"Polemic style ..."

These two episodes occurred, in a chronological sense, side by side - as if especially in order to make it easier to detect and formulate general patterns.

On August 30, the play “Twelve” was on the “Strelka” - a poetic performance compiled, as a shift Lego, from the performances of twelve modern poets.

The composition of the speakers almost perfectly covers the time-in the age range from Gandlevsky to Poluzkova, in aesthetic-from Fanail to Emelin ... Somewhere there, for some time I live and I, rightly understanding this as a great honor.

The director and co -author of the performance, Eduard Boyakov, also observed the political range of time: among the speakers traditionally there are a couple of young poets of left orientation.

Before the performance, the director reminded us of the aesthetically concise rules of the game: not a word other than poetry. He went out into the beam of light, stood on a label, read poetry, left.

Which did ten out of twelve.

And the two “leftists” did not endure - and staged a political performance, loudly supported from the hall by a small, but traditionally loud group of comrades in mental misfortune. In the strict and whole space of a poetic performance, all this looked stupid and tactless.

The next day, August 31, the “Limonovites” were hung on the Hall of Tchaikovsky a banner with a portrait and the dates of the life of Konstantin Kosyakin, an activist of the “Left Front” who recently passed away.

If Kosyakina killed the anti -people regime, I would express solidarity with this action, but, as luck would have it, it was here that the anti -people regime had nothing to do with it. The banner was from the very beginning - sew the mare tail, the reason for the scandal. Limonov used the deceased comrade with the same shameless arrogance, from which the day before, his young followers used us all, from Gandlevsky and Polozkova to the audience who came to the “arrow” is by no means for revolutionary agitation.

This loud shamelessness seems to me a common denominator.

“The style of polemics is more important than the object of polemics,” formulated the great philosopher Grigory Pomerantz. I would dare to develop this thought, for the style and subject of polemics are certainly related. The more reasonable the position in the polemic, the more correct the style is - and vice versa.

To prove the multiplication table, it is not necessary to scream and rush at the opponent with poop. In order to leave the winner from a deliberately lost dispute, it is absolutely necessary to give a halter, go out of line! So, the triumphant aggressive bad taste of the “leftists” is, according to my observations, a systemic and completely meaningful character.

Gandlevsky and Polozkova have something to say, and they have enough for the speech of a poetic alphabet. Their ambitious, but noticeably less gifted neighbor in the stage of this alphabet is not enough, and in the middle of a poetic evening he arranges a revolutionary performance. And judging by the gleam in the eyes, he himself is in a large buzz.

Now he will be noticed. Well, a couple of times it shimte - they will definitely notice ...

Limonov obviously lacks a political alphabet - in fact, he was never interested in anything except the scandal with a personal PR at the exit, and the worst day of his life was the day when he was forgotten to arrest him.

And now he is now satisfied with Swara on the grave of the late comrade, out of the blue, across the taste, meaning and agenda.

"Polemic style ..."

Photo by ITAR-TASS/ Anton Novoderezhkin