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Владимир Маяковский

1893-07-19編劇

性别:

生日:1893-07-19

出生地:Bagdati, Russian Empire

又名:В. Маяковский

职业:編劇

家庭成员:-

Vladimir Vladimirovich Mayakovsky (Russian: Владимир Владимирович Маяко́вский; 19 July [O.S. 7 July] 1893 – 14 April 1930) was a Soviet poet, playwright, artist, and actor. During his early, pre-Revolution period leading into 1917, Mayakovsky became renowned as a prominent figure of the Russian Futurist movement, being among the signers of the Futurist manifesto, A Slap in the Face of Public Taste (1913), and writing such poems as "A Cloud in Trousers" (1915) and "Backbone Flute" (1916). Mayakovsky produced a large and diverse body of work during the course of his career: he wrote poems, wrote and directed plays, appeared in films, edited the art journal LEF, and created agitprop posters in support of the Communist Party during the Russian Civil War. Though Mayakovsky's work regularly demonstrated ideological and patriotic support for the ideology of the Communist Party and a strong admiration of Vladimir Lenin, Mayakovsky's relationship with the Soviet state was always complex and often tumultuous. Mayakovsky often found himself engaged in confrontation with the increasing involvement of the Soviet State in cultural censorship and the development of the State doctrine of Socialist realism. Works that contained criticism or satire of aspects of the Soviet system, such as the poem "Talking With the Taxman About Poetry" (1926), and the plays The Bedbug (1929) and The Bathhouse (1929), were met with scorn by the Soviet state and literary establishment. In 1930 Mayakovsky committed suicide. Even after death his relationship with the Soviet state remained unsteady. Though Mayakovsky had previously been harshly criticized by Soviet governmental bodies such as the Russian Association of Proletarian Writers (RAPP), Premier Joseph Stalin described Mayakovsky after his death as "the best and the most talented poet of our Soviet epoch."

Владимир Маяковский在本站可看的作品

Владимир Маяковский在本站有2部作品,包括影视2部。 可在网页、手机 App 和电视端观看,也可以转到电视直播。

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Человек Маяковский
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Человек Маяковский

動畫,紀錄

1980-11-01 

《Человек Маяковский》(1980),這部傳記電影將鏡頭對準了蘇聯詩壇巨人馬雅可夫斯基的內心世界。不同於常規生平敘事,影片通過碎片化的場景與詩歌朗誦,交織展現了他與未來主義運動、革命浪潮以及三角戀情的複雜糾葛。亮點在於導演運用超現實手法,讓馬雅可夫斯基的詩歌直接化為人物的行動與對話,觀眾彷彿能聽見詩人在時代洪流中的吶喊與孤獨。黑白影像與紅色元素的強烈對比,強化了那個激情與壓抑並存的時代氛圍。即便對蘇聯文學不熟悉的觀眾,也能被這種詩意與悲劇感深深吸引。推薦給所有想通過電影感受革命者靈魂的影迷——這絕對是一部值得看的藝術傳記片。

Человек Маяковский

Мир без игры
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Мир без игры

紀錄

1966-05-29 

《Мир без игры》(1966),這部蘇聯實驗電影以冷峻的鏡頭語言構建了一個沒有遊戲、沒有虛構、一切行為都必須具備“真實效用”的反烏托邦世界。主人公是一名負責“娛樂監管”的官員,他奉命銷燬所有棋牌、樂器與童話書,卻在執行過程中發現人們開始用眼神交換秘密,用腳步在地面畫出無形的棋盤。影片用大量手持長鏡頭捕捉街頭民眾的細微反抗——孩童假裝跌倒的軌跡構成圖案,老人在麵包店排隊時哼出被禁的旋律。當主人公最終被自己蒐集的“違規幻想”灼傷內心,一場無聲的暴動在冬日的廣場上綻放。沒有慷慨激昂的臺詞,卻被譽為“用沉默唱出的讚歌”。對於喜歡思想實驗與形式創新的影迷,這部冷門佳作非常推薦。

Мир без игры

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Человек Маяковский
免費

Человек Маяковский

動畫,紀錄

1980-11-01 

《Человек Маяковский》(1980),這部傳記電影將鏡頭對準了蘇聯詩壇巨人馬雅可夫斯基的內心世界。不同於常規生平敘事,影片通過碎片化的場景與詩歌朗誦,交織展現了他與未來主義運動、革命浪潮以及三角戀情的複雜糾葛。亮點在於導演運用超現實手法,讓馬雅可夫斯基的詩歌直接化為人物的行動與對話,觀眾彷彿能聽見詩人在時代洪流中的吶喊與孤獨。黑白影像與紅色元素的強烈對比,強化了那個激情與壓抑並存的時代氛圍。即便對蘇聯文學不熟悉的觀眾,也能被這種詩意與悲劇感深深吸引。推薦給所有想通過電影感受革命者靈魂的影迷——這絕對是一部值得看的藝術傳記片。

Человек Маяковский

Мир без игры
免費

Мир без игры

紀錄

1966-05-29 

《Мир без игры》(1966),這部蘇聯實驗電影以冷峻的鏡頭語言構建了一個沒有遊戲、沒有虛構、一切行為都必須具備“真實效用”的反烏托邦世界。主人公是一名負責“娛樂監管”的官員,他奉命銷燬所有棋牌、樂器與童話書,卻在執行過程中發現人們開始用眼神交換秘密,用腳步在地面畫出無形的棋盤。影片用大量手持長鏡頭捕捉街頭民眾的細微反抗——孩童假裝跌倒的軌跡構成圖案,老人在麵包店排隊時哼出被禁的旋律。當主人公最終被自己蒐集的“違規幻想”灼傷內心,一場無聲的暴動在冬日的廣場上綻放。沒有慷慨激昂的臺詞,卻被譽為“用沉默唱出的讚歌”。對於喜歡思想實驗與形式創新的影迷,這部冷門佳作非常推薦。

Мир без игры

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查看全部内容

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