Feature film "running". Brief summary of M. A. Bulgakov Beg Literary direction and genre

“Running” was written in 1928 for the Moscow Art Theater, but was subject to a censorship ban. It was not published or staged during the author's lifetime.

The material for the work was the memoirs of Belozerskaya, the writer’s second wife, about how she and her first husband fled through Constantinople to Europe. Bulgakov also uses the memoirs of General Slashchev, who became the prototype of Roman Khludov, and other historical sources about the civil war in Crimea in 1920. Work on the play began in 1926. The original titles were “Seraphim Knight”, “Outcasts”.

The play was supposed to be staged at the Moscow Art Theater, but was banned from production by Stalin, who believed that “Running” “represents an anti-Soviet phenomenon” because it evokes sympathy and pity for “certain layers of anti-Soviet emigrants.” Gorky advocated for the production, pointing out that Charnota is a comic role, Khludov is a sick person, and the play itself is “an excellent comedy... with a deep, skillfully hidden satirical content.”

Many of the characters in the play have prototypes (African, Roman Khludov, Lyuska, Grigory Charnota, Commander-in-Chief). Khludov’s prototype actually suffered from severe neurasthenia, and in 1929 he was shot dead in his apartment by a relative of one of the victims.

The premiere of “Running” took place in 1957 at the Stalingrad Theater.

A small excerpt from the play (“The Seventh Dream”) was published in 1932 in the Red Gazette on October 1. The play was published in 1962.

Literary direction and genre

Whether Bulgakov's works belong to the realistic or modernist movement is a controversial issue in Bulgakov studies. The play, which has so many prototypes and is based on real events, seems to belong to the realistic direction in literature, although Bulgakov emphasizes the unreality and even the impossibility of the events taking place (like Czarnota’s story about him lying and giving birth).

No less complex is the question of the genre of the play. Already Bulgakov's contemporaries found it difficult to determine which genre the play was closer to, satirical tragedy or comedy. V. Kaverin believed that the play “destroys the conventional boundaries of the genre” and combines the features of psychological drama and phantasmagoria. There is both grotesque and tragedy in it.

According to Gorky, this is a comedy in which “at times it’s funny, and even very funny.” The tragedy is that the impossible actually happens.

Bulgakov himself defined the genre in the subtitle - “Eight Dreams”. The genre of dreams made it possible to depict a displaced, inflamed, crazy world, the actions of people without motives and reasons explained by reality. The play contains a technique used by Calderon. “I dream about my life,” says Golubkov.

Issues

The problem lying on the surface is the collapse of the white movement and the fate of the Russian emigration, as mentioned by Bulgakov himself. But, creating heroes far from ideal, Bulgakov pursued a different goal. He sought to objectively evaluate all sides of the civil war, both red and white, to “become dispassionately” above them.

The philosophical problem of the play is how each individual person can stop the senseless running that fills his life, especially if he is pushed to run by external circumstances, like the characters in the play. None of the options considered in the play turns out to be ideal: neither murder, nor illness, nor suicide, nor movement in space. Perhaps the author himself chooses the only effective way - to move away from events in time, to try to comprehend them objectively.

One of the social problems of the play is the objectivity of understanding historical events, the question of truth, which was relevant for Bulgakov throughout his entire work.

For the first time in Bulgakov’s work, the problem of understanding the sacrifices that accompany the struggle for any idea (in this case, the victims of the civil war), the price of their blood and their lives, is raised.

The most important problem of the play is the problem of crime and punishment. According to Bulgakov, any crime is redeemed by repentance and readiness to suffer a well-deserved punishment. This idea is embodied in the image of Khludov, to whom, after repentance, the ghost of Krapilin, whom he hanged, ceases to appear.

Conflict

For most heroes, the external conflict that forces them to flee (the victory of the Bolsheviks) is superimposed on the internal one. For Khludov, an internal conflict with conscience leads to the emergence of a silent ghost condemning him.

Plot and composition

The play has the subtitle “Eight Dreams,” which immediately alerts the reader to the fact that something phantasmagoric is happening, which in fact cannot be.

The epigraph from Zhukovsky’s poem “The Singer in the Camp of Russian Warriors” indicates that Bulgakov perceived the era of revolution and civil war as already experienced, and sought to show bygone events from another time, although, undoubtedly, Bulgakov’s sympathies were on the side of the white movement.

All dreams are dim, as if there is not enough light. With the end of the dream, the heroes fall into darkness.

Bulgakov wrote several endings. The most powerful in an artistic sense is the one where Khludov, tormented by remorse, returns to his homeland, agreeing with any possible punishment. In other versions, Khludov shoots himself, having previously shot the cockroaches running. The fate of Seraphima and Golubkov is also ambiguous. In some versions they go to France and become outcasts, in others they return to their homeland.

In the finale, Khludov calls any society as a whole a filthy, vile kingdom, a cockroach race.

Heroes

Bulgakov, not in stage directions, but directly during the play, describes Khludov’s appearance and clothing. In appearance, old eyes and a young face contrast, a grin replaces a smile. Bulgakov emphasizes that Khludov is ill. Krapilin-vestova calls Khludov a jackal, a world beast and a vulture, for which he is immediately hanged from a lantern.

Khludov’s ideas themselves are correct and true as abstract ideas: “Without love you can’t do anything in war.” But their embodiment is bloody.

Khludov is the predecessor of Bulgakov’s Pontius Pilate, who is morally punished for executing innocents for the sake of an idea. In this play, this is a white idea, but in the context of Bulgakov’s work, the idea can be any, a crime can be committed even in the name of faith, but it will still be followed by moral punishment.

Khludov is not a clear villain. He changes from the moment a soldier begins to appear to him. Khludov feels that his soul is split in two, words and the surrounding reality reach him dimly. He is like sinking lead.

In the play, Khludov repents of his crimes and is ready to be punished in his homeland, to “walk under the lanterns,” that is, even to be hanged from a lantern.

Khludov's suicide in the finale is poorly motivated and seems artificial.

Golubkov is an almost exact anagram of the surname Bulgakov. This hero embodies the author's hidden thoughts. Bulgakov tried on the life of an emigrant for a long time, abandoning it only in the early 30s.

Golubkov easily signs testimony against Seraphima, but this does not characterize him as a scoundrel, but simply as a weak person.

Seraphima is the wife of a millionaire. She is somewhat reminiscent of Belozerskaya from the time of her emigration.

Privatdozent Sergei Golubkov is endowed with the features of the philosopher and theologian Sergei Bulgakov, who was also in Crimea during the civil war and was exiled to Constantinople. Through Golubkov, Bulgakov comprehends the problem of the intelligentsia and revolution. Unlike Sergei Bulgakov, Sergei Golubkov compromises with his conscience, returning to his homeland and resigning himself to Bolshevism.

Korzukhin is a comrade of the Minister of Trade. Korzukhin in the play is a symbol of a money-grubber. One of the prototypes is Belozerskaya’s businessman and writer Krymov, who left Russia “as soon as the smell of revolution began.” Krymov was not at all a disgusting and soulless person, as Golubkov characterizes Korzukhin in the play.

General Charnota is a nice character. Unlike Khludov, he did not stain himself with crimes. Such a person must find happiness, so Charnota naturally wins 20 thousand against Korzukhin at cards. He tells Khludov about his position in life, that he did not run from death, but he will not go to the Bolsheviks for death either. In the finale, General Charnota associates himself with the Eternal Jew, the Dutchman, who are forced to wander forever, without finding peace, to be in a state of eternal running.

The image of Charnota is comical. His entrepreneurial activity in Constantinople is pointless; the “descendant of the Cossacks” looks comical in a woman’s dress, without pants. But through ridicule the hero is reborn into a new life. The image of a gallant general, a brave fighter covers the comic episodes and turns Charnota into an epic hero.

Stylistic features

Sound plays a big role in the play. The monastery and cavalry units, Russia and Constantinople sound. With the help of sounds, Bulgakov expands the artistic world to epic proportions, the problem of Russian emigrants becomes global.

The “cockroach” motif is important in the play. Khludov speaks of the fleeing white army as if it were cockroaches rustling in the twilight. Charnota calls Arthur, the owner of the cockroach race, the cockroach king. All the characters in the play are like cockroaches running in a circle, and they also place bets on them. As Khludov says, they all walk “one after the other.”

Of particular importance is Constantinople, according to Golubkov, a terrible, unbearable, stuffy city. This is a symbol of a hated foreign land.

There is a conversation going on in the cell of the monastery church. Budennovtsy just came and checked the documents. Golubkov, a young St. Petersburg intellectual, wonders where the Reds came from when the area is in the hands of the Whites. Barabanchikova, pregnant, lying right there, explains that the general, who was sent a dispatch that the Reds were in the rear, postponed the decoding. When asked where General Charnota’s headquarters is, Barabanchikova does not give a direct answer. Serafima Korzukhina, a young St. Petersburg lady who is fleeing with Golubkov to Crimea to meet her husband, offers to call a midwife, but Madame refuses. The clatter of hooves and the voice of the white commander de Brizard are heard. Recognizing him, Barabanchikova throws off her rags and appears as General Charnota. He explains to de Brizard and his traveling wife Lyuska, who ran in, that his friend Barabanchikov in a hurry gave him documents not his own, but those of his pregnant wife. Charnota proposes an escape plan. Then Seraphima starts to have a fever - it’s typhus. Golubkov takes Serafima into the gig. Everyone is leaving.

Dream 2. Crimea, early November 1920

The station hall was turned into the White headquarters. General Khludov is sitting where the buffet was. He is sick with something and is twitching. Korzukhin, comrade of the Minister of Trade, Serafima’s husband, asks to push wagons with valuable fur goods into Sevastopol. Khludov orders these trains to be burned. Korzukhin asks about the situation at the front. Khludov hisses that the Reds will be here tomorrow. Korzukhin promises to report everything to the commander-in-chief. A convoy appears, followed by the white commander-in-chief and Archbishop Africanus. Khludov informs the commander-in-chief that the Bolsheviks are in Crimea. African prays, but Khludov believes that God has abandoned the whites. The commander in chief leaves. Serafima runs in, followed by Golubkov and the messenger Charnota Krapilin. Serafima shouts that Khludov is not doing anything, but just hanging him. The staff whispers that she is a communist. Golubkov says that she is delirious, she has typhus. Khludov calls Korzukhin, but he, sensing a trap, renounces Seraphima. Serafima and Golubkov are taken away, and Krapilin, in oblivion, calls Khludov a world beast and talks about a war that Khludov does not know. He objects that he went to Chongar and was wounded there twice. Krapilin, waking up, begs for mercy, but Khludov orders him to be hanged for “starting well, ending badly.”

Dream 3. Crimea, early November 1920

The head of counterintelligence Tikhy, threatening with a deadly needle, forces Golubkov to show that Serafima Korzukhina is a member of the Communist Party and came for the purpose of propaganda. Having forced him to write a statement, Tikhy releases him. Counterintelligence officer Skunsky estimates that Korzukhin will give $10,000 to pay off the deal. Quiet shows that Skunsky's share is 2000. Seraphim is brought in, she is in a fever. Quiet gives her his testimony. Charnota's cavalry is walking outside the window with music. Seraphima, having read the paper, breaks out the window glass with her elbow and calls Charnota for help. He runs in and defends Seraphim with a revolver.

Dream 4. Crimea, early November 1920

The Commander-in-Chief says that for a year now Khludov has been covering up his hatred of him. Khludov admits that he hates the commander in chief because he was drawn into this, that he cannot work knowing that everything is in vain. The commander in chief leaves. Khludov alone talks to the ghost, wants to crush him... Golubkov enters, he came to complain about the crime committed by Khludov. He turns around. Golubkov is in a panic. He came to tell the commander-in-chief about Seraphima’s arrest and wants to find out her fate. Khludov asks the captain to take her to the palace if she is not shot. Golubkov is horrified by these words. Khludov makes excuses before the ghost messenger and asks him to leave his soul. When Khludov asks who Serafima is to him, Golubkov replies that she is a random stranger, but he loves her. Khludov says that she was shot. Golubkov is furious, Khludov throws him a revolver and tells someone that his soul is in two. The captain comes in with a report that Seraphima is alive, but today Charnota fought her off with a weapon and took her to Constantinople. Khludov is expected on the ship. Golubkov asks to take him to Constantinople, Khludov is sick, speaks to the messenger, they leave. Dark.

Dream 5. Constantinople, summer 1921

Street of Constantinople. There is an advertisement for cockroach races. Charnota, drunk and gloomy, approaches the cockroach racing cash register and wants to bet on credit, but Arthur, the “cockroach king,” refuses him. Charnota is sad and remembers Russia. He sells silver gazyri and a box of his toys for 2 lire 50 piastres, and bets all the money he receives on the favorite of the Janissary. People are gathering. Cockroaches living in a box "under the supervision of a professor" run with paper riders. Shout: “The Janissary is malfunctioning!” It turns out that Arthur gave the cockroach a drink. Everyone who bet on the Janissary rushes at Arthur, who calls the police. A beautiful prostitute encourages the Italians, who beat the English who bet on another cockroach. Dark.

Dream 6. Constantinople, summer 1921

Charnota quarrels with Lyusya, lies to her that the box and gasyri were stolen, she realizes that Charnota lost the money, and admits that she is a prostitute. She reproaches him that he, the general, defeated counterintelligence and was forced to flee the army, and now he is a beggar. Charnota objects: he saved Seraphim from death. Lyusya reproaches Seraphim for her inaction and goes into the house. Golubkov enters the yard and plays the organ. Charnota assures him that Serafima is alive and explains that she went to the panel. Seraphima arrives with a Greek laden with shopping. Golubkov and Charnota rush at him, he runs away. Golubkov tells Serafima about love, but she leaves saying that she will die alone. Lyusya, who has come out, wants to open the Greek’s package, but Charnot does not allow it. Lucy takes the hat and says that she is leaving for Paris. Khludov enters in civilian clothes - he has been demoted from the army. Golubkov explains that he found her, she left, and he will go to Paris to Korzukhin - he is obliged to help her. They will help him cross the border. He asks Khludov to take care of her, not to let her go to the panel, Khludov promises and gives 2 liras and a medallion. Charnota goes with Golubkov to Paris. They are going away. Dark.

Dream 7. Paris, autumn 1921

Golubkov asks Korzukhin for a $1,000 loan for Seraphima. Korzukhin won’t give it, he says that he has never been married and wants to marry his Russian secretary. Golubkov calls him a terrible soulless person and wants to leave, but Charnota comes, who says that he would sign up with the Bolsheviks to shoot him, and after shooting him, he would be discharged. Seeing the cards, he invites Korzukhin to play and sells him the Khludov medallion for 10 dollars. As a result, Charnota wins $20,000 and buys the medallion for $300. Korzukhin wants to return the money, and Lyusya comes running to his cry. Charnota is amazed, but does not betray her. Lyusya despises Korzukhin. She assures him that he himself lost the money and will not get it back. Everyone leaves. Lyusya quietly shouts out the window for Golubkov to take care of Seraphim, and for Charnot to buy some pants for himself. Dark.

Dream 8. Constantinople, autumn 1921

Khludov alone talks with the ghost of the messenger. He is suffering. Seraphima enters, tells him that he is ill, he is executed, and that he has released Golubkov. She is going to return to St. Petersburg. Khludov says that he will also return, and under his own name. Serafima is terrified; she thinks he will be shot. Khludov is happy about this. They are interrupted by a knock on the door. This is Charnota and Golubkov. Khludov and Charnota leave, Serafima and Golubkov confess their love to each other. Khludov and Charnota return. Charnota says that he will stay here, Khludov wants to return. Everyone dissuades him. He calls Charnota with him, but he refuses: he has no hatred for the Bolsheviks. He's leaving. Golubkov wants to return the medallion to Khludov, but he gives it to the couple and they leave. Khludov alone writes something, rejoices that the ghost has disappeared. He goes to the window and shoots himself in the head. Dark.

Retold

When the remnants of the White Army desperately resist the Reds on the Crimean Isthmus. Here the fates of the defenseless Serafima Korzukhina, abandoned to the mercy of fate by her husband, Korzukhin himself, private assistant professor Golubkov, in love with Serafima, the white general Charnota, commander of the white front, the cruel and unfortunate Roman Khludov, and many other heroes are closely intertwined.

History of writing

Bulgakov began working on the play in 1926. For the plot, the author used memories of the emigration of his second wife L. E. Belozerskaya - she and her first husband fled to Constantinople, lived in Marseille, Paris and Berlin. The memoirs of the white general Ya. A. Slashchev were also used.

In April 1927, Bulgakov entered into an agreement with the Moscow Art Theater to write the play “Knight of Seraphim” (the working title of the play, a variant of the title “Outlaws” is also known). According to the terms of the contract, Bulgakov had to finish the play no later than August 20, 1927. In essence, Bulgakov was thus working off the advance he received a month earlier for the production of the censored “Heart of a Dog.” The manuscript of the materials for “Knight of Seraphim” (or “Outlaws”) has not survived; most likely the play was crude and was used only for reporting on the theater’s accounting department.

On January 1, 1928, the author entered into an agreement with the Moscow Art Theater to write a play called “Running” and already on March 16, 1928, the play was transferred to the customer. Due to censorship, the play was not staged during the author's lifetime, although the production was close to realization thanks to the intercession of Maxim Gorky.

Productions

• In 1928-1929, rehearsals of the play were held at the Moscow Art Theater under the direction of Nemirovich-Danchenko. The following cast of performers was expected: Alla Tarasova - Seraphim, Mark Prudkin and Mikhail Yanshin - Golubkov, Vasily Kachalov - Charnota, Olga Androvskaya - Lyuska, Nikolay Khmelev - Khludov, Vladimir Ershov - Korzukhin, Yuri Zavadsky and Boris Maloletkov - commander in chief, Vladimir Sinitsyn - Quiet, Ivan Moskvin and Mikhail Kedrov - African. The play was staged by I.Ya. Sudakov with the participation of N.N. Litovtseva, music by L.K. Knipper, artist I.M. Rabinovich. However, under Stalin the play was banned. The play premiered at the Stalingrad Theater on March 29, 1957.
• In 1970, the play was filmed by directors A. A. Alov and V. N. Naumov.
• In 1980, the play was staged at the Moscow Mayakovsky Theater.
• In 2003, the play was staged at the Theater under the direction of Oleg Tabakov (directed by Elena Nevezhina).
• In 2010, the play was staged at the Magnitogorsk Drama Theater. A. S. Pushkin directed by Marina Glukhovskaya.
• In 2010, the Moscow State Academic Chamber Musical Theater named after B. A. Pokrovsky premiered the opera “Running,” based on the play by composer Nikolai Sidelnikov.
• In 2011, the play was staged at the Omsk Academic Drama Theater by the theater's chief director Georgy Zurabovich Tskhvirava.
• In 2014, the play was staged at the Altai Youth Theater named after. V. S. Zolotukhin directed by Yuri Yadrovsky.
• 2015 - “Running”, a joint project of the Theater. E. Vakhtangov and the Open Arts Festival “Cherry Forest”. Director Yuri Butusov. .
• 2015-2016 - On December 8 and 22, the premiere of the play “Running” based on the play by Mikhail Bulgakov took place, the directorial debut of Maria Fedosova on the Big Stage of the Taganka Actors' Commonwealth Theater (Theater under the direction of Nikolai Gubenko).

Hero prototypes

• Africanus, Archbishop of Simferopol, Archpastor of the eminent army- Metropolitan Veniamin Fedchenkov, head of the Church of the Russian Army.
• Lieutenant General Roman Khludov- Lieutenant General Yakov Slashchev-Krymsky.
• Lyuska- Nina Nechvolodova (“Junker Nechvolodov”), Slashchev’s traveling wife.
• Major General Grigory Charnota- Lieutenant General Bronislav Lyudvigovich Chernota-de-Boyary Boyarsky, Lieutenant General Sergei Ulagai.
• Commander-in-Chief- Baron Peter Wrangel.

Criticism

Stalin about the play

“Running” is a manifestation of an attempt to evoke pity, if not sympathy, for certain layers of anti-Soviet emigrants - therefore, an attempt to justify or semi-justify the White Guard cause. "Beg", in the form in which it exists, represents an anti-Soviet phenomenon. However, I would not have anything against the production of “Run” if Bulgakov added to his eight dreams one or two more dreams, where he would depict the internal social springs of the civil war in the USSR, so that the viewer could understand that all these, their “honest” Seraphim and all sorts of private assistant professors turned out to be kicked out of Russia not at the whim of the Bolsheviks, but because they sat on the necks of the people (despite their “honesty”), and the Bolsheviks, driving out these “honest” supporters of exploitation , carried out the will of the workers and peasants and therefore acted absolutely correctly.

Moscow, meanwhile, was empty. There were still people in it, a fiftieth of all the former inhabitants still remained in it, but it was empty. It was empty, just as a dying, exhausted hive is empty.
There is no longer any life in a dehumidified hive, but at a superficial glance it seems just as alive as the others.
The bees hover just as happily in the hot rays of the midday sun around the dehumed hive, as around other living hives; it also smells like honey from afar, and bees fly in and out of it. But you have to take a closer look at it to understand that there is no longer life in this hive. Bees fly differently than in living hives; the wrong smell, the wrong sound amazes the beekeeper. When a beekeeper knocks on the wall of a sick hive, instead of the previous, instant, friendly response, the hiss of tens of thousands of bees, menacingly pressing their butts and quickly beating their wings producing this airy vital sound, he is answered by scattered buzzing sounds echoing in different places of the empty hive. From the entrance there is no smell, as before, of the alcoholic, fragrant smell of honey and poison, it does not bring from there the warmth of fullness, and the smell of emptiness and rot merges with the smell of honey. At the entrance there are no more guards preparing to die for protection, raising their butts in the air, trumpeting the alarm. There is no longer that even and quiet sound, the fluttering of labor, similar to the sound of boiling, but the awkward, disjointed noise of disorder is heard. Black oblong robber bees, smeared with honey, timidly and evasively fly in and out of the hive; they do not sting, but escape from danger. Previously, they only flew in with burdens, and empty bees flew out, now they fly out with burdens. The beekeeper opens the bottom well and peers into the lower part of the hive. Instead of the previously black lashes of succulent bees, pacified by labor, holding each other’s legs and pulling the foundation with a continuous whisper of labor, sleepy, shriveled bees wander in different directions absent-mindedly along the bottom and walls of the hive. Instead of a floor cleanly sealed with glue and swept away by fans of wings, at the bottom lie crumbs of wax, bee excrement, half-dead bees, barely moving their legs, and completely dead, untidy bees.
The beekeeper opens the top well and examines the head of the hive. Instead of continuous rows of bees, clinging to all the spaces of the honeycombs and warming the babies, he sees the skillful, complex work of the honeycombs, but no longer in the form of virginity in which it was before. Everything is neglected and dirty. Robbers - black bees - scurry quickly and stealthily around the work; their bees, shriveled, short, lethargic, as if old, slowly wander, not bothering anyone, not wanting anything and having lost consciousness of life. Drones, hornets, bumblebees, and butterflies knock stupidly on the walls of the hive in flight. In some places, between the wax fields with dead children and honey, angry grumbling is occasionally heard from different sides; somewhere two bees, out of old habit and memory, cleaning the nest of the hive, diligently, beyond their strength, drag away a dead bee or bumblebee, not knowing why they are doing this. In another corner, two other old bees are lazily fighting, or cleaning themselves, or feeding one another, not knowing whether they are doing it in a hostile or friendly manner. In the third place, a crowd of bees, crushing each other, attacks some victim and beats and strangles it. And the weakened or killed bee slowly, lightly, like fluff, falls from above into a pile of corpses. The beekeeper unfolds the two middle foundations to see the nest. Instead of the previous solid black circles of thousands of bees sitting back and forth and observing the highest secrets of their native work, he sees hundreds of dull, half-dead and sleeping skeletons of bees. Almost all of them died, without knowing it, sitting on the shrine that they cherished and which no longer exists. They smell of rot and death. Only some of them move, rise, sluggishly fly and sit on the enemy’s hand, unable to die, stinging him - the rest, dead, like fish scales, easily fall down. The beekeeper closes the well, marks the block with chalk and, having chosen the time, breaks it out and burns it.
So empty was Moscow when Napoleon, tired, restless and frowning, walked back and forth at the Kamerkollezhsky Val, waiting for that, although external, but necessary, according to his concepts, observance of decency - a deputation.
In different corners of Moscow people were still moving senselessly, keeping old habits and not understanding what they were doing.
When it was announced to Napoleon with due caution that Moscow was empty, he looked angrily at the person who reported this and, turning away, continued to walk in silence.
“Bring the carriage,” he said. He got into the carriage next to the adjutant on duty and drove to the suburbs.
- “Moscow deserte. Quel evenemeDt invraisemblable!” [“Moscow is empty. What an incredible event!”] he said to himself.
He did not go to the city, but stopped at an inn in the Dorogomilovsky suburb.
Le coup de theater avait rate. [The end of the theatrical performance failed.]

Russian troops passed through Moscow from two o'clock in the morning until two o'clock in the afternoon, carrying with them the last residents and wounded who were leaving.
The biggest crush during the movement of troops occurred on the Kamenny, Moskvoretsky and Yauzsky bridges.
While, bifurcated around the Kremlin, the troops crowded onto the Moskvoretsky and Kamenny bridges, a huge number of soldiers, taking advantage of the stop and crowded conditions, returned from the bridges and stealthily and silently snuck past St. Basil's and under the Borovitsky Gate back up the hill to Red Square, on which, by some instinct, they felt that they could easily take someone else’s property. The same crowd of people, as if for cheap goods, filled Gostiny Dvor in all its passages and passages. But there were no tenderly sugary, alluring voices of the hotel guests, there were no peddlers and a motley female crowd of buyers - there were only the uniforms and greatcoats of soldiers without guns, silently leaving with burdens and entering the ranks without burdens. Merchants and peasants (there were few of them), as if lost, walked among the soldiers, unlocked and locked their shops, and themselves and the fellows carried their goods somewhere. Drummers stood on the square near Gostiny Dvor and beat the collection. But the sound of the drum forced the robber soldiers not, as before, to run to the call, but, on the contrary, forced them to run further away from the drum. Between the soldiers, along the benches and aisles, people in gray caftans and with shaved heads could be seen. Two officers, one in a scarf over his uniform, on a thin dark gray horse, the other in an overcoat, on foot, stood at the corner of Ilyinka and talked about something. The third officer galloped up to them.
“The general ordered everyone to be expelled now at any cost.” What the hell, it doesn't look like anything! Half the people fled.
“Where are you going?.. Where are you going?” he shouted at three infantry soldiers who, without guns, having picked up the skirts of their greatcoats, slipped past him into the ranks. - Stop, rascals!
- Yes, please collect them! - answered another officer. – You can’t collect them; we have to go quickly so that the last ones don’t leave, that’s all!
- How to go? they stood there, huddled on the bridge and didn’t move. Or put a chain so that the last ones don’t run away?
- Yes, go there! Get them out! – the senior officer shouted.
The officer in the scarf got off his horse, called the drummer and went with him under the arches. Several soldiers began to run in a crowd. The merchant, with red pimples on his cheeks near his nose, with a calmly unshakable expression of calculation on his well-fed face, hastily and dapperly, waving his arms, approached the officer.
“Your honor,” he said, “do me a favor and protect me.” It’s not a small matter for us, it’s our pleasure! Please, I’ll take out the cloth now, at least two pieces for a noble man, with our pleasure! Because we feel, well, this is just robbery! You're welcome! Perhaps they would have posted a guard, or at least given a lock...
Several merchants crowded around the officer.

At the crossroads of temporary collisions: during the Civil War, an intellectual from St. Petersburg Golubkov and Serafima Korzukhina meet in Crimea. There is a war going on, people are dying. Hungry, scary and joyless. A woman is looking for her husband in this difficult, turbulent time. These two, together, overcome difficulties, hunger, Seraphima’s illness, when Golubkov does not leave her one step, saving her during typhus.

Her husband serves under General Khludov, who is distinguished by his cruelty and atrocities. Fearing for his future, he abandons Seraphim. She is accused of being a Bolshevik and is arrested together with Golubkov. The woman is saved and helped to move abroad by the cavalry of Charnota, who takes Seraphima to Turkey. Golubkov gets there with the army of General Khludov.

Korzukhina in Constantinople lives in the same room with Lyusya and the playing, and often losing, Blackness. They have no money. Everything has been sold for a long time. Lyuska engages in prostitution to pay rent. Serafima understands that she can no longer sit on their neck and decides to also earn money from the panel. Charnota meets Golubkov on the street, he plays the organ and tells him about their affairs. Together they look for Korzukhina and prevent her from committing a “moral fall.” General Khludov appears, who gives some funds to Golubkov so that he can go to Paris and ask Korzukhin for money. When he finds him, he finds out that he has no money, and he is also going to marry his secretary, and gives his wife complete freedom, entrusting Golubkov with taking care of her.

Serafima accepts Khludov's proposal and plans to return with him to St. Petersburg. Charnota and Golubkov return to Turkey. They found a way to get rich. But Korzukhina, bound by word, leaves with the general for Russia, where he shoots himself out of worry and fear.

The events described give an idea of ​​what the Russian intelligentsia experienced in the difficult years before and during emigration.

Picture or drawing of Running

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Dream 1 (Northern Tavria, October 1920)

There is a conversation going on in the cell of the monastery church. The Budennovtsy just came and checked the documents. Golubkov, a young St. Petersburg intellectual, wonders where the Reds came from when the area is in the hands of the Whites. Barabanchikova, pregnant, lying right there, explains that the general, who was sent a dispatch that the Reds were in the rear, postponed the decoding. When asked where General Charnota's headquarters is, Barabanchikova does not give a direct answer. Serafima Korzukhina, a young St. Petersburg lady who is fleeing with Golubkov to Crimea to meet her husband, offers to call a midwife, but Madame refuses. The clatter of hooves and the voice of the white commander de Brizard are heard. Recognizing him, Barabanchikova throws off her rags and appears as General Charnota. He explains to de Brizard and his traveling wife Lyuska, who ran in, that his friend Barabanchikov in a hurry gave him documents not his own, but those of his pregnant wife. Charnota proposes an escape plan. Then Seraphima starts to have a fever - it’s typhus. Golubkov takes Serafima into the gig. Everyone is leaving.

Dream 2 (Crimea, early November 1920)

The station hall has been turned into the White headquarters. General Khludov is sitting where the buffet was. He is sick with something and is twitching. Korzukhin, comrade of the Minister of Trade, Serafima’s husband, asks to push wagons with valuable fur goods into Sevastopol. Khludov orders these trains to be burned. Korzukhin asks about the situation at the front. Khludov hisses that the Reds will be here tomorrow. Korzukhin thanks and leaves. A convoy appears, followed by the white commander-in-chief and Archbishop Africanus. Khludov informs the commander-in-chief that the Bolsheviks are in Crimea. African prays, but Khludov believes that God has abandoned the whites. The commander in chief leaves. Serafima runs in, followed by Golubkov and the messenger Charnota Krapilin. Serafima shouts that Khludov is not doing anything, but just hanging him. The staff whispers that she is a communist. Golubkov says that she is delirious, she has typhus. Khludov calls Korzukhin, but he, sensing a trap, renounces Seraphima. Serafima and Golubkov are taken away, and Krapilin, in oblivion, calls Khludov a world beast and talks about a war that Khludov does not know. He objects that he went to Chongar and was wounded there twice. Krapilin, waking up, begs for mercy, but Khludov orders him to be hanged for “starting well, ending badly.”

Dream 3 (Crimea, early November 1920)

The head of counterintelligence Tikhy, threatening with a deadly needle, forces Golubkov to show that Serafima Korzukhina is a member of the Communist Party and came for the purpose of propaganda. Having forced him to write a statement, Tikhy releases him. Counterintelligence officer Skunsky estimates that Korzukhin will give $10,000 to pay off the deal. Quiet shows that Skunsky’s share is 2000. Seraphim is brought in, she is in a fever. Quiet gives her his testimony. Charnota's cavalry marches outside the window with music. Serafima, having read the paper, breaks out the window glass with her elbow and calls Charnota for help. He runs in and defends Seraphim with a revolver.

Dream 4 (Crimea, early November 1920)

The Commander-in-Chief says that for a year now Khludov has been covering up his hatred of him. Khludov admits that he hates the commander in chief because he was drawn into this, that he cannot work knowing that everything is in vain. The commander in chief leaves. Khludov alone talks to the ghost, wants to crush him... Golubkov enters, he came to complain about the crime committed by Khludov. He turns around. Golubkov is in a panic. He came to tell the commander in chief about Seraphima’s arrest and wants to find out her fate. Khludov asks the captain to take her to the palace if she is not shot. Golubkov is horrified by these words. Khludov makes excuses before the ghost messenger and asks him to leave his soul. When Khludov asks who Serafima is to him, Golubkov replies that she is a random stranger, but he loves her. Khludov says that she was shot. Golubkov is furious, Khludov throws him a revolver and tells someone that his soul is in two. The captain comes in with a report that Seraphima is alive, but today Charnota fought her off with a weapon and...

nbsp; taken to Constantinople. Khludov is expected on the ship. Golubkov asks to take him to Constantinople, Khludov is sick, speaks to the messenger, they leave. Dark.

Dream 5 (Constantinople, summer 1921)

Street of Constantinople. There is an advertisement for cockroach races. Charnota, drunk and gloomy, approaches the cockroach racing cash register and wants to bet on credit, but Arthur, the “cockroach king,” refuses him. Charnota is sad and remembers Russia. He sells silver gazyri and a box of his toys for 2 lire 50 piastres, and bets all the money he receives on the favorite of the Janissary. People are gathering. Cockroaches living in a box "under the supervision of a professor" run with paper riders. Shout: “The Janissary is malfunctioning!” It turns out that Arthur gave the cockroach a drink. Everyone who bet on the Janissary rushes at Arthur, who calls the police. A beautiful prostitute encourages the Italians, who beat the English who bet on another cockroach. Dark.

Dream 6 (Constantinople, summer 1921)

Charnota quarrels with Lyusya, lies to her that the box and gazyri were stolen, she realizes that Charnota lost the money, and admits that she is a prostitute. She reproaches him that he, the general, defeated counterintelligence and was forced to flee the army, and now he is a beggar. Charnota objects: he saved Seraphim from death. Lyusya reproaches Seraphim for her inaction and goes into the house. Golubkov enters the yard and plays the organ. Charnota assures him that Serafima is alive and explains that she went to the panel. Seraphima arrives with a Greek laden with shopping. Golubkov and Charnota rush at him, he runs away. Golubkov tells Serafima about love, but she leaves saying that she will die alone. Lyusya, who has come out, wants to open the Greek package, but Charnota does not allow it. Lucy takes the hat and says that she is leaving for Paris. Khludov enters in civilian clothes - he has been demoted from the army. Golubkov explains that he found her, she left, and he will go to Paris to Korzukhin - he is obliged to help her. They will help him cross the border. He asks Khludov to take care of her, not to let her go to the panel, Khludov promises and gives 2 liras and a medallion. Charnota goes with Golubkov to Paris. They are going away. Dark.

Dream 7 (Paris, autumn 1921)

Golubkov asks Korzukhin for a $1,000 loan for Seraphima. Korzukhin won’t give it, he says that he has never been married and wants to marry his Russian secretary. Golubkov calls him a terrible soulless person and wants to leave, but Charnota comes, who says that he would sign up with the Bolsheviks to shoot him, and after shooting him, he would be discharged. Seeing the cards, he invites Korzukhin to play and sells him the Khludov medallion for 10 dollars. As a result, Charnota wins $20,000 and buys the medallion for $300. Korzukhin wants to return the money, and Lyusya comes running to his cry. Charnota is amazed, but does not betray her. Lyusya despises Korzukhin. She assures him that he himself lost the money and will not get it back. Everyone leaves. Lyusya quietly shouts out the window for Golubkov to take care of Seraphim, and for Charnot to buy some pants for himself. Dark.

Dream 8 (Constantinople, autumn 1921)

Khludov alone talks with the ghost of the messenger. He is suffering. Seraphima enters, tells him that he is ill, he is executed, and that he has released Golubkov. She is going to return to St. Petersburg. Khludov says that he will also return, and under his own name. Seraphima is terrified; she thinks he will be shot. Khludov is happy about this. They are interrupted by a knock on the door. This is Charnota and Golubkov. Khludov and Charnota leave, Serafima and Golubkov confess their love to each other. Khludov and Charnota return. Charnota says that he will stay here, Khludov wants to return. Everyone dissuades him. He calls Charnota with him, but he refuses: he has no hatred for the Bolsheviks. He's leaving. Golubkov wants to return the medallion to Khludov, but he gives it to the couple and they leave. Khludov alone writes something, rejoices that the ghost has disappeared. He goes to the window and shoots himself in the head. Dark.