Reprinted for the specified edition.

Bulgakov's handwritten legacy of the 1920s. turned out to be extremely scarce: most of his works of this time have survived in printed or typewritten (play) form. Apparently, the writer himself, being in difficult conditions, did not attach much importance to his rough autographs, and E.S. Bulgakova, who was reverent for the writer's manuscripts and tried to preserve every line of it, was not with him. Therefore, difficulties often arise in restoring the history of writing works of the 1920s. The play "Days of the Turbins" ("White Guard") is no exception in this sense: draft autographs have not survived. But three of its typewritten editions have survived. It was about three versions of the play that the author himself spoke in an interview with PS Popov, who documented the content of this and other conversations. So, Bulgakov noted that “the play has three editions. The second edition is the closest to the first; the third is the most different ”(OR RSL, f. 218, no. 1269, item 6, fol. 1, 3). Let's remember these author's instructions and move on to a brief history of writing the play.

The way the idea of ​​the play arose, Bulgakov perfectly portrayed in the "Notes of the Dead". We will cite just a few lines from this text.

“The blizzard woke me up once. The blizzard was March and raged, although it was already coming to an end. And again ... I woke up in tears! .. And again the same people, and again a distant city, and the side of a piano, and shots, and some other one who was defeated in the snow.

These people were born in dreams, emerged from dreams and firmly settled in my cell. It was clear that there was no way to disperse with them. But what to do with them?

At first I just talked with them, and yet I had to take the book of the novel out of the drawer. Then it began to seem to me in the evenings that something colored was coming out of the white page. Looking closely, squinting, I was convinced that this is a picture. Moreover, this picture is not flat, but three-dimensional. It’s like a box, and in it you can see through the lines: the light is on and the very figures that are described in the novel are moving in it. Oh, what an exciting game it was ... All my life I could play this game, look at the page ... And how to fix these figures? .. And at night one day I decided to describe this magic camera ... So, I write: the first picture ... I spent three nights playing with the first picture, and by the end of that night I realized that I was composing a play. In April, when the snow disappeared from the yard, the first picture was developed ... At the end of April, Ilchin's letter arrived ... "

Perhaps everything was so in reality, but according to the surviving documents it is clear that Bulgakov made the first sketch of the play on January 19, 1925. This is evident from his own handwritten record in the album on the history of "Days of the Turbins" (IRLI, f. 362, no. 75 , l. 1). And Bulgakov apparently received a letter from B.I. Vershilov (Studio of the Art Theater) dated April 3, 1925, not at the end of April, but earlier.

It so happened that Bulgakov received two proposals at once for staging the novel "The White Guard": from the Art Theater and the Vakhtangov Theater (see: L. Yanovskaya, Mikhail Bulgakov's Creative Way. M., 1983, pp. 141-142). To the chagrin of the Vakhtangovites, Bulgakov chose the Moscow Art Theater, but consoled the first by writing "Zoyka's Apartment" for them.

Bulgakov worked on the first version of the play in June-August 1925, but with interruptions (from June 12 to July 7, the Bulgakovs stayed with the Voloshin in Koktebel). About this there are colorful author's sketches in the same "Notes of the deceased." For example, such: “I don’t remember how May ended. June is also erased in my memory, but I remember July. An extraordinary heat set in. I sat naked, wrapped in a sheet, and wrote a play. The further, the more difficult it became ... The heroes grew ... and they were not going to leave, and events developed, but they did not see the end ... Then the heat fell ... It started raining, August came. Then I received a letter from Misha Panin. He asked about the play. I plucked up courage and stopped the flow of events at night. There were thirteen pictures in the play. "

Lacking the necessary dramatic experience and striving to choose the most valuable material from the novel as much as possible, Bulgakov created a play of a very large volume, which in content did not differ much from the novel. The most difficult moment had come - the play had to be cut thoroughly. Let us turn again to the author's text: “... I realized that my play cannot be played in one evening. The nocturnal agony associated with this issue led to the fact that I crossed out one picture. This ... did not save the situation ... Something else had to be thrown out of the play, and what was unknown. Everything seemed important to me ... Then I drove one character out, which is why one picture somehow skewed, then completely flew out, and there were eleven pictures. Further ... I could not reduce anything ... Deciding that nothing would come of it, I decided to leave the matter to its natural flow ... "

On August 15, 1925, the play "The White Guard" (first edition) was presented to the theater, and in September the first reading took place. However, already in October, the situation with the play became more complicated due to the negative feedback received from A.V. Lunacharsky. On October 12, in a letter to V.V. Luzhsky, one of the leading actors and directors of the theater, he notes: “I carefully reread the play The White Guard. I consider Bulgakov a very talented person, but this play of his is extremely mediocre, with the exception of a more or less vivid scene of the hetman being taken away. Everything else is either military fuss, or unusually ordinary, dull, dull pictures of the philistine useless to anyone. there is not a single type, not a single amusing situation, and the end directly outrages not only its indefiniteness, but also its complete ineffectiveness ... inexperience of the author ”.

This letter requires some clarification, since it played a large role in the further fate of the play. The first phrase of A.V. Lunacharsky about the fact that he does not see anything inadmissible in the play from a political point of view is extremely important. Actually, this is the main thing that the theater required of him - whether the play passes according to political parameters or not. The negative opinion of the People's Commissar on this issue immediately closed the play's way to the stage. And what is important to note, A.V. Lunacharsky did not further openly put forward political demands in relation to the play, but at the last stage showed adherence to principles and supported the theater and Stanislavsky when deciding the issue of the play in higher instances.

There was no formal act of politeness and his statement that he considers Bulgakov a talented person. Obviously, he was already familiar with many of the writer's stories and novellas, including Fatal Eggs, a story that tested the reader's attitude towards him. As for the "mediocrity" of the play and other harsh remarks of A. V. Lunacharsky, it should be borne in mind that the People's Commissar himself wrote quite a few plays that were staged by some theaters, but did not have success (even Demyan Bedny publicly called them just mediocre) ... Therefore, there was undoubtedly an element of addiction. But the first edition of the play really suffered from many shortcomings, and above all its length, which the author was well aware of.

The theater responded to the people's commissar's remarks immediately. On October 14, an emergency meeting of the repertoire and artistic board of the Moscow Art Theater took place, which adopted the following resolution: “To recognize that for staging on the Big Stage, the play must be radically altered. On the Small Stage, a play may run after relatively minor alterations. Establish that if a play is staged on the Small Stage, it must be performed in the current season; the production on the Big Stage may be postponed until next season. To negotiate the stated resolutions with Bulgakov. "

Bulgakov reacted to such a "revolutionary" decision of the theater sharply, emotionally and specifically. The next day, October 15, he wrote a letter to V.V. Luzhsky, which contained ultimatum demands for the theater. However, this letter is so "Bulgakov's" that it is expedient, in our opinion, to reproduce it:

“Dear Vasily Vasilievich.

Yesterday's meeting, which I had the honor to attend, showed me that the matter with my play is difficult. The question arose about staging on the Small Stage, about the next season and, finally, about a radical change in the play, bordering, in essence, with the creation of a new play.

While willingly agreeing to some corrections in the process of working on the play together with the directing, I at the same time do not feel able to write the play anew.

The deep and harsh criticism of the play at yesterday's meeting made me significantly disappointed in my play (I welcome criticism), but did not convince me that the play should be performed on the Small Stage.

And, finally, the question about the season can have only one solution for me: this season, not the next one.

Therefore, I ask you, dear Vasily Vasilyevich, to urgently put it up for discussion in the directorate and give me a categorical answer to the question:

Does the 1st Art Theater agree to include the following unconditional points in the play contract:

1. Production only on the Big Stage.

2. This season (March 1926).

3. Changes, but not a radical break in the core of the play.

If these conditions are unacceptable for the Theater, I will allow myself to ask permission to consider a negative answer as a sign that the play “White Guard” is free ”(Museum MXAT, no. 17452).

The theater's reaction was prompt, because the play was liked by both the actors and directors. On October 16, the repertoire and artistic board of the Moscow Art Theater made the following decision: "To recognize it possible to agree to the author's demand regarding the nature of the reworking of the play and that it should be performed on the Great Stage" (see: P.A. Markov. ., 1976. Section "Materials and documents"). This decision suited both the author and the theater, for it was a reasonable compromise. In his memoirs, P. A. Markov successfully formulated the problems that arose with the first edition of the play "White Guard": "M. A. Bulgakov, who later staged plays masterly, initially blindly followed the novel in staging the White Guard, and already in his work with the theater a harmonious and clear theatrical composition of Days of the Turbins gradually emerged ”(Markov L. A. S. 26) ... On October 21, the initial distribution of roles took place ...

Bulgakov understood perfectly well that the play must first of all be structurally changed, "squeezed". Of course, it was impossible to do without losses. In addition, it was required to remove from the text direct attacks against the living leaders of the state (too often the name of Trotsky was mentioned in the play). It took him more than two months to create a new version of the play - the second. Later, dictating fragmentary biographical notes to PS Popov, Bulgakov said something valuable about the work on the play "The White Guard", in particular, the following: "He merged the figure of Nai-Turs and Alexei in the play for greater clarity. Nai Tours is a distant, abstract image. The ideal of Russian officers. What a Russian officer should have been in my mind ... I saw Skoropadsky once. This did not affect the creation of the image in the play. In Lariosike, the images of three faces merged. The element of "Chekhovism" was in one of the prototypes ... Dreams play an exceptional role for me ... The scene in the gymnasium (in the novel) was written by me in one night ... streets of Kiev. I have experienced something close to what is in the novel ... "(OR RSL, f. 218, no. 1269, item 6, sheets 3-5).

The tension with which Bulgakov worked on the second edition of the play can be judged by his letter to the writer S. Fedorchenko dated November 24, 1925: “... I am buried under a play with a sonorous title. There was only one shadow left of me, which could be shown as a free supplement to the aforementioned play ”(Moscow, 1987, No. 8. P. 53).

In January 1926 Bulgakov presented the second version of the play to the Art Theater. The text was revised and significantly shortened, from a five-act play turned into a four-act one. But, as the author himself noted, the second edition was very close to the first in content. In the opinion of many experts, it is this edition that should be recognized as canonical, since it most of all corresponded to the author's intentions. But this issue remains rather controversial for many reasons, which are more expedient to talk about in special studies.

Real theatrical work began with the play, which many of its participants recalled with admiration. M. Yanshin (Lariosik): “All the participants in the performance felt the events and life that Bulgakov described so well with their own skin and nerves, so close and vivid in the memory was the disturbing and turbulent time of the civil war that the atmosphere of the performance, its rhythm, the well-being of each hero plays were born as if by themselves, were born from life itself ”(Mastery of the director. M., 1956, p. 170). P. Markov: “When you return memories to the Days of the Turbins and to the first appearance of Bulgakov at the Art Theater, these memories not only for me, but for all my comrades remain one of the best: it was the spring of the young Soviet Art Theater. To be honest, Days of the Turbins became a kind of new Seagull of the Art Theater ... Days of the Turbins were born from the novel The White Guard. This huge novel was filled with the same explosive power that Bulgakov himself was full of .. He was not only present at the rehearsals - he staged the play "(Memoirs of Mikhail Bulgakov. M., 1988. S. 239-240).

The director of the play was I. Sudakov. Alexei Turbin was rehearsed by Nikolai Khmelev, whose play Stalin was subsequently so keen on, the role of Myshlaevsky was prepared by B. Dobronravov. Young people were involved in the rehearsals (M. Yanshin, E. Sokolova, M. Prudkin, I. Kudryavtsev and others), which later became a brilliant replacement for the great generation of actors of the past.

But all this was ahead, in the spring of 1926, after intense rehearsals, the play (the first two acts) was shown to KS Stanislavsky. Here are dry but precise lines from the Diary of Rehearsals:

"TO. S., having watched two acts of the play, said that the play was on the right track: he liked the "Gymnasium" and "Petlyurovskaya scene" very much. He praised some of the performers and considers the work done to be important, successful and necessary ... KS inspired everyone to continue working at a fast, vigorous pace along the intended path ”(Moscow. 1987. No. 8. P. 55). And here is how all this seemed to the then head of the Moscow Art Theater Pavel Markov:

“Stanislavsky was one of the most direct spectators. At the "Turbins" show, he openly laughed, cried, followed the action closely, gnawed his hand as usual, dropped his pince-nez, wiping his tears with a handkerchief - in a word, he was completely living in the performance "(P.A. Markov, p. 229).

It was a short, happy time in the inner creative life of the Moscow Art Theater. KS Stanislavsky enthusiastically took part in the rehearsals of the play, and on his advice some scenes of the play were staged (for example, the scene in the Turbino apartment when the wounded Nikolka reports the death of Alexei). The great director remembered the time of joint work with Bulgakov for a long time and then often characterized him as an excellent director and potential actor. Thus, on September 4, 1930, he wrote to Bulgakov himself: “Dear and dear Mikhail Afanasyevich! You cannot imagine to what extent I am glad of your entry into our theater! (This is after the pogrom arranged for the writer in 1928-1930! - V.L.). I had to work with you only at a few rehearsals of the Turbins, and then I felt in you a director (or perhaps an artist ?!). ”In those days Stanislavsky, pointing at Bulgakov to the then director of the Moscow Art Theater M.S. , prompted: "A director can come out of him. He is not only a writer, but he is also an actor. Judging by the way he showed the actors at the rehearsals of the Turbins." Actually, he staged them, at least gave those sparkles that sparkled and created the success of the performance. " And a few years later, Stanislavsky, in a letter to director V.G. Sakhnovsky, argued that the entire "inner line" in the play "Days of the Turbins" belongs to Bulgakov (see: M. Bulgakov, Diary. Letters. 1914-1940. M., 1997. P. 238; Yanovskaya L. The creative path of Mikhail Bulgakov. M., 1983. S. 167-168).

And one cannot fail to note one more extremely important fact in the creative biography of the writer, about which for some reason nothing has been written anywhere. In March 1926, the Art Theater signed an agreement with Bulgakov to stage the "Heart of a Dog"! Thus, the Moscow Art Theater decided to stage two of Bulgakov's plays at once, the most poignant content for that time. It can be assumed that it was this fact (the contract for the staging of a forbidden unpublished story!) That attracted the attention of the bodies of political investigation and ideological control, and from that moment they began to intrude into the process of creating the play "White Guard" (the contract for the staging of "Heart of a Dog" was canceled by mutual agreement of the author and the theater; there is no doubt that the reason for this was a political background).

On May 7, 1926, OGPU officers searched the Bulgakovs' apartment and confiscated the manuscripts of "Dog's Heart" (!) And the writer's diary, which had the title "Under the Heel". The search was preceded by extensive intelligence work, as a result of which Bulgakov was recognized as an extremely dangerous figure from a political point of view.

In this regard, the task was set to prevent the staging of Bulgakov's plays in the theaters of Moscow and, above all, of course, of his "White Guard" in the Art Theater (see: the volume "Diaries. Letters" of the present Collected Works).

Pressure was exerted both on Bulgakov (search, surveillance, denunciations) and on the theater (demands of the political investigation agencies through the Repertkom to stop the White Guard rehearsals). The meetings of the repertoire and artistic board of the Moscow Art Theater were resumed again, at which the questions of the title of the play, the need for new abbreviations, etc., began to be debated. with the following content:

“I have the honor to inform you that I do not agree to the removal of the Petlyura scene from my play“ The White Guard ”.

Motivation: The Petlyura scene is organically linked to the play.

Also, I do not agree with the fact that when the title changes, the play should be called "Before the End".

I also disagree with the transformation of a 4-act play into a 3-act one.

I agree to discuss a different title for the play "White Guard" together with the Theater Council.

If the Theater does not agree with what is stated in this letter, I ask you to remove the play "The White Guard" urgently "(Moscow Art Theater Museum, No. 17893).

Obviously, the management of the Art Theater was already aware of the political (for now!) Terror that had begun against Bulgakov (for now!) V.V.Luzhsky answered the writer in detail and in a benevolent tone (letter without date):

“Dear Mikhail Afanasevich!

What is it, what kind of fly has bitten you, forgive me? Why, how? What happened after yesterday's conversation with KS and me ... After all, yesterday we said and we decided that no one is throwing out the "Petliura" scene so far. You yourself agreed to extinguish two scenes of Vasilisa, to alter and combine two gymnasiums into one too, to the Petliurovsky (!) Parade with Bolbotun you did not raise any big objections!(Emphasis added. - V. L.) And suddenly come on! Your title remains "The Turbins Family" (in my opinion, better than the Turbins ...). Where will the play become three acts? Two scenes for the Turbins - an act; for Skoropadsky - two; gymnasium, Petlyura, Turbins - three, and the Turbins' finale again - four!..

What are you, dear and our Moscow Art Theater Mikhail Afanasyevich? Who made you so excited? .. ”(IRLI, f. 369, no. 48).

But soon the whole theater had to “get excited”, and above all all those who took part in the production of the play. On June 24, the first closed dress rehearsal took place. The head of the theater section of the Repertoire Committee V. Blum and the editor of this section A. Orlinsky, who were present at it, expressed their dissatisfaction with the play and said that it could be staged like this "in five years." The next day, at a "conversation" held in the Repertoire Committee with representatives of the Moscow Art Theater, art officials formulated their attitude to the play as a work that "represents it is unacceptable, and cannot go in the interpretation given by the theater. " The theater was required to make a stage in the gymnasium so that it discredited the white movement and so that the play would contain more episodes humiliating the White Guards (to introduce servants, doormen and officers acting as part of Petliura's army, etc.). The director I. Sudakov promised the Repertoire Committee to show more definitely the "turn towards Bolshevism" that has emerged among the White Guards. Ultimately, the theater was asked to finalize the play (see: Bulgakov M. A. Plays of the 1920s. Theatrical heritage. L., 1989. S. 522).

Characteristically, Bulgakov responded to this clearly organized pressure on the theater from the Repertoire Committee (in fact, from the OGPU, where the “Bulgakov case” was growing by leaps and bounds) with a repeated statement addressed to the Chairman of the Council of People's Commissars (June 24) demanding that the diary and manuscripts be returned to him. by the staff of the OGPU (there was no answer).

The play and its author gradually began to attract more and more attention from both its opponents and supporters. On June 26, Bulgakov's friend NN Lyamin wrote an emotional letter to the playwright, in which he asked not to yield anything more, since “the theater had already distorted the play enough,” and begged him not to touch the stage in the gymnasium. “Do not agree to sacrifice it for any good of the world. It makes an amazing impression, it is the whole point. The image of Alyosha cannot be altered in anything, touching him blasphemously ... "(Works of Mikhail Bulgakov. St. Petersburg, 1995. Book 3. P. 208).

And nevertheless, the theater perfectly understood (and the author, with great irritation) that in the name of saving the play, alterations were necessary. In a letter to director A. D. Popov (the director of Zoyka's Apartment at the Vakhtangov Theater) Bulgakov casually touched upon the Moscow Art Theater problems: “There is indeed overwork. In May, all sorts of surprises not related to the theater (the search was closely "connected with the theater" - V.L.), in May the "Guard" race in the Moscow Art Theater No. 1 (viewing by the authorities!), In June, continuous work ( perhaps Bulgakov shifts the time somewhat due to forgetfulness. - V.L.) ... In August, all at once ... "

On August 24, with the arrival of Stanislavsky, rehearsals for the play resumed. A new play plan, insertion and rework was adopted. On August 26, in the "Diary of Rehearsals" it was written: "M. A. Bulgakov wrote a new text of the gymnasium according to the plan approved by Konstantin Sergeevich. " The play was named "Days of the Turbins". The scene with Vasilisa was removed, and the two scenes in the gymnasium were combined into one. Other significant amendments were made.

But opponents of the play increased the pressure on the theater and on the author of the play. The situation became tense and extremely nervous. After another rehearsal for the Repertoire Committee (September 17), its management announced that “the play cannot be released in this form. The issue of permission remains open. " Even Stanislavsky could not resist after this and, having met with the actors of the future performance, said that if the play was banned, he would leave the theater.

On September 19, the dress rehearsal of the play was canceled, new remarks were introduced into the text of the play, and then, to please Repertkiy and A.V. Lunacharsky, a scene of the torture of a Jew by Petliurists was filmed ... with this decision for many years), and already on September 22 he was summoned for interrogation at the OGPU (for the interrogation protocol, see: Present Collection. Vol. 8). Of course, all these actions were coordinated: the OGPU and the Repertoire Committee insisted on filming the play. Bulgakov was intimidated during interrogation: after all, a dress rehearsal was scheduled for September 23.

The dress rehearsal was successful. In the "Diary of rehearsals" it was written: "Full general with the audience ... Representatives of the USSR, the press, representatives of the General Repertoire Committee, Konstantin Sergeevich, the Supreme Council and the Director's Directorate are watching.

At today's performance, it is decided whether the play is going on or not.

The play goes on with the latest exclusions and without the stage of the "Jew".

After this dress rehearsal, Lunacharsky said that in this form the performance could be allowed to be shown to the audience. "

But the ordeal with the play not only did not end there, but entered a decisive phase. On September 24, the play was approved by the board of the People's Commissariat for Education. A day later, the GPU banned the play (here it is, the real Cabal!). Then A.V. Lunacharsky turned to A.I. Rykov with the following postal telegram:

“Dear Alexey Ivanovich.

At a meeting of the board of the People's Commissariat for Education with the participation of the Repertoire Committee, including the GPU, it was decided to allow Bulgakov's play to only one Art Theater and only for this season. At the insistence of the General Repertoire Committee, the board allowed him to make some bills. On Saturday evening, the GPU informed the People's Commissariat for Education that it was banning the play. It is necessary to consider this issue in the highest instance or to confirm the decision of the board of the People's Commissariat for Education, which has already become known. Cancellation of the decision of the board of the People's Commissariat for Education of the GPU is extremely undesirable and even scandalous. "

On September 30, this issue was decided at a meeting of the Politburo of the Central Committee of the CPSU (b). The following decision was made: "Not to cancel the decision of the board of the People's Commissariat for Education on Bulgakov's play." (Literary newspaper. 1999. July 14-20).

This was the first decision of the Politburo on Bulgakov's play, but far from the last.

The well-known German correspondent Paul Scheffer wrote in the Riga newspaper Segodnya (November 18, 1926): “While the members of the party majority (meaning Stalin, Voroshilov, Rykov. - V.L.) , the opposition has acted as its decisive opponent ”.

Below we publish exactly this version of the play (third edition), which passed so many tests, but was played by the brilliant troupe of the Moscow Art Theater from 1920 to 1941.

"Days of the Turbins"

1 The history of the play

On April 3, 1925, Bulgakov at the Moscow Art Theater was offered to write a play based on the novel "The White Guard". Bulgakov began work on the first edition in July 1925. In the play, as in the novel, Bulgakov drew on his own memories of Kiev during the Civil War. The author read the first edition in the theater in early September of the same year; subsequently, the play was edited several times. The play was released on September 25, 1926.

Modern critics attribute the play to the pinnacle of Bulgakov's theatrical success, but her stage fate was thorny.

The premiere of the play took place at the Moscow Art Theater on October 5, 1926. The production, where the stars of the Moscow Art Theater were taken, enjoyed great audience success, but received devastating reviews in the then Soviet press. In April 1929, Days of the Turbins were removed from the repertoire. The author was accused of a philistine and bourgeois mood, propaganda of the white movement.

But the patron of Bulgakov was Stalin himself, who watched the play about twenty times. With his instructions, the performance was restored and entered the classical repertoire of the theater. For Mikhail Bulgakov, who was interrupted by odd jobs, staging at the Moscow Art Theater was almost the only way to support his family.

On February 16, 1932, the production was resumed and continued on the stage of the Moscow Art Theater until June 1941. In total, in 1926-1941, the play was performed 987 times.

Song revisions : "Days of the Turbins" is a play by Mikhail Bulgakov, based on the novel "The White Guard". In early September 1925, in the presence of Konstantin Sergeevich Stanislavsky (Alekseev) (1863-1938), he read the first version of the play in the theater. Here, almost all the storylines of the novel were repeated and its main characters were preserved. Aleksey Turbin was still a military doctor, and Colonels Malyshev and Nai Tours were among the characters. This edition did not satisfy the Moscow Art Theater because of its protractedness and the presence of characters and episodes duplicating each other. In the next edition, which Bulgakov read to the Moscow Art Theater troupe at the end of October 1925, Nai Tours had already been eliminated and his remarks were transferred to Colonel Malyshev. And by the end of January 1926, when the final distribution of roles in the future performance was made, Bulgakov also removed Malyshev, turning Alexei Turbin into a regular artillery colonel, a real exponent of the ideology of the white movement. The husband of Bulgakov's sister Nadezhda, Andrei Mikhailovich Zemsky (1892-1946), served as an artillery officer in 1917. Acquaintance with his son-in-law prompted the playwright to make the main characters of DT artillerymen.

Now the hero closest to the author - Colonel Turbin - gave catharsis to the white idea by his death. By this point, the play has basically taken shape. Subsequently, under the influence of censorship, a scene was filmed in the Petliura headquarters, for the Petliura freelancers in their cruel element were very reminiscent of the Red Army. In the early editions, as in the novel, the "turnover" of the Petliurites in red was emphasized by the "red tails" (slings) on their hats.

The name "White Guard" was objectionable. KS Stanislavsky, under pressure from the General Repertoire Committee, proposed replacing it with "Before the End", which Bulgakov categorically rejected. In August 1926, the parties agreed on the name "Days of the Turbins" (the "Turbins Family" appeared as an intermediate version). On September 25, 1926, DT were allowed by the General Repertoire Committee only at the Moscow Art Theater. In the last days before the premiere, a number of changes had to be made, especially in the finale, where all the growing sounds of the "Internationale" appeared, and Myshlaevsky was forced to say toast to the Red Army and express his readiness to serve in it: "At least I know that I will serve in the Russian army ".

Director - Ilya Sudakov
Artist - Nikolay Ulyanov
Artistic director of the production - Konstantin Sergeevich Stanislavsky

Nikolay Khmelev - Alexey Turbin

Mikhail Yanshin - Lariosik
Vera Sokolova - Elena
Mark Prudkin - Shervinsky
Victor Stanitsyn - Von Schratt
Evgeny Kaluzhsky - Studzinsky
Ivan Kudryavtsev - Nikolka
Boris Dobronravov - Myshlaevsky
Vsevolod Verbitsky - Talberg
Vladimir Ershov - Getman

The performance enjoyed great audience success, but after devastating reviews in the then press in April 1929, Days of the Turbins were removed from the repertoire. In February 1936, the Moscow Art Theater staged his new play "Cabal of Saints" ("Moliere"), but due to a sharply critical article in "Pravda", the performance was filmed in March, having managed to pass seven times with the same full house.

But, despite the accusations against the author, who was caught in a bourgeois mood, at Stalin's instructions the play Days of the Turbins was restored and entered the classical repertoire of the theater. For the writer, staging at the Moscow Art Theater was almost the only opportunity to support his family. In total, the play was performed 987 times on the stage of the Moscow Art Theater in 1926-1941. It is known that Stalin watched this performance several times. Subsequently, contemporaries even actively argued how many times the leader had seen it. Writer Viktor Nekrasov wrote: “It is known that Stalin watched the play“ Days of the Turbins ”based on the play by M. Bulgakov… 17 times! Not three, not five, not twelve, but seventeen! And he was a man, one must think, still busy, and he didn’t spoil theaters with his attention, he loved cinema ... but something in Turbins captured him and wanted to watch, hiding behind the curtain of the government box ” (Nekrasov V. Notes of onlookers. M., 1991).

a small remark about Nekrasov's "I loved cinema"))
- How many times did Stalin visit the Bolshoi Theater, just go to performances? loved opera. And the last performance he watched - Swan Lake - was on February 27, 1953.
and in Small? he did not miss a single premiere.
what about the music?

Until 1943, the list of Stalin's laureates began with the "Music" section. but how did he help the Moscow Conservatory and how much attention was paid to children's education ...

A play in four acts

Characters

Turbin Alexey Vasilievich- Colonel-artilleryman, 30 years old. Turbin Nikolay - his brother, 18 years old. Talberg Elena Vasilievna- their sister, 24 years old. Talberg Vladimir R.- General Staff Colonel, her husband, 38 years old. Myshlaevsky Victor Viktorovich- staff captain, artilleryman, 38 years old. Shervinsky Leonid Yurievich- lieutenant, personal adjutant of the hetman. Studzinsky Alexander Bronislavovich- captain, 29 years old. Lariosik - Zhytomyr cousin, 21 years old. Hetman of All Ukraine. Bolbotun - Commander of the 1st Petliura Cavalry Division. Galanba - a centurion-Petliurite, a former Uhlan captain. Hurricane . Kirpaty. Von Schratt is a German general. Von Dost is a German major. Doctor of the German army. Deserter-sechevik. Man with a basket. Chamber-lackey. Maxim is a gymnasium bedell, 60 years old. Gaidamak is a telephone operator. First officer. Second officer. Third officer. First cadet. Second cadet. Third cadet. Juncker and Haidamaks.

The first, second and third acts take place in the winter of 1918, the fourth act in early 1919. The scene of action is the city of Kiev.

Action one

Scene one

The Turbins' apartment. Evening. There is a fire in the fireplace. As the curtain opens, the clock strikes nine times and Boccherini's minuet plays tenderly. Alexei bent over the papers.

Nikolka (plays guitar and sings).

Worse rumors every hour.
Petliura is coming at us!
We loaded the machine guns,
We fired at Petliura,
Machine gunners-chiki-chiki ...
Dear chicks ...
You helped us out, well done!

Alexei . God knows what you sing! Kuharka's songs. Sing something decent. Nikolka. Why cooks? I composed it myself, Alyosha. (Sings.)

Would you like to sing, like not to sing,
Your voice is not like that!
There are such voices ...
The hair will become a shack ...

Alexei . This is just your voice and applies. Nikolka. Alyosha, you are in vain, by God! I have a voice, though not the same as that of Shervinsky, but still pretty decent. Dramatic, most likely baritone. Helen, and Helen! How do you think I have a voice? Elena (from his room)... Who? By you? There is no one. Nikolka. She was the one who was upset, that's why she answers that way. And by the way, Alyosha, a singing teacher told me: "You would, he says, Nikolai Vasilyevich, in the opera, in essence, could sing, if not for the revolution." Alexei . Fool is your singing teacher. Nikolka. I knew it. Complete breakdown of the nerves in the Turbino house. The singing teacher is a fool. I have no voice, but yesterday I was still, and generally pessimism. And I, by nature, tend to be more optimistic. (Touches the strings.) Although you know, Alyosha, I myself am beginning to worry. It's nine o'clock already, and he said that he would come in the morning. Had something happened to him? Alexei . Keep your voice down. Understood? Nikolka. Here is a commission, Creator, to be a married sister's brother. Elena (from his room)... What time is it in the dining room? Nikolka. Uh ... nine. Our hours are ahead, Lenochka. Elena (from his room)... Please don't compose. Nikolka. Look, he's worried. (Sings) Foggy ... Oh, how foggy everything is! .. Alexei . Do not strain my soul, please. Sing merry. Nikolka (singing).

Hello summer residents!
Hello summer residents!
We started filming a long time ago ...
Hey, my song! .. Darling! ..
Bul-bul-bul, bottle
State wine !!.
Tonneau caps,
Shaped boots,
Then the cadets-guards are coming ...

The electricity suddenly goes out.

A military unit is walking outside the windows with a song.

Alexei . God knows what it is! It goes out every minute. Helen, please give me some candles. Elena (from his room)... Yes Yes!.. Alexei . Some part has passed.

Elena, leaving with a candle, listens.

A distant cannon strike.

Nikolka. How close. The impression is that they are shooting near Svyatoshin. Wondering what's going on there? Alyosha, maybe you will send me to find out what is the matter at the headquarters? I would go. Alexei . Of course, you are still missing. Please sit still. Nikolka. Listen, mister colonel ... I, in fact, because, you know, inaction ... a little offensive ... There are people fighting ... At least our division was more likely ready. Alexei . Whenever I need your advice on the preparation of a division, I'll tell you myself. Understood? Nikolka. Understood. I'm sorry, mister colonel.

Electricity breaks out.

Elena . Alyosha, where is my husband? Alexei . He will come, Helen. Elena . But how can this be? He said that he would come in the morning, and now it is nine o'clock, and he is still not there. Had something happened to him? Alexei . Helen, well, of course, this cannot be. You know that the line to the west is guarded by the Germans. Elena . But why is it still not there? Alexei . Well, they obviously stand at every station. Nikolka. Revolutionary driving, Helen. You drive for an hour, you stand for two.

Call.

Well, here he is, I told you! (Runs to open the door.) Who's there?

Myshlaevsky's voice... Open, for God's sake, hurry! Nikolka (lets Myshlaevsky into the hall)... Is that you, Vitenka? Myshlaevsky. Well, I, of course, to be crushed! Nicol, take your rifle, please. Here, the devil's mother! Elena . Victor, where are you from? Myshlaevsky. From under the Red Inn. Hang it up carefully, Nikol. There is a bottle of vodka in my pocket. Don't break it. Allow me, Lena, to spend the night, I won't get home, I'm completely cold. Elena . Oh my God, of course! Go quickly to the fire.

They go to the fireplace.

Myshlaevsky. Oh oh oh... Alexei . Why couldn't they give you felt boots, or what? Myshlaevsky. Felt boots! These are such scoundrels! (Throws herself into the fire.) Elena . Here's what: the bathtub is heating up there now, you undress him as soon as possible, and I will prepare his linen. (Leaves.) Myshlaevsky. Darling, take off, take off, take off ... Nikolka. Now. (Takes off the boots from Myshlaevsky.) Myshlaevsky. It's easier, brother, oh, it's easier! I should drink vodka, vodka. Alexei . Now I will. Nikolka. Alyosha, his toes are frozen. Myshlaevsky. Gone are the fucking fingers, gone, it's clear. Alexei . Well what are you! They will move away. Nikolka, rub his feet with vodka. Myshlaevsky. So I allowed my feet to be rubbed with vodka. (Drinks.) Three by hand. It hurts! .. It hurts! .. Easier. Nikolka. Oh oh oh! How cold the captain is! Elena (appears with a robe and shoes)... Now in his bath. On the! Myshlaevsky. May God give you health, Helen. Give me some more vodka. (Drinks.)

Elena leaves.

Nikolka. What's warmed up, captain? Myshlaevsky. It became easier. (He lit a cigarette.) Nikolka. Tell me what is going on under the Tavern? Myshlaevsky. Snowstorm under the Tavern. That's what's in there. And I would have this blizzard, frost, German scoundrels and Petliura! .. Alexei . Why, I don’t understand, they drove you to the Tavern? Myshlaevsky. And the peasants are there under the Tavern. These are the cutest peasants, the works of Count Leo Tolstoy! Nikolka. How can that be? And in the newspapers they write that the men are on the side of the hetman ... Myshlaevsky. What are you, cadet, poking my newspapers with? I would hang all this newspaper trash of yours on one bitch! This morning I personally ran into one grandfather on reconnaissance and asked: "Where are your lads?" The village has definitely died out. And he blindly did not see that I had shoulder straps under my head, and replied: "Usi beat up to Petliura ..." Nikolka. Oh-oh-oh-oh ... Myshlaevsky. That's exactly "oh-oh-oh-oh" ... I took this Tolstoy's horse-radish by the shirt front and said: "Usi beat up to Petliura? So I will shoot you now, old one ... You will learn from me how they run to Petliura. You are running away from me to the kingdom of heaven. " Alexei . How did you get to town? Myshlaevsky. Changed today, thank you, Lord! An infantry squad arrived. I made a scandal at the headquarters at the post. It was terrible! They are sitting there, drinking cognac in the carriage. I say, you, I say, are sitting with the hetman in the palace, and the artillery officers in boots were kicked out into the cold with the peasant to shoot! They didn't know how to get rid of me. We, they say, send you, captain, according to your specialty to any artillery unit. Go to town ... Alyosha, take me with you. Alexei . With pleasure. I wanted to call you myself. I'll give you the first battery. Myshlaevsky. Benefactor... Nikolka. Hurray! .. We'll all be together. Studzinsky as a senior officer ... Nice! .. Myshlaevsky. Where are you standing? Nikolka. The Alexander Gymnasium was occupied. Tomorrow or the day after tomorrow you can perform. Myshlaevsky. Are you waiting for Petliura to fuck you on the back of the head? Nikolka. Well, this is who else is who! Elena (appears with a sheet)... Well, Victor, go, go. Go take a shower. On the sheet. Myshlaevsky. Lena is clear, let me hug and kiss you for your troubles. What do you think, Lenochka, should I drink vodka now, or later, for supper right away? Elena . I think that later, at dinner, right away. Victor! Have you seen my husband? The husband is missing. Myshlaevsky. What are you, Helen, is there. He's coming now. (Leaves.)

A continuous call starts.

Nikolka. Well, here he is! (Runs to the hallway.) Alexei . Lord, what is this call?

Nikolka opens the door.

Appears in the front Lariosik with a suitcase and a bundle.

Lariosik. So I arrived. I did something with your call. Nikolka. You pressed the button. (Runs out the door, onto the stairs.) Lariosik. Oh my god! Forgive me for God's sake! (Enters the room.) So I arrived. Hello, dear Elena Vasilievna, I recognized you at once from the cards. Mom asks you to convey her warmest regards.

The call ends. Nikolka enters.

As well as Alexei Vasilievich.

Alexei . My regards. Lariosik. Hello Nikolai Vasilievich, I've heard so much about you. (Everyone.) Are you surprised, I see? Let me hand you a letter, it will explain everything to you. Mom told me to give you a letter to read without even taking off my clothes. Elena . What illegible handwriting! Lariosik. Yes, it's awful! Let me read it myself. Mom has such a handwriting that sometimes she will write, and then she herself does not understand what she wrote that. I also have such a handwriting. This is hereditary. (Reads.) “Dear, dear Lenochka! I am sending my boy to you in a straightforward way; shelter and warm him as you can. After all, you have such a huge apartment ... ”Mom loves and respects you very much, as well as Alexei Vasilyevich. (To Nikolka) And you too. (Reads.) “The boy enters the Kiev University. With his abilities ... "- oh, this mother! .. -" ... it is impossible to sit in Zhitomir, to waste time. I will translate the content carefully for you. I would not like the boy, accustomed to a family, to live with strangers. But I'm in a hurry, now there is an ambulance train, he will tell you everything himself ... "Hm ... that's all. Alexei . May I know with whom I have the honor to speak? Lariosik. How - with whom? You do not know me? Alexei . Unfortunately, I have no pleasure. Lariosik. Oh my God! And you, Elena Vasilievna? Nikolka. And I don’t know either. Lariosik. My God, this is just witchcraft! After all, Mom sent you a telegram that should explain everything to you. Mom sent you a sixty-three word telegram. Nikolka. Sixty-three words! .. Oh-oh-oh! .. Elena . We have not received any telegram. Lariosik. Didn't get it? Oh my God! Please forgive me. I thought that they were waiting for me, and right, without undressing ... Sorry ... I seem to have crushed something ... I'm a terrible loser! Alexei . Yes, please, tell me what is your last name? Lariosik. Larion Larionovich Surzhansky. Elena . Is it Lariosik ?! Our cousin from Zhitomir? Lariosik. Well, yes. Elena . And you ... came to us? Lariosik. Yes. But, you see, I thought that you were waiting for me ... Forgive me, please, I inherited you ... I thought that you were waiting for me, and if so, then I will go to some hotel ... Elena . What are the hotels now ?! Wait, first of all, take off your clothes. Alexei . Yes, no one drives you, take off your coat, please. Nikolka. Here, please. The coat can be hung in the front. Lariosik. I am sincerely grateful to you. How good it is in your apartment! Elena (in a whisper). Alyosha, what are we going to do with him? He is pretty. Let's put it in the library, the room is empty anyway. Alexei . Of course, go tell him. Elena . Here's what, Larion Larionovich, first of all in the bath ... There is already one - Captain Myshlaevsky ... And then, you know, after the train ... Lariosik. Yes, yes, terrible! .. Awful! .. After all, I drove from Zhitomir to Kiev for eleven days ... Nikolka. Eleven days! .. Oh-oh-oh! .. Lariosik. Horror, horror! .. It's such a nightmare! Elena . Oh please! Lariosik. Sincerely, you ... Oh, excuse me, Elena Vasilievna, I cannot go to the bath. Alexei . Why can't you go to the bath? Lariosik. Excuse me please. Some villains stole my suitcase with linen on the ambulance train. They left the suitcase with books and manuscripts, but all the linen was gone. Elena . Well, this is a fixable problem. Nikolka. I will give, I will give! Lariosik (intimate, to Nikolka)... However, I seem to have one here. I wrapped Chekhov's collected works in it. But would you kindly give me underpants? Nikolka. With pleasure. They will be great for you, but we will stab them with safety pins. Lariosik. I am sincerely grateful to you. Elena . Larion Larionovich, we will place you in the library. Nikolka, show me off! Nikolka. Please follow me.

Lariosik and Nikolka leave.

Alexei . Here's the type! I would have cut his hair first. Well, Lenochka, turn on the light, I'll go to my room, I still have a lot of things to do, but they bother me here. (Leaves.)

Call.

Elena . Who's there? Thalberg's voice. I, I. Please open it. Elena . Thank God! Where have you been? I worried so much! Thalberg (entering). Don't kiss me, I'm cold, you can catch a cold. Elena . Where have you been? Thalberg. They were detained at the German headquarters. Things to do. Elena . Well go, go quickly, warm yourself. Now we will drink tea. Thalberg. No tea, Lena, wait. Excuse me, whose jacket is this? Elena . Myshlaevsky. He had just arrived from positions, completely frozen. Thalberg. You can still clean up. Elena . I am now. (Hangs up a jacket outside the door.) You know, more news. Now my cousin from Zhitomir, the famous Lariosik, has unexpectedly arrived, Alexey left him in our library. Thalberg. I knew it! Senor Myshlaevsky is not enough. Some more Zhytomyr cousins ​​appear. Not a house, but an inn. I absolutely do not understand Alexei. Elena . Volodya, you're just tired and in a bad mood. Why don't you like Myshlaevsky? He is a very good person. Thalberg. Remarkably good! A tavern frequenter. Elena . Volodya! Thalberg. However, now there is no time for Myshlaevsky. Lena, close the door ... Lena, a terrible thing happened. Elena . What's happened? Thalberg. The Germans leave the hetman to his fate. Elena . Volodya, what are you talking about ?! How did you know? Thalberg. Just now, under strict secrecy, at the German headquarters. Nobody knows, not even the hetman himself. Elena . What will happen now? Thalberg. What will happen now ... Hm ... Half past nine. So, sir ... What will happen now? .. Lena! Elena . What are you saying? Thalberg. I say - "Lena"! Elena . Well, what about "Lena"? Thalberg. Lena, I need to run now. Elena . Run away? Where? Thalberg. To Germany, to Berlin. Hm ... My dear, can you imagine what will happen to me if the Russian army does not repel Petliura and he enters Kiev? Elena . You can be hidden. Thalberg. My dear, how can you hide me! I'm not a needle. There is no person in the city who does not know me. Hide the Assistant Secretary of War. I cannot, like Senor Myshlaevsky, sit without a jacket in someone else's apartment. They will find me in the most excellent way. Elena . Wait! I don’t understand ... So we both have to run? Thalberg. The fact of the matter is that no. Now a terrible picture has emerged. The city is surrounded on all sides, and the only way to get out is in the German staff train. They don't take women. I was given one place thanks to my connections. Elena . In other words, do you want to leave alone? Thalberg. My dear, I don’t "want", otherwise I can’t! Understand - a disaster! The train goes in an hour and a half. Decide, and as soon as possible. Elena . In an hour and a half? As soon as possible? Then I decide - leave. Thalberg. You clever. I've always said that. What else would I like to say? Yes, that you are smart! However, I have already said that. Elena . How long do we part? Thalberg. I think about two months. I'll just wait out all this mess in Berlin, and when the hetman returns ... Elena . What if he doesn't come back at all? Thalberg. It can't be. Even if the Germans leave Ukraine, the Entente will occupy it and restore the hetman. Europe needs a hetman's Ukraine as a cordon from the Moscow Bolsheviks. You see, I calculated everything. Elena . Yes, I see, but just this: how is it, because the hetman is still here, they are forming their troops, and suddenly you are running in front of everyone. Will it be smart? Thalberg. Sweetheart, this is naive. I tell you a secret - "I am running," because I know that you will never tell anyone this. The colonels of the General Staff do not run. They go on a business trip. In my pocket I have a business trip to Berlin from the hetman's ministry. What, not bad? Elena . Very good. And what will happen to them all? Thalberg. Let me thank you for comparing me to everyone. I am not "everything." Elena . Warn your brothers. Thalberg. Of course of course. In part, I’m even glad that I’m going alone for such a long time. After all, you will take care of our rooms. Elena . Vladimir Robertovich, my brothers are here! Do you really think that they will oust us? You have no right ... Thalberg. Oh no, no, no ... Of course not ... But you know the proverb: "Qui va à la chasse, perd sa place." Now one more request, the last one. Here, um ... without me, of course, this ... Shervinsky ... Elena . He also happens to be with you. Thalberg. Unfortunately. You see, my dear, I don't like him. Elena . What, let me know? Thalberg. His courtship of you is becoming too annoying, and I would like to ... Hm ... Elena . What would you like? Thalberg. I can't tell you what. You are a smart and well-bred woman. You perfectly understand how to behave in order not to cast a shadow on the name Thalberg. Elena . Okay ... I will not cast a shadow over the name Thalberg. Thalberg. Why are you answering me so dryly? I'm not telling you that you can change me. I know perfectly well that this cannot be. Elena . Why do you think, Vladimir Robertovich, that this cannot be? .. Thalberg. Elena, Elena, Elena! I do not recognize you. Here are the fruits of communication with Myshlaevsky! A married lady - change! .. Quarter to ten! I will be late! Elena . I'll put you to bed now ... Thalberg. Sweetheart, nothing, nothing, just a briefcase with some linen in it. Only, for God's sake, rather, I give you one minute. Elena . You still say goodbye to your brothers. Thalberg. Needless to say, just look, I'm going on a business trip. Elena . Alyosha! Alyosha! (Runs away.) Alexey (entering). Yes, yes ... Oh, hello, Volodya. Thalberg. Hello, Alyosha. Alexei . What's the fuss? Thalberg. You see, I have important news to give you. This night the situation of the hetman became very serious. Alexei . How? Thalberg. Seriously and quite. Alexei . What's the matter? Thalberg. It is very possible that the Germans will not provide assistance and will have to fight off Petliura on their own. Alexei . What are you saying?! Thalberg. It may very well be. Alexei... The case is yellow ... Thank you for saying. Thalberg... Now the second. Since I'm going on a business trip now ... Alexei... Where, if not a secret? Thalberg... To Berlin. Alexei... Where? To Berlin? Thalberg... Yes. No matter how I floundered, I could not get out. Such a disgrace! Alexei... For a long time, dare I ask? Thalberg... For two months. Alexei... Oh, that's how. Thalberg... So let me wish you all the best. Take care of Elena. (He holds out his hand.)

Alexei hides his hand behind his back.

What does it mean?

Alexei... This means that I do not like your business trip. Thalberg... Colonel Turbin! Alexei... I'm listening to you, Colonel Thalberg. Thalberg... You will answer me for this, mister brother of my wife! Alexei... When will you order, Mr. Thalberg? Thalberg... When ... Five to ten ... When I get back. Alexei... Well, God knows what will happen when you get back! Thalberg... You ... you ... I've wanted to talk to you for a long time. Alexei... Don't worry about your wife, Mr. Thalberg! Elena (entering)... What were you talking about? Alexei... Nothing, nothing, Helen! Thalberg... Nothing, nothing dear! Well, goodbye, Alyosha! Alexei... Goodbye, Volodya! Elena... Nikolka! Nikolka! Nikolka (entering)... Here I am. Oh, arrived? Elena... Volodya is leaving on a business trip. Say goodbye to him. Thalberg... Goodbye, Nikol. Nikolka... Bon voyage, Colonel. Thalberg... Elena, here's the money. I'll send you out of Berlin immediately. I have the honor to bow. (Goes swiftly into the hall.) Do not accompany me, dear, you will catch a cold. (Leaves.)

Elena goes after him.

Alexei (in an unpleasant voice)... Elena, you'll catch a cold!

Pause.

Nikolka... Alyosha, how did he leave like that? Where? Alexei... To Berlin. Nikolka... To Berlin ... At such a moment ... (Looking out the window.) Bargaining with a cabman. (Philosophically.) Alyosha, you know, I noticed that he looks like a rat. Alexei (mechanically)... Quite right, Nichol. And our home is on the ship. Well, go to the guests. Go, go.

Nikolka leaves.

Division in the sky, like a pretty penny, falls. "Very serious." "Serious and very." Rat! (Leaves.)

Elena (returns from the hall. Looks out the window)... Left ...

Scene two

The dinner table is set.

Elena (at the piano, plays the same chord)... He left. How did he leave ... Shervinsky (suddenly appears on the doorstep)... Who left? Elena... Oh my God! How you scared me, Shervinsky! How did you get in without ringing? Shervinsky... Yes, your door is open - everything is wide open. I wish you good health, Elena Vasilievna. (Takes a huge bouquet out of the paper.) Elena... How many times have I asked you, Leonid Yuryevich, not to do this. It is unpleasant for me that you are wasting money. Shervinsky... Money exists to be spent, as Karl Marx said. May I take off the cloak? Elena... What if I said that I do not allow? Shervinsky... I would sit all night in a burka at your feet. Elena... Oh, Shervinsky, an army compliment. Shervinsky... Sorry, this is a guards compliment. (He takes off his cloak in the front hall, remains in the most magnificent Circassian coat.) I'm so glad I saw you! I haven't seen you for so long! Elena... If my memory serves me correctly, you were with us yesterday. Shervinsky... Ah, Elena Vasilievna, what is “yesterday” in our time! So who left? Elena... Vladimir Robertovich. Shervinsky... Excuse me, he was supposed to return today! Elena... Yes, he came back and ... left again. Shervinsky... Where? Elena... What wonderful roses! Shervinsky... Where? Elena... To Berlin. Shervinsky... In ... Berlin? And for a long time, may I ask? Elena... About two months. Shervinsky... For two months! What are you! .. Sad, sad, sad ... I am so upset, I am so upset !! Elena... Shervinsky, kiss your hand for the fifth time. Shervinsky... I can say, depressed ... My God, that's all! Hooray! Hooray! Nikolka's voice... Shervinsky! Demon! Elena... What are you so excited about? Shervinsky... I'm glad ... Oh, Elena Vasilievna, you won't understand! .. Elena... You are not a socialite, Shervinsky. Shervinsky... Am I not a secular person? Excuse me, why? No, I’m a secular ... I’m just, you know, upset ... So, therefore, he left, and you stayed. Elena... As you can see. How is your voice? Shervinsky (at the piano)... Ma-ma ... mia ... mi ... He is far away, he is yes ... he is far away, he does not recognize ... Yes ... In an unmatched voice. I was driving to you in a cab, it seemed that my voice had sat down, but I come here - it turns out, in my voice. Elena... Are you capturing the notes? Shervinsky... Well, how, how ... You are pure goddess! Elena... The only good thing about you is your voice, and your direct purpose is an opera career. Shervinsky... There is some material. You know, Elena Vasilievna, I once sang the epithalam in Zhmerinka, there is “fa” at the top, as you know, and I took “la” and held nine bars. Elena... How many? Shervinsky... He kept seven bars. In vain you do not believe. By God! Countess Gendrikova was there ... She fell in love with me after that "la". Elena... And what happened then? Shervinsky... Poisoned. Potassium cyanide. Elena... Ah, Shervinsky! This is your disease, honestly. Gentlemen, Shervinsky! Go to the table!

Enter Alexei, Studzinsky and Myshlaevsky.

Alexei... Hello Leonid Yurievich. Welcome. Shervinsky... Victor! Alive! Well, thank God! Why are you wearing a turban? Myshlaevsky (in a turban made of towels)... Hello Adjutant. Shervinsky (Studzinsky)... My compliments, captain.

Enter Lariosik and Nikolka.

Myshlaevsky... Let me introduce you. The senior officer of our division is Captain Studzinsky, and this is Monsieur Surzhansky. We swam with him. Nikolka... Our cousin is from Zhitomir. Studzinsky... Very nice. Lariosik... I am sincerely glad to meet you. Shervinsky... Her Imperial Majesty's Life Guards Uhlan Regiment and the Hetman's personal adjutant, Lieutenant Shervinsky. Lariosik... Larion Surzhansky. I am sincerely glad to meet you. Myshlaevsky... You don’t get so desperate. Former life, former guard, former regiment ... Elena... Gentlemen, go to the table. Alexei... Yes, yes, please, otherwise it's twelve o'clock, to get up early tomorrow. Shervinsky... Wow, what a splendor! What is the occasion of the feast, may I ask? Nikolka... Last Division Dinner. We will set out tomorrow, mister lieutenant ... Shervinsky... Yeah ... Studzinsky... Where will you order, Colonel? Shervinsky... Where will you order? Alexei... Anywhere, anywhere. I ask you to! Helen, be the mistress.

They sit down.

Shervinsky... So, then, he left, and you stayed? Elena... Shervinsky, shut up. Myshlaevsky... Helen, will you drink vodka? Elena... No no no!.. Myshlaevsky... Well, then white wine. Studzinsky... Will you allow me, mister colonel? Alexei... Mercy, you please yourself. Myshlaevsky... Your glass. Lariosik... Actually, I don't drink vodka. Myshlaevsky... Excuse me, I don’t drink either. But one glass. How will you eat herring without vodka? I absolutely don't understand. Lariosik... I am sincerely grateful to you. Myshlaevsky... For a long, long time I have not drunk vodka. Shervinsky... Gentlemen! Elena Vasilievna's health! Hooray!

Studzinsky. Lariosik. Myshlaevsky.

Elena... Quiet! What are you, gentlemen! Wake up the whole alley. And so they say that we have a drinking bout every day. Myshlaevsky... Wow, good! Vodka refreshes. Is not it? Lariosik... Yes very! Myshlaevsky... I beg you, one more glass. Colonel ... Alexei... Do not drive too hard, Victor, to perform tomorrow. Nikolka... And let's go! Elena... What about the hetman, tell me? Studzinsky... Yes, yes, what about the hetman? Shervinsky... All is well. What a dinner in the palace yesterday was! .. For two hundred people. Hazel grouses ... Hetman in national costume. Elena... Yes, they say that the Germans leave us to the mercy of fate? Shervinsky... Don't believe any rumors, Elena Vasilievna. Lariosik... Thank you, dear Viktor Viktorovich. As a matter of fact, I don't drink vodka. Myshlaevsky (drinking)... Ashamed, Larion!

Shervinsky. Nikolka.

Be ashamed!

Lariosik... Thank you very much. Alexei... You, Nikol, don't lean on vodka. Nikolka... Listen, mister colonel! I am white wine. Lariosik... How can you deftly overturn her, Viktor Viktorovich. Myshlaevsky... Achieved by exercise. Alexei... Thank you, captain. And the salad? Studzinsky... Thank you very much. Myshlaevsky... Lena is golden! Drink white wine. My joy! Redhead Lena, I know why you are so upset. Give it up! All goes to good. Shervinsky... All goes to good. Myshlaevsky... No, no, to the bottom, Helen, to the bottom! Nikolka (takes guitar, sings)... Who should drink charm, who do I need to be ... drink charm ... Everything (singing)... Light to Elena Vasilievna! - Helen, have a drink! - Drink ... drink ...

Elena drinks.

- Bravo !!!

They applaud.

Myshlaevsky... You look great today. By God. And this hood is coming to you, I swear on my honor. Gentlemen, look, what a hood, completely green! Elena... This dress, Vitenka, is not green, but gray. Myshlaevsky... Well, so much the worse. Does not matter. Gentlemen, pay attention, she is not a beautiful woman, you say? Studzinsky... Elena Vasilievna is very beautiful. To your health! Myshlaevsky... Lena is clear, let me hug you and kiss you. Shervinsky... Well, well, Victor, Victor! .. Myshlaevsky... Leonid, step back. Get away from someone else's, husband's wife! Shervinsky... Allow me... Myshlaevsky... I can, I'm a childhood friend. Shervinsky... You are a pig, not a childhood friend ... Nikolka (getting up)... Gentlemen, the health of the battalion commander!

Studzinsky, Shervinsky and Myshlaevsky get up.

Lariosik... Hurray! .. Excuse me, gentlemen, I'm not a military man. Myshlaevsky... Nothing, nothing, Larion! Right! Lariosik... Dear Elena Vasilievna! I cannot express how good it is with you ... Elena... Very nice. Lariosik... Dear Alexey Vasilievich ... I cannot express how good it is with you ... Alexei... Very nice. Lariosik... Gentlemen, cream curtains ... behind them you rest your soul ... you forget about all the horrors of the civil war. But our wounded souls crave peace so much ... Myshlaevsky... Do you, let me know, compose poetry? Lariosik... I AM? Yes ... I'm writing. Myshlaevsky... So. Sorry to interrupt you. Continue. Lariosik... Please ... Cream curtains ... They separate us from the whole world ... However, I am not a military man ... Eh! .. Pour me another glass. Myshlaevsky... Bravo, Larion! Look, you sly guy, but he said he didn’t drink. You are a nice guy, Larion, but you speak like a respected boot. Lariosik... No, don't tell me, Viktor Viktorovich, I've made speeches and more than once ... in the company of my late dad's colleagues ... in Zhitomir ... Well, there are tax inspectors ... They also scolded me ... oh, how they scolded me! Myshlaevsky... Tax inspectors are famous animals. Shervinsky... Drink, Lena, drink, dear! Elena... Do you want to drink me? Oh, what a nasty one! Nikolka (at the piano, singing).

Tell me, magician, favorite of the gods,
What will come true in my life?
And soon to the joy of the neighbors-enemies
Will I fall asleep with earth on the grave?

Lariosik (sings).

So louder music, play victory.

Everything (singing).

We have won and the enemy is fleeing. So for ...

Lariosik... King ... Alexei... What are you, what are you! Everything (sing a phrase without words).

. . . . . . . . . . . . . . . . . . . . .
We'll hit a loud "Hurray! Hooray! Hooray!".

Nikolka (sings).

From the dark forest towards him ...

Everyone is singing.

Lariosik... Eh! What fun you have, Elena Vasilievna, dear! Lights! .. Hurray! Shervinsky... Gentlemen! Health of His Grace the Hetman of All Ukraine. Hooray!

Pause.

Studzinsky... I'm sorry. Tomorrow I will go to fight, but I will not drink this toast and I do not advise other officers. Shervinsky... Captain! Lariosik... A completely unexpected incident. Myshlaevsky (drunk)... Because of him, the devil, I got frostbitten on my feet. (Drinks.) Studzinsky... Colonel, do you approve of the toast? Alexei... No, I do not approve! Shervinsky... Colonel, let me tell you! Studzinsky... No, let me tell you! Lariosik... No, let me tell you! The health of Elena Vasilievna, as well as her respected husband, who left for Berlin! Myshlaevsky... In! You guessed it, Larion! Better is difficult. Nikolka (sings).

Tell me the whole truth, don't be afraid of me ...

Lariosik... Excuse me, Elena Vasilievna, I am not a military man. Elena... Nothing, nothing, Larion. You are a sincere person, good. Come here to me. Lariosik... Elena Vasilievna! Oh my God, red wine! .. Nikolka... Sprinkle salt, salt ... nothing. Studzinsky... This hetman of yours! .. Alexei... One minute, gentlemen! .. Well, really? In a mockery, we were given to him, or what? If your hetman, instead of breaking this damn comedy with Ukrainization, would begin the formation of officer corps, because Petliura would not smell of spirit in Little Russia. But this is not enough: we would have slapped the Bolsheviks in Moscow like flies. And the very moment! They say they eat cats there. He would have saved Russia, a scoundrel! Shervinsky... The Germans would not have allowed the formation of an army, they are afraid of it. Alexei... Not true, sir. The Germans had to be explained that we were not dangerous to them. Certainly! We lost the war! We now have something else, more terrible than the war, than the Germans, than anything else in the world: we have the Bolsheviks. The Germans had to say: “What do you want? Do you need bread, sugar? Here, take it, gulp, choke, but just help us so that our peasants don't get sick with the Moscow disease. " And now it's too late, now our officers have become regulars in cafes. Cafe army! Go get him. So he will go to fight for you. He, the bastard, has currency in his pocket. He is sitting in a coffee shop on Khreshchatyk, and with him all this guards headquarters horde. Well, sir, great! Colonel Turbin was given a division: fly, hurry, form, go, Petliura is coming! .. Excellent, sir! But yesterday I looked at them, and, I give you my word of honor, - for the first time my heart trembled. Myshlaevsky... Alyosha, you are my commander! You have an artillery heart! I drink health! Alexei... He shuddered, because for one hundred cadets there are one hundred and twenty students, and they hold a rifle like a shovel. And yesterday on the parade ground ... The snow is falling, the fog is in the distance ... I imagined, you know, a coffin ... Elena... Alyosha, why are you saying such gloomy things? Do not dare! Nikolka... Do not be so upset, commander, we will not betray you. Alexei... Here, gentlemen, I am sitting now among you, and all I have is one persistent thought. Oh! If only we could have foreseen all this earlier! Do you know what this Petliura of yours is? This is a myth, this is a black fog. It doesn't exist at all. You look out the window, see what is there. There is a blizzard, some shadows ... In Russia, gentlemen, there are two forces: the Bolsheviks and us. We'll meet Again. I see more formidable times. I see ... Well, okay! We will not hold Petliura. But he won't come for long. But the Bolsheviks will come for him. That’s why I’m going! On a rampage, but I will go! Because when we meet them, things will be more fun. Or we will bury them, or rather, they will bury us. I drink to the meeting, gentlemen! Lariosik (at the piano, singing). Longing for a meeting
Oaths, speeches ...

All chantingly sing. Lariosik suddenly burst into tears.

Elena... Lariosik, what's wrong with you? Nikolka... Larion! Myshlaevsky... What are you, Larion, who offended you? Lariosik (drunk)... I was scared. Myshlaevsky... Whom? Bolsheviks? Well, we'll show them now! (Takes up a Mauser.) Elena... Victor, what are you doing ?! Myshlaevsky... I will shoot the commissars. Which one of you is the commissioner? Shervinsky... Mauser is loaded, gentlemen! Studzinsky... Captain, sit down this minute! Elena... Gentlemen, take it away from him!

Takes away the Mauser. Lariosik leaves.

Alexei... What are you, out of your mind? Sit down this minute! This is my fault, gentlemen. Myshlaevsky... Therefore, I got into the company of the Bolsheviks. Very nice. Hello comrades! Let's drink to the health of the commissars. They are cute! Elena... Victor, don't drink anymore. Myshlaevsky... Shut up, commissar! Shervinsky... God, how drunk! Alexei... Gentlemen, it's my fault. Don't listen to what I have said. It's just that my nerves are upset. Studzinsky... Oh no, mister colonel. Believe that we understand and that we share everything that you said. We will always defend the Russian Empire! Nikolka... Long live Russia! Shervinsky... Allow me to speak! You did not understand me! The Hetman will do so as you suggest. When we manage to fend off Petliura and the allies will help us defeat the Bolsheviks, then the hetman will lay Ukraine at the feet of His Imperial Majesty Emperor Nicholas Alexandrovich ... Myshlaevsky... Which Alexandrovich? And he says I got drunk. Nikolka... The emperor is slain ... Shervinsky... Gentlemen! The news of the death of His Imperial Majesty ... Myshlaevsky... Somewhat exaggerated. Studzinsky... Victor, you are an officer! Elena... Let me tell him, gentlemen! Shervinsky... ... invented by the Bolsheviks. Do you know what happened in the palace of Emperor Wilhelm when the hetman's retinue was introduced to him? Emperor Wilhelm said: "And he will talk about the future with you ..." - the curtain parted, and our sovereign came out.

Enters Lariosik.

He said: “Gentlemen, officers, go to Ukraine and form your units. When the time comes, I will personally take you to the heart of Russia, to Moscow! " And he shed a tear.

. Elena... He feels bad! Nikolka... The captain is bad! Alexei... Into the bath.

Studzinsky, Nikolka and Alexei raise Myshlaevsky and endure.

Elena... I'll go and see what happened to him. Shervinsky (blocking the door)... Don't, Lena! Elena... Gentlemen, gentlemen, after all, it is necessary so ... Chaos ... We made a smoke ... Lariosik, Lariosik! .. Shervinsky... What are you, what are you, do not wake him up! Elena... I myself got drunk because of you. God, my legs don't walk. Shervinsky... Over here, over here ... Will you give me permission ... beside you? Elena... Sit down ... Shervinsky, what will become of us? How will it all end? Huh? .. I had a bad dream. In general, things have gotten worse and worse lately. Shervinsky... Elena Vasilievna! Everything will be all right, but you don't believe in dreams ... Elena... No, no, my dream is prophetic. As if we were all on a ship to America and sitting in the hold. And here comes the storm. The wind howls. It's cold and cold. Waves. And we are in the hold. The water rises to the very feet ... We climb onto some bunks. And suddenly the rats. So disgusting, so huge. So scary that I woke up. Shervinsky... Do you know what, Elena Vasilievna? He will not return. Elena... Who? Shervinsky... Your husband. Elena... Leonid Yuryevich, this is impudence. What do you care? Will return, will not return. Shervinsky... It's a big deal for me. I love you. Elena... I heard. And you all compose. Shervinsky... By God, I love you. Elena... Well, love to yourself. Shervinsky... I don’t want to, I’m tired. Elena... Wait, wait. Why did you remember my husband when I said about the rats? Shervinsky... Because he looks like a rat. Elena... What a pig you are, Leonidas! First, it doesn't look like it at all. Shervinsky... Like two drops. Pince-nez, sharp nose ... Elena... Very very beautiful! About the absent man to say nasty things, and even to his wife! Shervinsky... What a wife you are to him! Elena... That is, as? Shervinsky... Look at yourself in the mirror. You are beautiful, smart, as they say, intellectually developed. In general, a woman is crazy. Accompanied beautifully on the piano. And he is next to you - a hanger, a careerist, a staff moment. Elena... Behind the eyes! Fine! (Clutches his mouth.) Shervinsky... Yes, I'll tell him that to his eyes. I have wanted it for a long time. I will say and challenge you to a duel. You are not happy with him. Elena... Who will I be happy with? Shervinsky... With me. Elena... You are not good. Shervinsky... Wow! .. Why am I not good enough? Elena... What is good about you? Shervinsky... Yes, you look closely. Elena... Well, the trinkets are adjutant, cute, like a cherub. And the voice. And nothing more. Shervinsky... I knew it! What a misfortune! Everyone repeats the same thing: Shervinsky is an adjutant, Shervinsky is a singer, then, another ... And that Shervinsky has a soul, no one notices. And Shervinsky lives like a homeless dog, and there is no one to bow his head to Shervinsky's chest. Elena (pushes his head away)... Here is a vile ladies' man! I know your adventures. Say the same thing to everyone. And this one of yours, long. Ugh, painted lips ... Shervinsky... It is not long. This is a mezzo soprano. Elena Vasilievna, by God, I have not told her anything like that and will not tell her. It’s not good of you, Lena, as it’s not good of you, Lena. Elena... I'm not Lena! Shervinsky... Well, it's not good of you, Elena Vasilievna. In general, you have no feeling for me. Elena... Unfortunately, I really like you. Shervinsky... Aha! I like it. And you do not love your husband. Elena... No, I love. Shervinsky... Lena, don't lie. A woman who loves her husband doesn't have those eyes. I've seen women's eyes. Everything is visible in them. Elena... Well, yes, you are experienced, of course. Shervinsky... How did he leave ?! Elena... And you would do that. Shervinsky... I AM? Never! This is shameful. Admit that you do not love him! Elena... Well, good: I don't like and don't respect. I don’t respect it. Are you satisfied? But nothing follows from this. Get your hands off. Shervinsky... Why did you kiss me then? Elena... You're lying! I've never kissed you. A liar with aiguillettes! Shervinsky... Am I lying? .. And at the piano? I sang "Almighty God" ... and we were alone. And I'll even tell you when - on November 8th. We were alone and you kissed on the lips. Elena... I kissed you for your voice. Understood? For the voice. She kissed her motherly. Because you have a wonderful voice. And nothing more. Shervinsky... Nothing? Elena... This is torture. Honestly! The dishes are dirty. These are drunk. The husband left somewhere. All around the light ... Shervinsky... We will remove the light. (Extinguishes overhead light.) So good? Listen, Lena, I love you very much. I won't let you out anyway. You will be my wife. Elena... Stuck like a snake ... like a snake. Shervinsky... What kind of snake am I? Elena... She takes advantage of every opportunity and seduces. You won't get anywhere. Nothing. Whatever it is, I won't ruin my life because of you. Maybe you will turn out to be even worse. Shervinsky... Lena, how good you are! Elena... Go away! I'm drunk. It was you yourself who made me drunk on purpose. You are a famous villain. Our whole life is crumbling. Everything disappears, falls. Shervinsky... Elena, don't be afraid, I won't leave you at such a moment. I'll be near you, Lena. Elena... Let me out. I am afraid to cast a shadow on the name Thalberg. Shervinsky... Lena, you leave him completely and marry me ... Lena!

They kiss.

Are you getting a divorce?

Elena... Oh, screw it up!

They kiss.

Lariosik (suddenly)... Don't kiss, or it makes me sick. Elena... Let me go! Oh my God! (Runs away.) Lariosik... Oh!.. Shervinsky... Young man, you haven't seen anything! Lariosik (dull)... No, I've seen it. Shervinsky... That is, as? Lariosik... If you have a king, go with the king, and the ladies do not touch! .. Do not touch! .. Oh! .. Shervinsky... I haven't played with you. Lariosik... No, you played. Shervinsky... God, how cut! Lariosik... Let's see what mom tells you when I die. I said that I am not a military man, I cannot have so much vodka. (Falls on Shervinsky's chest.) Shervinsky... How drunk!

The clock strikes three, the minuet is playing.

Curtain

"Whoever goes hunting loses his place" (fr.). Translations of foreign texts are given according to the first edition of the play: Bulgakov M. Days of the Turbins. Last days. M., 1955.

This work has come into the public domain. The work was written by an author who died more than seventy years ago, and was published in his lifetime or posthumously, but more than seventy years have also passed since the publication. It can be freely used by anyone without anyone's consent or permission and without paying any royalties.

History of creation

On April 3, 1925, Bulgakov at the Moscow Art Theater was offered to write a play based on the novel "The White Guard". Bulgakov began work on the first edition in July 1925. In the play, as in the novel, Bulgakov based himself on his own memories of Kiev during the Civil War. The author read the first edition in the theater at the beginning of September of the same year; on September 25, 1926, the play was allowed to be staged.

Later it was edited several times. At present, three versions of the play are known; the first two have the same title as the novel, but due to problems with censorship it had to be changed. There is no consensus among researchers as to which edition should be considered the last. Some point out that the third appeared as a result of the prohibition of the second and therefore cannot be considered the final manifestation of the author's will. Others argue that it is the Days of the Turbins that should be recognized as the main text, since performances have been played on them for many decades. The manuscripts of the play have not survived. The third edition was first published by E.S.Bulgakova in 1955. The second edition was first published in Munich. There is a publication called Days of the Turbins (White Guard), published in 1927 and 1929 in Paris by the Concorde publishing house, and is kept in the Lenin Library (Russian State Library).

Characters

• Turbin Aleksey Vasilievich - Colonel-artilleryman, 30 years old.
• Turbin Nikolay - his brother, 18 years old.
• Talberg Elena Vasilievna - their sister, 24 years old.
• Talberg Vladimir Robertovich - Colonel of the General Staff, her husband, 31 years old.
• Myshlaevsky Viktor Viktorovich - staff captain, artilleryman, 38 years old.
• Shervinsky Leonid Yurievich - lieutenant, personal adjutant of the hetman.
• Studzinsky Alexander Bronislavovich - captain, 29 years old.
• Lariosik - Zhytomyr cousin, 21 years old.
• Hetman of All Ukraine (Pavel Skoropadsky).
• Bolbotun - Commander of the 1st Petliura Cavalry Division (prototype - Bolbochan).
• Galanba - a centurion-Petliurite, a former Uhlan captain.
• Hurricane.
• Kirpaty.
• Von Schratt is a German general.
• Von Dost is a German major.
• Doctor of the German army.
• Deserter-sechevik.
• Man with a shopping cart.
• Chamber-lackey.
• Maxim is a gymnasium bedell, 60 years old.
• Gaidamak is a telephone operator.
• First officer.
• Second officer.
• Third officer.
• First cadet.
• Second cadet.
• Third cadet.
• Juncker and Haidamaks.

Plot

The events described in the play take place in late 1918 - early 1919 in Kiev and cover the fall of the regime of Hetman Skoropadsky, the arrival of Petliura and his expulsion from the city by the Bolsheviks. Against the background of the constant change of power, the personal tragedy of the Turbins' family is taking place, the foundations of the old life are breaking.

The first and second editions had 4 acts each, the third - only 3.

Criticism

Modern critics consider Days of the Turbins to be the pinnacle of Bulgakov's theatrical success, but her stage fate was difficult. First left at the Moscow Art Theater, the play enjoyed great audience success, but received devastating reviews in the then Soviet press. In an article by the magazine "New Spectator" dated February 2, 1927, Bulgakov underlined the following:

We are ready to agree with some of our friends that the "Days of the Turbins" is a cynical attempt to idealize the White Guards, but we have no doubt that it is the "Days of the Turbins" that is an aspen stake in its coffin. Why? Because for a healthy Soviet viewer, the most ideal slush cannot present temptation, and for dying out active enemies and for passive, flabby, indifferent inhabitants, the same slush cannot give either an emphasis or a charge against us. Just as a funeral hymn cannot serve as a military march.

In April 1929, Days of the Turbins were removed from the repertoire. The author was accused of a philistine and bourgeois mood, propaganda of the white movement. But the patron of Bulgakov was Stalin himself, who watched the play about twenty times. On his instructions, the performance was restored and entered the classical repertoire of the theater. Stalin's love for the play was perceived by some as evidence of a change of views, a change in attitude towards the traditions of the Russian army (the introduction of insignia, shoulder straps and other attributes of the Russian imperial army into the Red Army was also associated with Stalin's personal attitude). However, Stalin himself, in a letter to the playwright V. Bill-Belotserkovsky, pointed out that he liked the play on the contrary, due to the fact that it shows the defeat of the whites: it does more good than harm. Do not forget that the main impression that the viewer has from this play is an impression favorable for the Bolsheviks: “even if people like Turbins are forced to lay down their arms and submit to the will of the people, recognizing their cause as completely lost, then the Bolsheviks are invincible, with them, the Bolsheviks, nothing can be done "," The Days of the Turbins "is a demonstration of the overwhelming power of Bolshevism." For Mikhail Bulgakov, who was interrupted by odd jobs, staging at the Moscow Art Theater was almost the only way to support his family.

Performances

• - Moscow Art Theater. Director Ilya Sudakov, artist Nikolai Ulyanov, artistic director of the production KS Stanislavsky. The roles were played by: Alexey Turbin- Nikolay Khmelev, Nikolka- Ivan Kudryavtsev, Elena- Vera Sokolova, Shervinsky- Mark Prudkin, Studzinsky- Evgeny Kaluzhsky, Myshlaevsky- Boris Dobronravov, Thalberg- Vsevolod Verbitsky, Lariosik- Mikhail Yanshin, Von schratt- Victor Stanitsyn, Hetman- Vladimir Ershov. The premiere took place on October 5, 1926. After being withdrawn from the repertoire in 1929, the performance was resumed on February 16, 1932 and remained on the stage of the Moscow Art Theater until June 1941. In total, in 1926-1941, the play was performed 987 times.

Screen adaptations

• - Days of the Turbins, director Vladimir Basov

Notes (edit)

Sources of

Links

Works by Mikhail Afanasyevich Bulgakov
Novels	The White Guard · The Life of M. de Moliere · The Master and Marguerite · Theatrical Novel
Stories	The Devil's Doom Eggs Heart of a Dog Secret Friend Notes on Cuffs
Plays, film scripts, libretto