are still known today.

In 1955, Galich was accepted into the Union of Writers of the USSR, and in 1958 - into the Union of Cinematographers.

In general, Galich was very prolific, almost like his namesake Dumas the Father. Then, even before being admitted to the Writers' Union, in addition to the script “True Friends,” he wrote the plays “Walkers” (1951) and “Under a Lucky Star” (1954). Even earlier, he wrote the play “Sailor’s Silence” (Galich began writing it in 1945, made many edits, and completed it in 1956), which was never accepted by officials from the Ministry of Culture at the instigation of a certain lady instructor of the Central Committee. The story of how the performance was received is the basis of Galich’s autobiographical story (excellent prose!) “Dress Rehearsal” (completed in May 1973).

Back in the fifties, Alexander Galich began writing scripts for animated films. This is “Stubborn Dough”, The Boy from Naples”, “The Little Mermaid”.

All the years before his forced emigration, he wrote a lot. This is in addition to their famous songs. He wrote a huge number of scripts, of which I would note “Give me a book of complaints” (dir. Eldar Ryazanov), “State criminal”, “The Third Youth” (about Marius Petipa), The Steamboat is called “Eaglet”, “Weekdays and Holidays”, “How much does a person need” (the first production by Yuri Lyubimov), “Situation Obliges” (“Moscow Doesn’t Believe in Tears”), “On the Seven Winds” (filmed by Stanislav Rostotsky - the one who “And the Dawns Here Are Quiet”), Running on the Waves ”, “In the steppe”, “The heart beats again”, “The Motley Suitcase” (for Belorusfilm, not finished), “Fedor Chaliapin” (dir. Mark Donskoy, the film was stopped in production after Galich was excluded from the creative unions, script - 600 pages. wanted to buy Italian television, but Galich no longer had access to it. In 1999, this script was published in the second volume of “Alexander Galich. Essay in two volumes, Ozone, 1999).

All these achievements take place precisely under the name of Galich, and not Ginzburg.

What can I say, here is an article from the “Brief Literary Encyclopedia” in 9 volumes, published in 1962:

"Galich, Alexander Arkadyevich (b. October 19, 1918, Ekaterinoslav) - Russian Soviet playwright. Author of the plays "Street of Boys" (1946), "Taimyr is calling you" (co-authored with K. Isaev, 1948), “The Paths We Choose” (1954, another title: “Under a Lucky Star”), “March” (“An Hour Before Dawn”, 1957), “The Steamboat’s Name is “Eaglet” (1958), etc. G. wrote also scripts for the films "True Friends" and others. G.'s comedies are characterized by romanticism. elation, lyricism, humor. G. is the author of popular songs about youth."

And this is from the “Theater Encyclopedia”:

“The central theme of Galich’s work is the romance of the struggle and creative work of Soviet youth.”

Was Galich persecuted in those prosperous times for him? Not on your nelly.

Not recommending a play for production is not persecution. As well as posting disparaging reviews. There are still enough of them now. By the way, “Matrosskaya Tishina” still had the registration number of Glavlit, there was a seal (“nut”), and if any director had risked not paying attention to the oral recommendations (there were not even written ones) of some secret advisers, then it was quite possible I would like to install it. Those were thaw times, after the 20th Congress with its exposure of the cult of Stalin, one might say, vegetarian (1957-1958). But no one took the risk. Another play by Galich, “August,” did not work either. This did not prevent him from being an extremely successful playwright.

Moreover, he became a “travelling” - the highest degree of trust and a kind of reward. In the spring of 1960, he visited Sweden and Norway with a delegation from the Union of Cinematographers. When he wrote the script “The Third Youth” about Marius Petipa, he lived in Paris in the mid-60s.

There were no persecutions even after Galich’s scandalous (from the point of view of the authorities) speech at the “Under Integral” club in the Novosibirsk Akademgorodok in March 1968. Galich was not summoned to any KGB, contrary to Beauclair’s inventions. And they didn’t even forbid him to sing. And this is after he sang such “subversive” songs at that bard festival as “The Ballad of Surplus Value”, “We Are Buried Somewhere Near Narva”, or “In Memory of Pasternak” (Beauclair persistently emphasized in the name on last syllable). The audience of two thousand stood up and, after a minute of silence, burst into applause. At the festival itself, Galich received the highest award - a silver copy of Pushkin’s pen, a certificate of honor from the Siberian Branch of the USSR Academy of Sciences, which reads: “We admire not only your talent, but also your courage.”

Yes, in the newspaper “Evening Novosibirsk”, dated April 18, 1968, a month after the festival, a scathing article by a certain legless Nikolai Meysak, a member of the Union of Journalists of the USSR, appeared under the fighting title “SONG IS A WEAPON.”

There were these words:

“Galich, grimacing, mocks our most sacred concepts, And in the hall... albeit rare, but applause. This is what the loss of a sense of citizenship can lead to! Is it possible to say something like this - about your native country, which gives you water and food, protects you from enemies and gives you wings? This is the Motherland, comrades! New song. And again - a confession of a disgusting type with the morality of a traitor who is ready to cheat not only on his wife, not only on his honor as a communist, but skillfully deceives people. At first glance, Galich is making fun of the scoundrel. But listen to his intonation, to the vocabulary of his song, which, as if in mockery, is called “The Red Triangle” (the scoundrel, his wife is the “boss at the All-Union Central Council of Trade Unions” and his “bastard”, whom he took to restaurants). And again, instead of booing their “hero”. Galich makes him the winner. She drank Durso, and I drank pepper. For the Soviet family, an exemplary one! Yes, this, of course, is absurd: discussing the personal relationships of spouses at a meeting. But Galich is not about that. With his “bouquet” of such songs, he seems to be telling the youth: look, this is what they are, communists. And with the next “number” he leads young listeners to a certain morality. As if in mockery, he announces the song “Law of Nature.” A certain “drum major” takes his platoon out on night watch on the king’s orders. The platoon commander “is as cowardly as a hare in battle, but what a handsome man.” (Is this Galich’s ideal man?!) The platoon is walking along the bridge. And since the soldiers walk in step, the bridge, according to the laws of mechanics, collapses. And the “bard” Galich teaches, strumming his guitar: “Believe me, by God, If everyone walks in step, the bridge is ob-ru-shi-va-et-sya!..”

Let everyone walk as they wish - this is already a program that is offered to young and, alas, ideologically helpless people. Watching war in movies is easy and safe. In 1941, together with my Siberian friends, I defended Moscow. The whole country defended its capital! All of Moscow took to the gloomy fields near Moscow to set up anti-tank barriers on Moscow streets. Even children were on duty on the roofs of houses, protecting the city from German incendiary bombs. Everyone kept pace! All the people! And if all the people had not kept pace, creating a powerful industry in the difficult years of the five-year plans, growing our army, it is unlikely that we would have been able to withstand single combat with the devilish power of fascism. And it’s unlikely that Galich would sing his mean little songs today. After all, one of Hitler’s strategic goals was the destruction of the Soviet intelligentsia.

The “bard” digs deep, proposing this line of behavior in a clownish camouflage. I, a soldier of the Great Patriotic War, would like to say especially sharply about Galich’s song “Error”. I'm ashamed of the people who applauded the "bard" and of this song. After all, this is a mockery of the memory of the dead! “Somewhere near Narva,” dead soldiers hear a trumpet and a voice: “Come on, get up, so-and-so, so-and-so!” Everything here is vile: and this address to the dead “so-and-so” (this, of course, is the order of the commander!) and these lines: “Where the infantry died in ’43, To no avail, in vain, There the hunt is walking in the powder, The rangers are trumpeting ...".
What a strategist was found after 25 years! It’s easy to be a strategist on stage, knowing that no one will throw even a single rotten egg at you (we do not have this method of assessing the performances of some speakers and artists). Galich slanderes the dead, and young people in the magnificent House of Scientists applaud. What are you applauding, guys and girls? Because a quarter of a century ago, if not yours, then someone else’s fathers died? He's lying vilely, this "bard"! ... Galich needs to sow doubt in young souls: “they died in vain, they were commanded by mediocre officers and generals.” Translated, this means: “Why the hell shoot, guys! Why the hell go on the attack? It’s in vain anyway! Drop your weapons!” That's how the song turns out! It’s no coincidence that the “bard” chose a youth audience: he understands that if he sang this in front of war veterans, they would say something to him.”

The veterans didn’t say anything to Galich. Only in May 1968 did the secretariat of the board of the Moscow writers' organization warn Galich about the need to more carefully select his repertoire before public performances. There was no ban on speaking. However, as far as I know, there were no more public performances in the halls. But an endless series of performances in private homes began. And there are tape recorders. And - a chain reaction of reproduction of films scattered throughout the country. “There is a Yauza system tape recorder - that’s all, and that’s enough.”

Many of his songs became more and more harsh. Just after the secretariat issued him a warning, he wrote (“Untitled,” but we always called it “I am a judge”), and “Petersburg Romance - immediately after the introduction of Soviet troops into Czechoslovakia. This was exactly the time when we met and he performed all these songs at my house, and the Petersburg Romance for the first time.

What it sounded like back then! Can't convey.

Oh, how fast, incredible
The days have gone by for us to turn gray with whiskey...
"Judge not, lest you be judged..."
So, that means don’t judge?!
So, that means I can sleep peacefully,
Drop dimes on the subway?!
But why do we need to judge and judge?
"Don't touch us, and we won't touch..."
No! Inherently despicable
This formula of being! Those who are chosen are the judges?!
I'm not chosen.
But I'm the judge!

Or this (“Petersburg Romance”): And still the same, no simpler,
Our age is testing us -
You can go to the square
Do you dare go out onto the square?
At that appointed hour?!
Where they stand in a square
Waiting for the shelves -
From the Synod to the Senate,
How about four lines?!

But let's return, so to speak, to the speaker. Having tongue-tiedly recounted the horrors of how Galich was oppressed and persecuted all his life, Mr. Beauclair suddenly announced that Galich was a laureate of the Stalin Prize. No way. It wasn't even close. His most famous award is a certificate from the KGB for the film “State Criminal” (dir. Nikolai Rozantsev) - about the capture by the KGB of a dangerous criminal responsible for the deaths of hundreds of people during the Great Patriotic War. But the entire creative team of the film received such a certificate.

In general, a pattern of stories about “famous Jews” has long emerged. First, they paint with black strokes how a talented Jew (his ethnicity is constantly insistently emphasized, as if it were the source of his talent) was persecuted and bullied. Exclusively for the 5th point. And then, without hesitation, they suddenly report successes, awards and triumphs exactly where he was tortured and mocked all his life. No matter who we are talking about, this is the only motive that is always sung. This was the case with the Minister of Tank Industry and Director of Tankograd Zaltsman. This is what they say about musicians - Oistrakh, Gilels, Kogan. About military men like General Dragunsky. About chess players Botvinnik, Tal, Lilienthal. About scientists like Khariton or Zeldovich. Yes, Landau was imprisoned for a year. But then he was at the top of Soviet science. And Nikolai Vavilov died of starvation in prison. Neither one nor the other was selected by Stalinism on the basis of nationality.

The same is true here with Galich. Spread the entire program about how he was persecuted and tormented, and then, as if nothing had happened, report on his Stalin Prize. While he was not persecuted at all (until he was expelled from the Unions), he was not given the Stalin Prize either.

He told us that he was a very successful and contented Soviet playwright at our first meeting, the day after troops entered Czechoslovakia on August 22, 1968. Here are his words that remained on my tape (I have already cited them in another article) :

“Well, Galich is an inveterate man. By the age of fifty, I had already seen everything, had everything that a person of my circle should have, and was traveling. In a word, he was a successful Soviet lackey(here we shuddered - after all, general political frontier conversations are one thing, and terms such as “Soviet lackey” - V.L.) are another thing. But gradually I felt more and more strongly that I couldn’t live like this anymore. Something was brewing inside, demanding to come out. And I decided that it was my time to tell the truth. Do you have a guitar? I just wrote a song. I was in Dubna and was impressed by such generous international help and wrote it. Nothing to do with our time, the nineteenth century. So, sorry, first performance.”(it was his “Petersburg Romance - “You can go to the square”).

One should not exaggerate the persecution of famous scientists and artists, even if their last names were not Ivanov. The simple Russian peasant, who was declared a kulak or a subkulak, was subject to thousands of times more persecution.

Many scientists never play along with such setups of well-wishers who would like to make them martyrs of ethnic origin.

Here are the recent words of academician and Nobel Prize winner Vitaly Ginzburg:

“When there was the first free enrollment at Moscow State University in 1933, not with vouchers, I did not pass the competition. The reason for this was my poor preparation, and not anti-Semitism.”

G. Beauclair also presented Galich as a victim of the cunning priest-crossing of Alexander Men. Allegedly, using Galich’s depressed state after his expulsion from the Union of Writers and Cinematographers (by the way, by giving the wrong dates), this priest bewitched Galich, like the priests of Kozlevich, and drew him into a faith deeply alien to him (in the summer of 1972).

Galich always and many times called himself a Russian poet. Not Jewish. Not Yiddish. Here is a passage from his autobiographical story “Dress Rehearsal”:

“Today I am going on a journey - a long journey, a difficult one, eternally and initially - a sorrowful road of exile. I am leaving the Soviet Union, but not Russia! No matter how pompous these words may sound - and even though many have repeated them before me over the years - my Russia remains with me! My Russia has twisted Negro lips, blue nails and curly hair - and I cannot be separated from this Russia, no force can force me to part with it, because homeland for me is not a geographical concept, homeland for me is also an old Cossack lullaby the song with which my Jewish mother lulled me to sleep, these are the beautiful faces of Russian women - young and old, these are their hands that do not know fatigue - the hands of surgeons and auxiliary workers, these are the smells - pine needles, smoke, water, snow, these are the immortal words:

The flying ridge of clouds is thinning!
Evening star, sad star
Your ray silvered the sleeping valleys,
And the slumbering bay, And the peaks of sleeping mountains...

And it is impossible to separate me from Russia, whose gloomy boyish face and beautiful - sad and tender - eyes say that the ancestors of this boy came from Scotland, and now he lies - killed - and covered with an overcoat - at the foot of Mount Mashuk, and a violent thunderstorm rolls over him, and until my very last days I will hear his sudden, already mortal - already from there - sigh. Who, where, when can deprive me of this Russia?! In her, in my Russia, thousands of bloods are mixed, thousands of passions - for centuries - tormented her soul, she sounded the alarm bells, sinned and repented, let go of the "red rooster" and was obediently silent - but always, in moments of extreme extremity, when it seemed that everything is already over, everything is lost, everything is going to hell, there is no salvation and cannot be, I sought - and found - salvation in Faith! “The fifth point” cannot separate me, a Russian poet, from this Russia!”

Never in our many conversations did Galich emphasize his ethnicity in any way, or say anything at all about the nationality of himself or his colleagues. Only once, in a pre-notification to the “Song written by mistake” (this is when he thought that Israel died in the 1967 war, later it was called “Requiem for the Unkilled”), Alexander Arkadyevich, as if apologizing, said: “Don’t think that I’m such a Zionist, it was just a pity - a small country, a small people, a huge force fell on them, the Soviet press presented it in such a way that it was all over, my batteries ran out, I couldn’t listen to anything, so I wrote..." Philosopher Lev Borisovich Bazhenov, who was visiting us, joked: “They wrote a Zionist-anti-Semitic song.” “Exactly,” Galich responded. And - sang

Six million dead!
But it should be exactly ten!
Lovers of round counting
I should be glad to hear the news
How pathetic is this remnant?
Burn, shoot, hang
It's not that hard at all
And, besides, there is experience!
.....
So what are you itching for?
Handsome, fascist fosterling,
Crowned with our order
And the Gold Star?!

And here are his words about Orthodoxy, in an interview with Raru and Azov, correspondents of Posev” in June 1974 (see “Posev” 8 1974):

Is there a craving for the Church among the younger generation?

Undoubtedly. Many young people are beginning to understand that without religion, without Orthodoxy, which laid the foundations of some Russian moral ideal..., without the Church, without religious education, without religious knowledge, any attempts to “simply” repeat traditions are completely useless and meaningless.

G. Beauclair, in fact, took on the program about Galich without reading even a hundredth of the materials available even on the Internet. He probably took one obscure article and retold it in his own words, adding his own conjectures to its errors. But there are several very well-known poems by Galich, in which he writes both about himself and about Orthodoxy. Moreover, during the entire hour-long program, only once did Beauclair quote a quatrain from the poem “When I Return,” and this poem contains the following stanzas:

When I'll come back,
I'll go to that one house
Where the blue dome has no power to compete with the sky,
And the smell of incense, like the smell of shelter bread,
It will hit me and splash in my heart
- When I'll come back.
Oh, when will I return!

Does Beauclair know what kind of “the only house where the sky cannot compete with the blue dome”? I'm sure not. This is a small wooden church in Tarasovka, in which Fr. Alexander (Men). Then he transferred to the temple in Novaya Derevnya. And in this pre-departure poem of his, a kind of spiritual testament, Galich writes that when he returns, the first thing he will do is enter that only house.

I'm not even talking about the huge number of not so fundamental mistakes. For example, Beauclair said that the playwright Arbuzov voted against the expulsion of Galich (not in 1972, but on December 29, 1971). Nothing like this. Arbuzov sharply spoke out against Galich, calling him a marauder, since he was not in jail, but writes songs on behalf of the one who was sitting (“Clouds are floating to Abakan”). True, he abstained from voting (together with the poetess Agnia Barto, Valentin Kataev, prose writer Rekemchuk - they proposed a severe reprimand, but when voting again after suggestion, they voted against).

All wrong. And even without knowing the details, one could easily guess that neither the KGB nor any other intelligence services ever reveal the names of their informants. This is out of the question. In reality, it was that at the very beginning of the 90s (now already the last century), for the sake of demonstrating complete restructuring and openness, the KGB announced that anyone could familiarize themselves with their dossier (or on their loved ones). For example, then I also went and leafed through the file on myself. I even made extracts. Alena did the same. I saw the nicknames of the informers there (like Nail, Lame Leg, Photographer), Galich himself went by the name “Guitarist”. But, of course, no real names.

Contrary to Beauclair, the KGB never sent a messenger to Galich in Paris with permission to return if he began to vilify the West. The film “Refugees of the 20th Century” was directed by Rafail Golding, not Galich. There was his script. Director Evgeny Ginzburg is not Galich’s brother (or even a relative at all) and has never headed any campaign to divide the bard’s fees. This was actually done by Galich’s younger brother, Valery Arkadyevich Ginzburg, not a director, but a cameraman at the studio named after. Gorky.

And in general, with such cultural baggage it would not be worth taking on topics related to art. For example, Beauclair produced the following gem: Russians, he said, mostly bear Jewish names like Ivan and Matvey. There are few original Russian names - according to Beauclair, these are Oleg, Olga, Igor. These names are just assimilated Scandinavian ones that came along with the Varangians. And Ivan, the Old Testament John, long ago became Russian. Jews do not have Ivan, or even John, or Matthew in their traditional names. Sometimes it appears as the Russian name Matvey. Just like there is no John, Jean and Ian.

I’ll end with words from the program “At the microphone Galich” from May 2, 1976(in a series of Radio Liberty broadcasts).

FROM THE CYCLE "THANKSGIVING" - About poetry

Once on a train, during my countless trips, on a night train, I asked myself a question: how should we, people living in involuntary, voluntary, and sometimes not entirely voluntary exile, how should we relate to the country where we were born? And I thought: with gratitude. With gratitude, because power and Russia are not the same thing. Soviet Russia is just a meaningless combination of words. We were born in Russia, which gave us the most beautiful language, which gave us magnificent, amazing melodies, which gave us great sages, writers, passion-bearers. We must be grateful to our country, our homeland for the air, for its beautiful nature, for its beautiful human appearance, amazing human appearance... We, those who were baptized already at a conscious age, cannot help but be grateful to Russia and for this saint day. We remember her, we strive for her, we love her and we are grateful to her. And it was the government that forced us to go into exile, not Russia, not our homeland, not the country that lives in our hearts.

And also - the last words that before leaving he spoke to us - his young friends (and not in an “interview”, as Shatalov erroneously writes):

Unlike some of my compatriots who think that I am leaving, I am, in fact, not leaving. I'm being kicked out. This must be absolutely understood. The voluntary nature of this departure is nominal. She is fictitious voluntariness. It is essentially forced. But this is still the land on which I was born. This is the world that I love more than anything in the world. This is even the world of the townspeople, the suburban world, which I hate with fierce hatred, which is still my world, because I can speak the same language with it. It’s still that sky, that piece of sky, the big sky that covers the whole earth, but it’s that piece of sky that is my piece. And therefore my only dream, hope, faith, happiness and satisfaction is that I will always return to this earth. And when I’m dead I’ll definitely return to it.

Articles about Galich in the almanac “Swan”

http://www..htm Valery Lebedev. Blessed is the man who does not go to the meeting of the wicked (on the 20th anniversary of the death of A. Galich)

http://www..htm Valery Lebedev. "AFTERLIFE AND ADVENTURES OF GALICH"

http://www..htm Documents on the restoration of Galich in the Union of Writers and Cinematographers

http://www..htm Valery Lebedev. Do you hear the gospel, Alexander Arkadyevich? (To the 80th anniversary of the birth of A. Galich)

http://www..htm Dmitry Mongait. Galich is a chess player.

www..htm Grigory Svirsky. My Galich

www..htm Valery Lebedev. NEAR GALICH

I will give two more addresses of sites about Galich and his work.

www.bard.ru/Galich

http://www.galichclub.narod.ru/

Almost everyone eventually has to learn to march - you need to be able to march correctly in formation in the army, in military educational institutions, and even just in schools at ceremonial or sporting events. It would seem that there is nothing difficult about how to raise your leg and where to place it. However, this one has its own rules that must be followed.

How to march correctly

To begin with, the rules for special marching techniques differ among different types of troops - Army, Navy, Marines, Air Force, students, marching bands and color guards. However, the basic rules laid down in the step technique are still the same for everyone. Marching begins at attention - the person's feet touch only the heels, while the toes are spread out to the sides at an angle of about 45 degrees.

The body position is straight, without slouching, the head is slightly raised, the gaze is directed forward. The arms should be extended to the sides, and the fingers should be slightly clenched - but not into a fist. When the “at attention” position is assumed, you should expect the command “marching step”. These two words also have their own meaning: “step” is a preliminary command, “march” is an executive command. The next stage is marching in formation.

Let's march together

How to march correctly? The forward movement begins with the left foot. By the way, there is a secret in what shoes you should march in. The click of the heel on the ground helps to count down a certain rhythm, which is easier to adhere to in formation. During movement, the arms should also “walk” in a certain way - back and forth freely, without tension. The fingers are slightly bent, not tightly clenched.

And now the main thing is how far you need to raise your hand. Here there will be some differences. Soldiers belonging to the infantry troops raise their hand forward 20 centimeters. After this, the arm is moved 15 centimeters to the side (not back) with each step. When walking in formation, Marines and Air Force personnel raise their arm 15 centimeters, then move it to the side only 7.5 centimeters.

Army march

Now we will learn how to march correctly in the army. The marching step is taught using a special, proven technique. It is worth knowing that after exercise your legs will hurt very much. So, the leg is raised straight 90 degrees and held in this position for 5 minutes. When lowering your leg, you need to keep your foot parallel to the ground, upon contact with which you will hear a small pop - this is also one of the important moments of the formation step. After the left leg is lowered, the right leg immediately rises. The technique is the same - straight 90 degrees, hold for 5 minutes, lower with the foot parallel to the ground, producing a characteristic sound after contact. When the right leg rises, the right arm is pulled back to failure.

At this time, the left arm is bent at the elbow, and the fist is at chest level. When the left leg rises, the left arm goes all the way back, and the right arm, bent at the elbow, rises to chest level.

Step speed

The marching step has a certain speed. During normal marching, 110-120 steps are taken per minute, with a relative step length of 70-80 centimeters. One of the varieties of formation walking has a significant difference - the “Prussian” step (ceremonial). With it, the leg is moved forward not by 15-20 centimeters, as in a normal marching step, but rises almost to the formation of a right angle relative to the body. The speed of the “Prussian” step will be much less - no more than 75 steps per minute. The main difference between the “Prussian” step is that it requires great physical effort and takes much longer to learn than regular marching. This type of walking has great disciplinary and educational significance for soldiers, being a symbol of ideal discipline and order.

How to march correctly is also taught in regular schools.

Drill march at school

Physical education teachers teach how to march correctly at school (if we are talking about secondary schools and not military departments). Typically, students walk in formation at ceremonial or sporting events. Of course, children are far from a soldier's bearing, but the basics of the correct military step are still stored in memory. When marching, you must maintain your posture, trying to imitate military bearing. Movements must be fast and precise, the chin must be raised, it is strictly forbidden to turn your head to the sides - you must look only forward at all times. There are also other points that you should know about how to learn to march correctly. One of them is the use of peripheral vision, which helps to step in line with those marching on the right and left sides.

What else is worth knowing

There are also subtleties in how to march correctly. In order not to collide with those walking in front, and also not to become an obstacle to those marching behind, you must clearly maintain a distance. Its size is the distance of an outstretched arm.

You should move synchronously, as a single whole, clearly repeating each other’s movements. Also, we must not forget about teams. With the executive phrase “stop,” you need to take one more, final step with your left foot and put your right foot next to it in such a way as to return to the “at attention” position again. So, what is the most important thing about how to march correctly? These are endurance, attentiveness, synchronicity, clarity and extreme concentration.

The military says the reason for the team's appearance is the resonance that occurs when soldiers go toe-to-toe. It destroyed several bridges and claimed the lives of dozens, if not hundreds of soldiers and civilians.

“There are known cases when resonance destroyed suspension bridges. A bridge in Angers (France) was destroyed by a detachment of soldiers, clearly beating their steps, striking the flooring with their right and then left feet. The Egyptian bridge over the Fontanka River in St. Petersburg collapsed when a cavalry unit passed across it, whose horses were trained to walk rhythmically and simultaneously hit their hooves. In both cases, the chains supporting the bridge broke. Although the chains were designed to hold a larger load than the weight of people and horses crossing the bridge,” explains a physics and mathematics teacher at Belgorod Lyceum No. 10 Natalia Vinakova.

Perhaps, besides the army, only in school is marching so valued. Kindergarteners and graduates march in formation at the matinees for tourist rallies and patriotic holidays. And school cadets, from Cossacks to state traffic inspectors, take a step on any significant occasion. And not a single school suffered from this.

“We sent our son specifically to a cadet class so that, in addition to basic education, he would also receive military training. They are taught to walk in formation correctly, march, and sing drill songs. My son likes it and is proud of himself. In the spring and autumn they train at the stadium near the school, in the winter – in the gym on the first floor,” says the Belgorod resident Sergey.

“My eldest daughter is in the eighth grade of a regular school. They are not taught to march, only before the line on September 1 they may be told to march in step with the class so that it looks beautiful. But the children had a rhythm - classes were held in the assembly hall on the second floor of the school. I’ve never heard of this causing cracks to appear under the hall or the plaster to crumble,” says the parent. Christina.

Seesaw effect

It's actually simple. The concept of resonance is taught in physics lessons at school, including examples with bridges.

“Resonance occurs when the natural frequency of the system coincides with the frequency of the driving force. An example is a swing: in order to swing even a heavy swing strongly, you need to push it in time with its own vibrations. If the soldiers walk in time with the swaying bridge, the bridge begins to sway violently and the chains break. When constructing buildings and bridges, resonance is certainly taken into account,” continues the teacher.

The building codes and regulations that designers rely on when building schools are very serious. Therefore, it is virtually impossible for half the school to resonate while marching. Sanitary and epidemiological requirements for the conditions and organization of training in general education institutions are also strict. They recommend placing gyms on the ground floors of schools or in extensions. When placing a gym on the second floor and above, sound and vibration insulating materials should be used.

Natalya Vinakova assures: if we hypothetically assume that when children march in school, the frequency of natural vibrations of the floor and children's steps will be close to each other, then destruction will still not occur. There are a number of reasons for this.

Firstly, the forcing force of the kicks of children's legs is small. Secondly, the school’s ceilings are supported not by chains, but by the walls and foundation of the building. Thirdly, children can march around the perimeter of the room, and when turning 90 degrees, the rhythm of the children’s legs kicks is lost. And the last thing: in each class there are several guys who do not fall into the rhythm of the squad. They will reduce the overall force of the push, and therefore interfere with swinging.

From world history

The Basse-Chêne suspension bridge over the Maine River in Angers, France, collapsed in 1850 while a battalion of soldiers was marching across it. A thunderstorm raged and a strong wind blew, which increased the resonance. The soldiers quickened their pace, and the cables holding the bridge gave way. 220 military personnel and three civilians were killed. The length of the bridge was 102 m, it was supported by two iron cables. Experts agree that if they had not been so oxidized, the bridge would have survived.

A similar tragedy occurred 20 years earlier in England, near Manchester. A small bridge collapsed as a detachment of 60 artillerymen walked across it. No one died then.

The Honey Arch Bridge over the Niagara River in Canada was built in 1897. Doubts about its reliability arose in 1925: it began to resonate during a parade. Soon a new bridge was built in its place and named Rainbow. He still serves today.

Natalia Kozlova