Холодинська С. М. ФУТУРИСТИЧНА СКЛАДОВА ТВОРЧОЇ СПАДЩИНИ ҐЕО (ГЕОРГІЯ) ШКУРУПІЯ
Journal Title: Гуманітарний часопис - Year 2016, Vol 1, Issue 3
Abstract
Kholodynskaya Svitlana FUTURISTIC COMPONENT OF GEO (GEORGIY) SHKURUPIY’S CREATIVE HERITAGE The author of the article reckons that the history and theory of Ukrainian futurism, in whose formation Mihajl Semenko played a profound role, cannot be reconstructed impartially and in full beyond the personalized recreation of the life and creative work of other participants of this literary and artistic movement. Within this context the prose writer and the poet Geo (Georgiy) Shkurupiy (1903–1937) deserves special consideration. Geo Shkurupiy made his debut as a prose writer in literary and creative miscellany ‘Grono’ when he was 17. Having published his works “My (‘We’) and “V chas velukyh strazhdan’” (‘During the times of great sufferings’) on literary miscellany’s pages, the young writer joined the group of Ukrainian writers. At the same time, besides the prose works, Geo Shkurupiy had a go at writing poetry, publishing collected verses “Vyr revolyutsii” (‘The vortex of the revolution’) in the same literary miscellany. It was during the period of the first literary experiments when Geo Shkurupiy was keen on futurism aesthetics and its rich opportunities for literary form. He cooperated fruitfully with M. Semenko for some years. When he was 19, Geo revealed his first collection of futuristic verses “Psyhetozy” (‘Psycho theses. Showcase three’); and in 1923 his next collection “Baraban” (‘Drum. Showcase two’) was published. In those two books Geo Shkurupiy claimed to be the poet-futurist, having worked out the texts and edition design in detail that emphasized the uniqueness, originality of the works. These details included book cover to draw everyone’s attention, inclusion of Latin font and layout for twenty three verses printed without capitals and punctuation marks, with the titles given in large letters exceeding the line size etc. The first attempts towards innovative design of futuristic editions were made by Italian futurists F. Marinetti and F. Kanjullo while publishing promulgation manifesto ‘The words in freedom’ within 1912–1915. Russian poets (V. Kamenskiy, Vlad and David Burlyuki) followed the similar tendency. Not only poets-futurists but the representatives of other kinds of art, engaged in experiments of Russian avant-garde (e.g. Kazimir Malevich), acknowledged the principle significance of revolutionary processes in grammar as well as in traditional bookish graphic works. In spite of their nationality, futurists tried to draw attention, shock the reader and challenge traditions. At the same time, such illogical design of their works set another goal: to make a reader lose one’s train of canonical thought, suggest that a reader should expand the borders of imagination and fantasy and encourage one to become a cocreator. Alongside with those who considered the theatre to begin with the cloakroom, the futurists were sure that immersion in their works should start with the first touch of their books. Like all other editions of Ukrainian poets-futurists, G. Shkurupiy’s ‘Psycho theses. Showcase three’ was keenly criticized. Though such critic reviews bore the ideas to be perceived critically too. Within this context, the author of the article uses the tool “criticism of criticism” referring to the representatives of several ‘waves’ of critique – M. Yogansen, V. Rolenko and L. Starinkevich. Therefore, the whole futuristic movement became the aggrieved party, as great majority of Ukrainian and Russian critique was not able to have a good look at all innovations the futurism kept. The most part of the criticism was aimed at the mockery and humiliation of young experimenters as well as at personal offense. However, estimating the personal contribution of G. Shkurupiy to the development of futuristic aesthetics, the article states that a lot of young Geo Shkurupiy’s searches coincided with M. Semenko’s creative program. Geo denied poetic lyricism in his first literary experiments. Geo’s artistic impulses agreed with M. Semenko’s desire to stress his own “I”. Thanks to the verses such as ‘Self-portrait’ the both poets singled out and fixed individualized model of new times’ creator. It is evident that G. Shkurupiy was attracted by such feature of poetic form as rhythm. Like many futurists he was fond of word-formation ideas. In such a way his experiments have much in common with the samples of Velimir Khlebnikov’s (1885–1922) poetic innovation. At the same time G. Shkurupiy’s futuristic poetry cultivated the phenomenon of the ‘new’, that is the basic principle of his creative work in general – the creativity starts from making something new. It was the main task of the poet at the early stage of his own literary activity. Within 1924-1927 G. Shkurupiy ceased his cooperation with futuristic unions. The elements of neo-romantic aesthetics penetrated into his creative work. During the period of breaking his active collaboration with futurists G. Shkurupiy became interested in cinematography, working as an editor and co-scriptwriter of the films produced at Odessa film studio in 1926. At that time he was fascinated with contents and formal opportunities of the art, showing interest not only in futurism and neoromanticism but also in dadaism. The author of the article states that the topic ‘futurism-dadaism’ occurs periodically in the context of European as well as Ukrainian avant-garde reconstruction. So the most traditional theoretical construction is to consider dadaism as forerunner of surrealism. Such position is supported by the Ukrainian anesthetist L. Levchuk. After 1927 the creative life of G. Shkurupiy is connected with futurists and marked by an active participation in comprehension and working out the ways of further development of the new art. Geo, like all futurists, denied the idea of mimesis and tried to ground the idea of shift. Such interpretation of rather loquacious theoretical notes by G. Shkurupiy creates the specific foundation for the correlation of ‘revolutionary conditional character’ with ‘the fourth dimension’ as the feature of futuristic art and human possibilities to exist in that ‘fourth dimension’. Since 1925 G. Shkurupiy promoted himself as a prose writer attracting the readers with the collection of short stories “Peremozhets’ drakona” (‘The dragon’s winner’). The following years Shkurupiy published a set of different prose works in the genre – ‘Staff of Death’, ‘January Riot’, ‘Doors to a Day’, ‘Ugly moment’, ‘Ruined captivity’ etc. – which were of great interest both to readers and critics. The noticeable moment in the poet’s life was connected with his trip to Mongolia (1930), the stories ‘Mongol stories’ were the result of it. At the period mentioned, the active cooperation of G. Shkurupiy with futuristic movement was going on, which is significant for his organizational career: since 1930 he was at the head of “New Generation” Kiev branch and an editor of its printed organ “Avant-garde literary miscellany of New Generation proletarian writers”. Creative work of G. Shkurupiy ended tragically on December 3, 1934: he was arrested as a member of Kiev terroristic organization - Union of Ukrainian Nationalists; on April 27, 1935 he was sentenced to 10 years. He passed away in 1937. The following conclusions are made: 1. In G. Shkurupiy’s creative heritage, futurism as an artistic movement and as a specific aesthetic and artistic platform is quite significant; 2. His fascination with neo romanticism and dadaism, though enriched creative searches of the young poet, had no principal significance for his personal outlook; 3. Being the youngest among the first generation of futurists, G. Shkurupiy accepted the demands of futuristic aesthetics, enriching it in his further work and giving it the individual coloring; 4. While reconstructing the history of Ukrainian futurism the author emphasizes that the object of theoretical analysis has to be the bookish graphics that became the main way of popularizing and bringing futuristic ideas to the audience by means of publishing G. Shkurupiy’s poetic collections and all models of futuristic movement; 5. Having only 14 years (1920–1934) between his literary debut and arrest that put an end to his freedom, and later, the poet’s life, Georgiy, firstly, was able to shape himself as an outstanding personality, secondly, to create unique poetry and prose, and, thirdly, to take an important place in the history of Ukrainian literature.
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