01-03-2005

In defense of Galich

On February 8, 2005, our Nadezhda station was again struck by an illness. Often, various misfortunes press on her. Somehow, two, one might say, crooks from political science journalism, landed on the listeners. Thank God, after the article "Radiocicadas" fell off.

And on February 8, in his series “Famous Jews”, listeners were stunned by a certain Naum Bokler. As a rule, I never listen to such programs - not in my profile. For these broadcasts are extremely limited, wretchedly local, sowing arrogance and even racism, performed, moreover, by unpleasant-sounding (not “phonogenic”) voices with a mass speech errors, an absurd accent, incorrect accents, coughing, snorting and blowing your nose right into the pipe (as if it is 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 ether.

But I accidentally caught this program at the very beginning, and then, having shrunk into a ball, I listened to the end. Because it was about Alexander Arkadyevich Galich. About that Galich, whom I knew well, talked a lot with him, recorded almost all of his songs at home, rode a motorcycle and a car with him, visited him at 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 (this is near Minsk). Negotiated and discussed for many years with Alexander Arkadievich many different topics and problems. And therefore I could not remain indifferent to what and how they tell about my older friend.

There was not a single of his songs and almost no quotes from his songs in the program (there was one of the two stanzas, and then it would not have been better, it all sounded so flat, unartistic and miserable).

The program consisted of reading the biography of A. Galich. At the same time, this “biography” itself contained a large number of errors. If the program was built as an analysis of his poetics, the dramaturgy of his songs, his philosophy, then some factual errors in the biography would be excusable. But when the focus is on the biography, then no. The Internet is full of sites with a biography of Galich, and it would seem that it was easy to read one of them. Better yet, take a few and review them, choosing the most interesting.

To begin with, Bokler told the audience that after Galich's performance at the bards' rally at the Pod Integral Club (Novosibirsk Akademgorodok) in March 1968, Alexander Ginzburg "was subjected to such terrible persecution that he was forced to accept this pseudonym - Galich."

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

His very first works had not yet been signed with the name Galich. Back then, he was just trying on literary name and used the pseudonym Guy. His first experiences in drama were the post-war play "Street of the Boys" (1946), and the play "The Marching March" (originally titled "Funeral March, or One Hour Before Dawn", 1945-1946). But they were delivered later ("Travel March" in 1957) already under the name Galich. This is the same play in which the song "Goodbye, Mom, Do not Cry", which was then often broadcast on the radio, sounded. It became one of the most popular songs of that time. I think she is still remembered today:

Goodbye, mom, don't worry -
Kiss your son goodbye!
Goodbye, mother, do not grieve, do not be sad -
Wish us a good trip!...

Why didn’t they put on this “March” for so long? Well, firstly, because of its primary name - "Funeral March". What kind of name was it in the merry Stalinist time, when life became more and more cheerful. Secondly, as Galich's daughter Alena reports, the play was accepted for Moscow Chamber Theatre. But soon the production was banned. The reason was the denunciation of the playwright V. Vishnyakovsky appointed by the political commissar to the Chamber Theatre.”

But the very first play, accepted and extremely successful in the theaters of the country, the comedy Taimyr Calls You (1948), 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 ran into her, and now it’s even hard to understand why. A typical light sitcom with various confusions - in the French style.

The official biography says:

“In the early 50s, Galich was already a successful playwright, the author of several plays that were staged with great success in many theaters of the country. Among them are "An hour before dawn", "The ship's name is "Orlyonok", "How much does a person need", etc. box office 7th place, having collected 30.9 million viewers”.

After the film based on the script by Galich "Faithful Friends" (1954), in which the best actors Boris Chirkov, Vasily Merkuriev, Andrey Borisov, Alexei Gribov, Mikhail Pugovkin played, it was later filmed by one of the best directors in the country - Mikhail Kalatozov. Music of songs - Khrennikov, words of Matusovsky. These names are known to this day.

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 Father Dumas. He then, even before admission to the Writers' Union, in addition to the script "True Friends" 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 corrections, completed in 1956), which was never accepted by officials from the Ministry of Culture at the instigation of some lady instructor of the Central Committee. The story of how the acceptance of the performance went on is the basis of Galich's autobiographical story (excellent prose!) "General rehearsal" (completed in May 1973).

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

All the years before the 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 plaintive book” (dir. Eldar Ryazanov), “ State criminal”, “Third Youth” (about Marius Petipa), The steamer is called “Eaglet”, “Weekdays and holidays”, “How much does a person need” (the first production of Yuri Lyubimov), “The situation obliges” (“Moscow does not believe in tears”), “On the Seven Winds” (filmed by Stanislav Rostotsky - the one who “The Dawns Here Are Quiet”), Running on the Waves”, “In the Steppe”, “Heart Beats Again”, “Colorful Suitcase” (for Belarusfilm, not finished), “ Fedor Chaliapin” (dir. Mark Donskoy, the film was stopped after Galich’s exclusion from creative unions, the 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 “Alexander Galich, Composition in two volumes, Ozon, 1999).

All these accomplishments are taking place 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. 19.X.1918, Yekaterinoslav) - Russian. Soviet playwright. Author of the plays "Street of Boys" (1946), "Taimyr Calls You" (co-authored with K. Isaev, 1948), "The Ways We Choose" (1954, another name is "Under a Lucky Star"), "March" ("An Hour Before Dawn", 1957), "The Ship's Name is Eaglet" (1958), etc. G. wrote also scripts for the films "True Friends" and others. G.'s comedies are characterized by romantic. elation, lyricism, humor. G. is the author of popular songs about youth."

And here it is from the Theatrical Encyclopedia:

"The central theme of Galich's work is the romance of the struggle and creative work of Soviet youth."

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

Not recommending a play for staging is not persecution. As well as the placement of different reviews. They are enough now. By the way, “Matrosskaya Tishina” still had Glavlit’s registration number and had a seal (“nut”), and if some director took the risk of not paying attention to the oral recommendations (there weren’t even written ones) of some unspoken advisers, then it was quite possible would put it. The times were thaw, after the 20th Congress with its exposure of the cult of Stalin, one might say, vegetarian (1957-1958). But no one dared. Another play by Galich - "August" - did not go either. This did not prevent him from being an extremely successful playwright.

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

There were no persecutions after the scandalous (from the point of view of the authorities) performance of Galich in the club “Under the Integral” in the Novosibirsk Akademgorodok in March 1968. Galich was not summoned to any KGB, contrary to the inventions of Bockler. And he was not even allowed to sing. And this - after he sang at that bard festival such "subversive" songs as "The Ballad of Surplus Value", "We are buried somewhere near Narva", or "In Memory of Pasternak" (Bokler stubbornly emphasized the name on last syllable). The hall of two thousand stood up, and after a moment of silence burst into applause. At the festival itself, Galich received the highest award- a silver copy of Pushkin's pen, certificate of honor Siberian branch of the USSR Academy of Sciences, which says: "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 peddling article by a certain legless Nikolai Meysak, a member of the Union of Journalists of the USSR, under the combat title “THE SONG IS A WEAPON” appeared.

There were these words:

“Galich, grimacing, mocks our most sacred concepts, And in the hall ... albeit rare, but - applause. That's what the loss of a sense of citizenship leads to! Is it really possible to do something like this - about your native country, which waters you and feeds you, 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 makes 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" (a scoundrel, his wife is "the head of the All-Union Central Council of Trade Unions" and his "bastard", whom he took to restaurants). And again, instead of booing his "hero". Galich makes him the winner. She drank "Durso", and I "pepper" For the Soviet family, exemplary! Yes, this, of course, is absurd: to discuss the personal relations of the spouses at the meeting. But Galich is not about that. With his "bouquet" of such songs, he seems to be saying to the youth: look, here they are, communists. And the next "number" brings young listeners to a certain morality. As if in mockery, he announces the song "Law of Nature". A certain "tambour-major" leads his platoon on night watch on the orders of the king. The platoon commander is "cowardly in battle, like a hare, but what a handsome man." (For Galich, is this the ideal of a man?!) The platoon is walking along the bridge. And as the soldiers keep pace, the bridge, according to the laws of mechanics, collapses. And teaches, strumming on the guitar, "bard" Galich: "And believe me, by God, If everyone steps in step, The bridge is about-ru-shi-va-et-sya! .."

Let everyone walk as he wants - this is already a program that is being offered to young and, alas, ideologically helpless people. Watching the war in the movies is easy and safe. In 1941, together with my Siberian friends, I defended Moscow. The whole country defended its capital! All of Moscow came out to the gloomy fields near Moscow, to put up anti-tank barriers on Moscow streets. Even children were on duty on rooftops, guarding the city from German incendiary bombs. Everyone was walking! 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 their army, we would hardly have been able to withstand the single combat with the diabolical power of fascism. And it is unlikely that Galich would sing his petty songs today. After all, one of Hitler's strategic goals was the destruction of the Soviet intelligentsia.

The "bard" digs deep, offering a sort of line of behavior in jester's camouflage. I, a soldier of the Great Patriotic War, would like to say especially sharply about Galich's song "Mistake". I am ashamed of the people who applauded the "bard", and for this song. After all, this is a mockery of the memory of the dead! "Somewhere near Narva" the dead soldiers hear a trumpet and a voice: "Well, get up, such-and-such, such-and-such!" Everything here is vile: and here is this appeal to the dead "such and such" (this, of course, is the order of the commander!) And these lines: "Where the infantry died in forty-third To no avail, in vain, There hunting walks on the powder, The huntsmen trumpet ...".
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 don't have this method of evaluating the performances of some speakers and artists). Galich slanders the dead, and young people in the magnificent House of Scientists applaud. What do you applaud, guys and girls? The fact that a quarter of a century ago fathers died, if not yours, then someone else's? He is meanly lying, this "bard"! ... Galich needs to sow doubt in young souls: "they died in vain, they were commanded by mediocre officers and generals." In translation, this means: "Why the hell shoot, guys! Why the hell go on the attack? It's all the same - in vain! Drop your weapons!" That's how this song turns around! It is no coincidence that the “bard” has chosen a youth audience: he understands that if he sang this in front of war veterans, they would say something to him.”

The veterans did not say anything to Galich. Only in May 1968 did the secretariat of the board of the Moscow writers' organization warn Galich of the need to more carefully choose the repertoire before public performances. There was no ban on speaking. However, as far as I know, more public speaking there were none in the halls either. But an endless series of performances in private homes began. And there are tape recorders. And - a chain reaction of multiplication of films scattered throughout the country. “There is a tape recorder of the Yauza system - that's all, and that's enough.”

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

How it sounded then! Do not transfer.

Oh, how fast, unbelievable
The days went to us to sit whiskey ...
"Judge not, lest you be judged..."
So, here, then, and do not judge?!
So, here, it means to sleep peacefully,
Drop nickels in the subway?!
And to judge and judge - why should we?!
"Don't touch us, and we won't touch..."
Not! Contemptible in essence
This formula of life! Those who are chosen are the judges?!
I am not selected.
But I am the judge!

Or this one (“Petersburg Romance”): And all the same, not simpler,
Our age is trying us -
You can go to the square
Dare to go to the square,
At that appointed hour?
Where they stand in a square
Waiting for the shelf -
From the Synod to the Senate,
Like four lines?!

But back, so to speak, to the speaker. Having tongue-tiedly told the horrors about how Galich was oppressed and persecuted all his life, Mr. Bockler suddenly announced that Galich was a laureate Stalin Prize. Here it is not. And he wasn't close. His most famous award is a letter 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 such a diploma was received by the entire creative team of the film.

In general, a scheme of stories about “famous Jews” has long been looming. First, they paint with black strokes how a talented Jew (his ethnicity is persistently emphasized all the time, as if it is precisely this that is the source of talent) was persecuted and muzzled. Exclusively for the 5th paragraph. And then, without hesitation, they suddenly report successes, awards and triumphs exactly where he has been tormented and mocked all his life. Whoever it is about, it is only this motive that is always sung. So it was with the Minister of the tank industry and the director of "Tankograd" Zaltsman. So they say about musicians - Oistrakh, Gilels, Kogan. About the military like General Dragunsky. About chess players Botvinnik, Tal, Lilienthal. About scientists like Khariton or Zeldovich. Yes, Landau was imprisoned for a year. But then I was at the top Soviet science. And Nikolai Vavilov died of starvation in prison. Neither one nor the other was selected by Stalinism on a national basis.

The same here and with Galich. Tell the whole program 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), they did not give the Stalin Prize either.

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

“Well, Galich is an inveterate person. By the age of fifty, I had already seen everything, had everything that a person of my circle should have, was traveling abroad. In a word, he was a prosperous Soviet lackey(here we shuddered - all the same, general political frondier conversations are one thing, and such terms as "Soviet lackey" - V.L.) are another. But gradually I felt more and more strongly - I can no longer live like this. Something was ripening inside, it needed to come out. And I decided it was time for me to tell the truth. Do you have a guitar? Just wrote a song. I was in Dubna and, under the impression of such generous international assistance, composed. Nothing to do with our time, the nineteenth century. So, sorry, the first performance.”(it was his "Petersburg romance -" You can go to the square ").

Do not exaggerate the persecution of famous scientists and artists, even if they did not bear the names of Ivanov. There were thousands of times more persecution against a simple Russian peasant, who was declared a kulak or a kulak.

Many scholars never play along with such well-wishers who would like to turn them into martyrs of ethnic origin.

Here are the recent words of the academician, laureate Nobel Prize Vitaly Ginzburg:

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

G. Bokler also presented Galich as a victim of Alexander Men's cunning priest-cross. Like, using the depressed state of Galich after his expulsion from the Union of Writers and Cinematographers (by the way, giving the wrong dates), this priest seduced Galich, like a priest of Kozlevich, and dragged 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 "General Rehearsal":

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

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

And you can’t excommunicate me from Russia, which has a 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 to his very last days I will hear his sudden, already mortal - already from there - sigh. Who, where, when can deprive me of this Russia?! Thousands of bloods are mixed in her, in my Russia, thousands of passions - for centuries - tormented her soul, she sounded alarms, sinned and repented, let the "red cock" go and obediently kept silent - but always, in moments of extreme extremeness, when it seemed that everything is already over, everything is lost, everything is going to hell, there is no salvation and cannot be, I was looking for - and found - salvation in the Faith! I, a Russian poet, cannot be excommunicated from this Russia by the "fifth point"!

Never in our numerous conversations did Galich emphasize his ethnicity in any way, he did not say anything at all about the nationality of his or his colleagues. Only once, in the foreword 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 Arkadievich, as if apologizing, said: "Do not 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 gave it in such a way that everything was over, my batteries were dead, I could not listen to anything, so I wrote ... ". The philosopher Lev Borisovich Bazhenov, who was visiting us, joked: "They wrote a Zionist-anti-Semitic song." - Precisely, - answered Galich. I - sang

Six million dead!
And it would be exactly ten!
Round count lovers
The news should please
What a pitiful remnant
Burn, shoot, hang
It's not that hard at all
And experience, besides!
.....
So what's itching for you
Handsome, fascist fosterling,
Crowned with our order
And the Golden Star?!

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

Is there an attraction to 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 kind of Russian moral ideal ...., without the Church, without religious education, without religious knowledge, any attempts to “simply” repeat traditions are completely useless and meaningless.

G. Bockler, in fact, took up the program about Galich without reading even a hundredth of the materials available even on the net. Probably, he took some one obscure article and retold it in his own words, adding his own conjectures to her mistakes. But there are several very well-known poems by Galich in which he writes both about himself and about Orthodoxy. Moreover, in the entire hour-long broadcast, only once Bockler quoted a quatrain from the poem “When I return”, and in this poem there are such stanzas:

When I'll come back,
I'll go to that one house
Where the sky cannot compete with the blue dome,
And the smell of incense, like the smell of shelter bread,
Hit me and splash in my heart
- When I'll come back.
Oh when I get back!

Does Beauclair know that this is “the only house where the sky cannot compete with the blue dome”? I'm sure no. This is a small wooden church in Tarasovka, where Fr. Alexander (Men). Then he transferred to the temple in New Village. 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 one house.

I'm not talking about huge number not so fundamental errors. For example, Bockler said that the playwright Arbuzov voted against the expulsion of Galich (not in 1972, but on December 29, 1971). Nothing like this. Arbuzov spoke sharply against Galich, calling him a marauder, because he did not sit, but writes songs on behalf of the sitting (“Clouds float to Abakan”). True, he abstained from voting (together with the poetess Agniya Barto, Valentin Kataev, the prose writer Rekemchuk - they proposed a severe reprimand, but during the second vote after the suggestion they voted against).

All wrong. And even without knowing the details, one could easily guess that neither the KGB nor any other special services ever disclose the names of their informants. This is out of the question. In reality, it happened that at the very beginning of the 90s (now the last century), for the sake of demonstrating complete restructuring and openness, the KGB announced that anyone who wanted could get acquainted with their dossier (or those of their loved ones). For example, then I also went and leafed through the dossier on myself. I even made extracts. Alena did exactly the same. I saw the nicknames of informers there (like Gvozd, Khromonozhka, Photographer), Galich himself passed as “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 Yevgeny Ginzburg is not a brother (and not even a relative of Galich at all) and has never led a campaign to share the bard's fees. Really did this younger brother Galich, Valery Arkadyevich Ginzburg, is not a director, but an operator of the studio. Gorky.

And in general, with such cultural baggage, it would not be worth taking on topics related to art. For example, Bockler issued such a pearl: Russians, he said, wear mostly Jewish names like Ivan and Matthew. There are few primordially Russian names - according to Bokler, these are Oleg, Olga, Igor. These names are just assimilated Scandinavian ones that came along with the Vikings. And Ivan - the Old Testament John, has long become Russian. The Jews do not have in their traditional names either Ivan, or even John, or Matthew. Sometimes it is found by the Russian name Matvey. As well as no John, Jean and Jan.

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

FROM THE CYCLE "THANKING" - About poetry

Once on a train, during my countless trips, on a night train, I asked myself the question: how should we, people living in involuntary, voluntary, and sometimes not quite 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 It's 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, martyrs. We should 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 already baptized at a conscious age, cannot 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 authorities that forced us to go into exile, and not Russia, not our homeland, not the country that lives in our hearts.

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

Unlike some of my compatriots who think that I am leaving, I am not really leaving. I'm being kicked out. This must be absolutely understood. The voluntariness of this departure is nominal. She is a fictitious volunteer. She is essentially forced. But still, this is the land where I was born. This is the world I love more than anything. This is even the suburban, suburban world, which I hate with a fierce hatred, which is still my world, because I can speak the same language with it. It's still that sky, that patch of sky, the big sky that covers the whole earth, but it's that patch of sky that is my patch. And so my only dream, hope, faith, happiness and satisfaction is that I will always return to this earth. And already dead I will return to it for sure.

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. "AFTER LIFE AND ADVENTURES OF GALYCH"

http://www..htm Documents on the restoration of Galich in the Unions of writers and cinematographers

http://www..htm Valery Lebedev. Do you hear the blagovest, 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 GALYCH

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

www.bard.ru/Galich

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

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

“There are cases when resonance destroyed suspension bridges. The bridge in Angers (France) was destroyed by a detachment of soldiers, clearly beating the step, hitting either the right or the left foot on the flooring. The Egyptian bridge across the Fontanka River in St. Petersburg collapsed when a cavalry unit passed over it, the horses of which were trained in a rhythmic step and at the same time beat with their hooves. In both cases, the chains supporting the bridge broke. Although the chains were designed to hold a greater load than the weight of people and horses crossing the bridge, ”explains a teacher of physics and mathematics at the Belgorod Lyceum No. 10 Natalia Vinakova.

Perhaps, besides the army, only at school is marching so valued. Kindergarteners, graduates for tours, patriotic holidays are building on matinees. And cadet schoolchildren, from Cossacks to state traffic inspectors, mint a step on any significant occasion. And not a single school suffered from this.

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

“My eldest daughter is in eighth grade at a regular school. They are not taught to march, only before the line on September 1 they can be told to keep up with the class so that it looks beautiful. But the children had rhythm - classes were held in the assembly hall on the second floor of the school. I have never heard that because of this, cracks went under the hall or the plaster crumbled, ”the parent shares. Christina.

Seesaw effect

In fact, everything is simple. The concept of resonance is taught at school in physics lessons, 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 to the beat of their own oscillations. If the soldiers step in time with the swaying bridge, then the bridge begins to sway violently and the chains break. When constructing buildings and bridges, resonance is certainly taken into account,” the teacher continues.

The building codes and rules that designers rely on when building schools are very serious. So it's virtually impossible for half the school to resonate while marching. Sanitary and epidemiological requirements for the conditions and organization of training in educational institutions also strict. They recommend placing gyms on the first floors of schools or in annexes. When placing sports hall on the second floor and above, sound and vibration insulating materials should be used.

Natalya Vinakova assures us that if we hypothetically assume that when children are marching at school, the frequency of their own oscillations of sex and children's steps will be close to each other, then there will still be no destruction. There are a number of reasons for this.

First, the driving force of pushing children's legs is small. Secondly, the floors of the school are not supported 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 pushing of children's legs goes astray. And the last thing: in each class there are a few guys who do not fall into the rhythm of the squad. They will reduce the overall force of the push, and therefore interfere with rocking.

From world history

The Bas Chen suspension bridge across the Maine River in Angers (France) collapsed in 1850 when a battalion of soldiers marched across it. A thunderstorm was raging, a strong wind was blowing, which increased the resonance. The soldiers quickened their pace, and the cables holding the bridge gave way. 220 military 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 when a detachment of 60 artillerymen walked along it. Then no one died.

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

Natalia Kozlova

Ultimately, almost everyone has to learn to march - you need to be able to walk in the ranks correctly in the army, in the military educational institutions and even just in schools at ceremonial or sporting events. It would seem that there is nothing complicated about how to raise your leg and where to put it. However, this implies its own rules, which must be followed.

How to March Properly

You need to start with the fact that the rules for the special technique of walking on a march differ from different types troops - ground, navy, marines, air force, students, marching bands and flagmen. However, the basic rules laid down in the step technique are still the same for everyone. Marching begins at attention - the feet of a person are in contact only with the heels, while the socks are spread apart at an angle of about 45 degrees.

The position of the body is even, without stoop, the head is slightly raised, the gaze is directed forward. The arms should be extended at the sides, and the fingers of the hands should be slightly clenched - but not into a fist. When the position "at attention" is accepted, the command "step march" should be expected. These two words also have their own meaning: “step” is a preliminary command, “march” is an executive one. The next stage is marching in formation.

Marching Together

How to properly march with a marching step? Forward movement starts with the left foot. By the way, there is a secret in what shoes you need to march in. The tapping of the heel on the ground helps to count out a certain rhythm, which is easier to follow in the ranks. During the movement, the hands must also “walk” in a certain way - back and forth freely, without tension. The fingers are slightly bent, not tightly compressed.

And now the main thing is how far you need to raise your hand. This is where there will be some differences. Soldiers belonging to the infantry troops raise their hand forward 20 centimeters. After that, the arm is retracted 15 centimeters to the side (not back) with each step. Military marines, air forces, when walking in combat, raise their hand 15 centimeters, then moving it to the side by only 7.5 centimeters.

army march

Now we will learn how to properly march in the army. The drill step is taught according to a special, proven technique. It is worth knowing that after exercise, the legs will hurt very much. So, the leg rises straight 90 degrees and is held in this position for 5 minutes. When lowering the leg, one must keep the foot parallel to the ground, upon contact with which a small pop will be heard - this is also one of the important moments of the drill 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, with the resulting characteristic sound after contact. When the right leg is lifted right hand pulled back to failure.

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

Step speed

A marching step has a certain speed. During normal marching, 110-120 steps are made per minute, with a relative step length of 70-80 centimeters. A significant difference is one of the varieties of marching walking - the "Prussian" step (ceremonial). With it, the leg is carried forward not by 15-20 centimeters, as in the usual drill step, but rises almost to the formation 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 a lot of physical effort and takes much longer to learn than regular marching. This type of walking is of great disciplinary and educational value for soldiers, being a symbol of ideal discipline and order.

How to march correctly is also taught in ordinary schools.

Construction step at school

How to march at school, teachers teach physical culture(if it's about general education schools, and not about military departments). Usually, students march at ceremonial or sporting events with a marching step. Of course, children are far from a soldier's bearing, but the basics of the correct combat step are still stored in memory. When marching, be sure to keep your posture, trying to imitate a military bearing. Movements must be fast and precise, the chin must be raised, it is strictly forbidden to turn your head around - you must look only forward all the time. There are other points that you should know in how to learn how to march correctly. One of them is the use of peripheral vision, which helps to step in line with those who are marching on the right and left side.

What else is worth knowing

There are other subtleties in how to march correctly. In order not to collide with the one in front, and also not to become an obstacle to the marcher behind, it is necessary to clearly maintain a distance. Its value is the distance of an outstretched arm.

You should move synchronously, as a whole, repeating each other's movements in clarity. Also, don't forget about commands. With the executive phrase “stop”, you need to take one more, last step with your left foot and put your right foot on it in such a way as to return to the “at attention” position again. So, what is the most important thing in how to march correctly? These are endurance, attentiveness, synchronism, clarity and utmost concentration.