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Клоп
Свою комедию "Клоп" В. Маяковский называл антиводочной агиткой. Слово "агитка" для него было сознательной тенденцией, он мечтал о "веселой агитации со звоном". Такой "веселой и со звоном" сделал книгу художник Георгий Ковенчук.
151 pages, Hardcover
First published January 1, 1929
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About the author
Vladimir Mayakovsky
505 books629 followersVladimir Mayakovsky (Владимир Владимирович Маяковский) was born the last of three children in Baghdati, Russian Empire (now in Georgia) where his father worked as a forest ranger. His father was of Ukrainian Cossack descent and his mother was of Ukrainian descent. Although Mayakovsky spoke Georgian at school and with friends, his family spoke primarily Russian at home. At the age of 14 Mayakovsky took part in socialist demonstrations at the town of Kutaisi, where he attended the local grammar school. After the sudden and premature death of his father in 1906, the family — Mayakovsky, his mother, and his two sisters — moved to Moscow, where he attended School No. 5.
In Moscow, Mayakovsky developed a passion for Marxist literature and took part in numerous activities of the Russian Social Democratic Labour Party; he was to later become an RSDLP (Bolshevik) member. In 1908, he was dismissed from the grammar school because his mother was no longer able to afford the tuition fees.
Around this time, Mayakovsky was imprisoned on three occasions for subversive political activities but, being underage, he avoided transportation. During a period of solitary confinement in Butyrka prison in 1909, he began to write poetry, but his poems were confiscated. On his release from prison, he continued working within the socialist movement, and in 1911 he joined the Moscow Art School where he became acquainted with members of the Russian Futurist movement. He became a leading spokesman for the group Gileas (Гилея), and a close friend of David Burlyuk, whom he saw as his mentor.
The 1912 Futurist publication A Slap in the Face of Public Taste (Пощёчина общественному вкусу) contained Mayakovsky's first published poems: Night (Ночь) and Morning (Утро). Because of their political activities, Burlyuk and Mayakovsky were expelled from the Moscow Art School in 1914.
His work continued in the Futurist vein until 1914. His artistic development then shifted increasingly in the direction of narrative and it was this work, published during the period immediately preceding the Russian Revolution, which was to establish his reputation as a poet in Russia and abroad.
Mayakovsky was rejected as a volunteer at the beginning of WWI, and during 1915-1917 worked at the Petrograd Military Automobile School as a draftsman. At the onset of the Russian Revolution, Mayakovsky was in Smolny, Petrograd. There he witnessed the October Revolution.
After moving back to Moscow, Mayakovsky worked for the Russian State Telegraph Agency (ROSTA) creating — both graphic and text — satirical Agitprop posters. In 1919, he published his first collection of poems Collected Works 1909-1919 (Все сочиненное Владимиром Маяковским). In the cultural climate of the early Soviet Union, his popularity grew rapidly. As one of the few Soviet writers who were allowed to travel freely, his voyages to Latvia, Britain, Germany, the United States, Mexico and Cuba influenced works like My Discovery of America (Мое открытие Америки, 1925). He also travelled extensively throughout the Soviet Union.
The relevance of Mayakovsky's influence cannot be limited to Soviet poetry. While for years he was considered the Soviet poet par excellence, he also changed the perceptions of poetry in wider 20th century culture. His political activism as a propagandistic agitator was rarely understood and often looked upon unfavourably by contemporaries, even close friends like Boris Pasternak. Near the end of the 1920s, Mayakovsky became increasingly disillusioned with the course the Soviet Union was taking under Joseph Stalin: his satirical plays The Bedbug (Клоп, 1929) and The Bathhouse (Баня, 1930), which deal with the Soviet philistinism and bureaucracy, illustrate this development.
On the evening of April 14, 1930, Mayakovsky shot himself.
In Moscow, Mayakovsky developed a passion for Marxist literature and took part in numerous activities of the Russian Social Democratic Labour Party; he was to later become an RSDLP (Bolshevik) member. In 1908, he was dismissed from the grammar school because his mother was no longer able to afford the tuition fees.
Around this time, Mayakovsky was imprisoned on three occasions for subversive political activities but, being underage, he avoided transportation. During a period of solitary confinement in Butyrka prison in 1909, he began to write poetry, but his poems were confiscated. On his release from prison, he continued working within the socialist movement, and in 1911 he joined the Moscow Art School where he became acquainted with members of the Russian Futurist movement. He became a leading spokesman for the group Gileas (Гилея), and a close friend of David Burlyuk, whom he saw as his mentor.
The 1912 Futurist publication A Slap in the Face of Public Taste (Пощёчина общественному вкусу) contained Mayakovsky's first published poems: Night (Ночь) and Morning (Утро). Because of their political activities, Burlyuk and Mayakovsky were expelled from the Moscow Art School in 1914.
His work continued in the Futurist vein until 1914. His artistic development then shifted increasingly in the direction of narrative and it was this work, published during the period immediately preceding the Russian Revolution, which was to establish his reputation as a poet in Russia and abroad.
Mayakovsky was rejected as a volunteer at the beginning of WWI, and during 1915-1917 worked at the Petrograd Military Automobile School as a draftsman. At the onset of the Russian Revolution, Mayakovsky was in Smolny, Petrograd. There he witnessed the October Revolution.
After moving back to Moscow, Mayakovsky worked for the Russian State Telegraph Agency (ROSTA) creating — both graphic and text — satirical Agitprop posters. In 1919, he published his first collection of poems Collected Works 1909-1919 (Все сочиненное Владимиром Маяковским). In the cultural climate of the early Soviet Union, his popularity grew rapidly. As one of the few Soviet writers who were allowed to travel freely, his voyages to Latvia, Britain, Germany, the United States, Mexico and Cuba influenced works like My Discovery of America (Мое открытие Америки, 1925). He also travelled extensively throughout the Soviet Union.
The relevance of Mayakovsky's influence cannot be limited to Soviet poetry. While for years he was considered the Soviet poet par excellence, he also changed the perceptions of poetry in wider 20th century culture. His political activism as a propagandistic agitator was rarely understood and often looked upon unfavourably by contemporaries, even close friends like Boris Pasternak. Near the end of the 1920s, Mayakovsky became increasingly disillusioned with the course the Soviet Union was taking under Joseph Stalin: his satirical plays The Bedbug (Клоп, 1929) and The Bathhouse (Баня, 1930), which deal with the Soviet philistinism and bureaucracy, illustrate this development.
On the evening of April 14, 1930, Mayakovsky shot himself.
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May 13, 2023
آیندهی حکومت نوپای کمونیستی از نظر مایاکوفسکی، جهانی است که عشق به مردم جای عشق فردی و الکل را گرفته. از سوی دیگر این آینده در کاهش خودمختاری انسان به نفع جامعه هم سنگ تمام گذاشته. بنابراین هم میتوان گفت این اثر نقدی است بر آیندهی بوروکراتیک شوروی، و هم ردیهای است به سیاستهای اقتصادی خردهبورژوازی در دوران مایاکوفسکی.
October 26, 2017
پری سب کین قهرمان منفی نمایشنامه که اصل و نسب پرولتریاش را مایه مباهات میداند دچار مرگی موقت میشود و در آینده دوباره به زندگی برمیگردد و چهره ی زشت خود را در آیینه آینده میبیند....
آیندهنگری یا فوتوریسم یکی از جنبش های هنری اوایل قرن بیستم بود که مرکز آن ایتالیا قرار داشت و در سایر کشورها از جمله روسیه هم فعالیت میکرد. فوتوریست ها در زمینه هایی مانند مجسمه سازی، نقاشی، موسیقی وتئاتر و .... فعالیت داشتند و ایدئولوژیشان در اندیشه ی افرادی چون ژرژ سورل، برگسون و نیچه ریشه داشت. آنها معتقد بودند هنر هیچ نیست جز خشونت و شقاوت و بیعدالتی و هنر فوتوریستی می خواهد انسان را از غرق شدن در مدرنیته و تن دادن به زندگی بی روح شهری نجات دهد و تنها هنری میتواند به انسان رهایی بخشد که هنری آزاد از قید و بند گذشته و رها از قالبهای کلاسیک وسنتی باشد.
. یکی از نمایندگان فوتوریسم مایاکوفسکی بود که این مکتب را روش مناسبی برای تبلیغ اندیشه های انقلابی میدانست
زندگی مایاکوفسکی در ۱۹۳۰ با شلیک گلوله به قلبش خاتمه مییابد شاید دلیل خودکشی او شکست عشقی و سرخوردگی از وضعیت اسفبار سیاسی و اجتماعی در شوروی بوده هر چه بود با مرگش فوتوریسم هم خاموش شد.
آیندهنگری یا فوتوریسم یکی از جنبش های هنری اوایل قرن بیستم بود که مرکز آن ایتالیا قرار داشت و در سایر کشورها از جمله روسیه هم فعالیت میکرد. فوتوریست ها در زمینه هایی مانند مجسمه سازی، نقاشی، موسیقی وتئاتر و .... فعالیت داشتند و ایدئولوژیشان در اندیشه ی افرادی چون ژرژ سورل، برگسون و نیچه ریشه داشت. آنها معتقد بودند هنر هیچ نیست جز خشونت و شقاوت و بیعدالتی و هنر فوتوریستی می خواهد انسان را از غرق شدن در مدرنیته و تن دادن به زندگی بی روح شهری نجات دهد و تنها هنری میتواند به انسان رهایی بخشد که هنری آزاد از قید و بند گذشته و رها از قالبهای کلاسیک وسنتی باشد.
. یکی از نمایندگان فوتوریسم مایاکوفسکی بود که این مکتب را روش مناسبی برای تبلیغ اندیشه های انقلابی میدانست
زندگی مایاکوفسکی در ۱۹۳۰ با شلیک گلوله به قلبش خاتمه مییابد شاید دلیل خودکشی او شکست عشقی و سرخوردگی از وضعیت اسفبار سیاسی و اجتماعی در شوروی بوده هر چه بود با مرگش فوتوریسم هم خاموش شد.
September 27, 2012
It's been years since I've read this and my memory is a bit fuzzy. Also, data on Mayakovsky is very hard to get.
But I'm baffled he wasn't disowned because of this one.
Now, the main object of the criticism is a "social parasite" of sorts. The kind that sways its opinion with shift of regime and seeks the best way to profit through flattery. And I understand that a criticism of these would have been approved.
But I could swear this play also had very ironic take on both the contemporary society and some extreme ideas about how culture should be reshaped. I'd go as far as to describe his future SSSR as dystopian.
Selective blindness?
After all, he killed himself a year after writing this.
Now, where to find "Bathtub"...
But I'm baffled he wasn't disowned because of this one.
Now, the main object of the criticism is a "social parasite" of sorts. The kind that sways its opinion with shift of regime and seeks the best way to profit through flattery. And I understand that a criticism of these would have been approved.
But I could swear this play also had very ironic take on both the contemporary society and some extreme ideas about how culture should be reshaped. I'd go as far as to describe his future SSSR as dystopian.
Selective blindness?
After all, he killed himself a year after writing this.
Now, where to find "Bathtub"...
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January 11, 2022داغون شدم اصن
در کل شاید فقط بیس درصدش رو فهمیده باشم
ستاره ندادم چون مشکل از درک من بود
در کل شاید فقط بیس درصدش رو فهمیده باشم
ستاره ندادم چون مشکل از درک من بود
September 27, 2025
No, esto no es para el alma. Déjenme en paz con sus groseras propagandas. Lo que necesito es algo que me haga cosquillas...
Narrado a través del skaz popular ruso, Maiakovsky saca a relucir las contrariedades ideológicas del estado soviético, luego de la revolución de Octubre, mientras vislumbra, con predicción futurista, el destino occidentalizador, de su querida nación. El animal y el hombre se fusionan en esta obra de teatro utópica, tal como Trotsky y Stalin, con el fin de caricaturizar al bolchevique con ansias burguesas, el cual ignora el fracaso de ese supuesto progreso, por medio de un estancamiento social en la forma de un zoológico humano. Es Prisipkin quien sufre los embates de este futuro cristalizado y carente de emoción, aquel el cual lo aleja de los excesos del foxtrot y el vodka, para usarlo como una muestra parasitaria de un tiempo ya extinto, olvidado y borrado, de las manos del peligro totalizador.
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December 29, 2025Há um bocadinho de peça neste caos.
July 25, 2019
Sin dudas, Maiakovski fue el poeta de la Revolución. Sin embargo, con el correr de los tiempos, notó que los ideales revolucionarios se distanciaban mucho de la realidad concreta soviética.
Y esto es lo que, con un uso magistral de la sátira, realiza en esta “comedia en nueve cuadros”: una crítica concisa hacia la burocracia -encarnada en la figura de Prispkin-. Este personaje reniega de su condición proletaria y, en cambio, se deslumbra con las excentricidades de los Renaissance, quienes se vieron muy favorecidos con la Nueva Política Económica (NEP). Pero hacía el cuadro quinto, la obra se desarrolla en un futuro distópico: el comunismo ha triunfado y la sociedad se ha vuelto moralista, rígida, mecánica. Y, en este nuevo mundo, las costumbres burguesas de Prispkin se observan como “microbios” altamente contaminantes. Así pues, esta figura pasará a ser un “bicho raro” y, por lo tanto, lo expondrán en una jaula -junto a su chinche- cual animal exótico.
En síntesis, Maiakovski, a través del uso de la sátira y la distopía, realiza una crítica social muy dura no sólo al devenir de la revolución rusa, que cada vez se volvía más burocrática, sino también al peligro que supondría crear una sociedad utópica en la que la felicidad universal está por encima de las libertades individuales. En este sentido, cabe la pregunta: ¿es preferible que las personas tengan deseos y excentricidades por más execrables que sean, a que una sociedad, en nombre de un bien mayor, censure las posibilidades individuales de libertad?
Y esto es lo que, con un uso magistral de la sátira, realiza en esta “comedia en nueve cuadros”: una crítica concisa hacia la burocracia -encarnada en la figura de Prispkin-. Este personaje reniega de su condición proletaria y, en cambio, se deslumbra con las excentricidades de los Renaissance, quienes se vieron muy favorecidos con la Nueva Política Económica (NEP). Pero hacía el cuadro quinto, la obra se desarrolla en un futuro distópico: el comunismo ha triunfado y la sociedad se ha vuelto moralista, rígida, mecánica. Y, en este nuevo mundo, las costumbres burguesas de Prispkin se observan como “microbios” altamente contaminantes. Así pues, esta figura pasará a ser un “bicho raro” y, por lo tanto, lo expondrán en una jaula -junto a su chinche- cual animal exótico.
En síntesis, Maiakovski, a través del uso de la sátira y la distopía, realiza una crítica social muy dura no sólo al devenir de la revolución rusa, que cada vez se volvía más burocrática, sino también al peligro que supondría crear una sociedad utópica en la que la felicidad universal está por encima de las libertades individuales. En este sentido, cabe la pregunta: ¿es preferible que las personas tengan deseos y excentricidades por más execrables que sean, a que una sociedad, en nombre de un bien mayor, censure las posibilidades individuales de libertad?
December 29, 2010
نمایشنامه خوبی بود
May 20, 2020
Eles não usam Black Tie russo
December 24, 2015
que jóia.
May 28, 2020
Empecé esta lectura con muchas ganas. Además, es la primera vez que me enfrentaba a un autor ruso. Y vaya que lo he disfrutado.
La historia es bastante clara, así que solo diré lo indispensable: en la Rusia revolucionaria, el obrero Prsipkin es casualmente congelado el día de su boda. Cincuenta años más tarde, los científicos de un mundo en el que la Revolución Soviética ha triunfado (se menciona, entre otros, el soviet de Chicago, por ejemplo) lo encuentran y lo traen de vuelta.
El texto se divide en dos grandes partes: toda la historia previa de Prisipkin (antes de ser congelado) y su historia posterior (después de ser descongelado). Todo es tratado con mucho humor y la crítica a la idea del mundo ideal es bastante evidente.
A lo largo de todo el libro, el autor propone constantemente metáforas interesantes, como la de la chinche (parásito) que le da nombre a la obra. Y es que Prisipkin es visto como un parásito, un ser extraño por el simple hecho de ser diferente. La supresión del lenguaje, un tema bastante común en las distopias, también está presente en esta historia. Los ciudadanos deben buscar en un diccionario antiguo el significado de palabras que expresan sentimientos o sensaciones demasiado exacerbadas (excitación emocional, por ejemplo). Por otro lado, si bien recordar el pasado no está prohibido, sí es percibido como algo negativo. La gente prefiere no recordar porque lo ven como algo primitivo.
Si hubo algo que no me gustó fue que se trata de un texto muy corto y siento que eso le impide al autor ahondar mucho más en sus posturas. Me hubiera gustado saber más sobre sus opiniones, conocer más a fondo las metáforas que utilizó, disfrutar más esas imágenes, pero bueno, no se pudo. Igual me da gusto haberlo leído.
La historia es bastante clara, así que solo diré lo indispensable: en la Rusia revolucionaria, el obrero Prsipkin es casualmente congelado el día de su boda. Cincuenta años más tarde, los científicos de un mundo en el que la Revolución Soviética ha triunfado (se menciona, entre otros, el soviet de Chicago, por ejemplo) lo encuentran y lo traen de vuelta.
El texto se divide en dos grandes partes: toda la historia previa de Prisipkin (antes de ser congelado) y su historia posterior (después de ser descongelado). Todo es tratado con mucho humor y la crítica a la idea del mundo ideal es bastante evidente.
A lo largo de todo el libro, el autor propone constantemente metáforas interesantes, como la de la chinche (parásito) que le da nombre a la obra. Y es que Prisipkin es visto como un parásito, un ser extraño por el simple hecho de ser diferente. La supresión del lenguaje, un tema bastante común en las distopias, también está presente en esta historia. Los ciudadanos deben buscar en un diccionario antiguo el significado de palabras que expresan sentimientos o sensaciones demasiado exacerbadas (excitación emocional, por ejemplo). Por otro lado, si bien recordar el pasado no está prohibido, sí es percibido como algo negativo. La gente prefiere no recordar porque lo ven como algo primitivo.
Si hubo algo que no me gustó fue que se trata de un texto muy corto y siento que eso le impide al autor ahondar mucho más en sus posturas. Me hubiera gustado saber más sobre sus opiniones, conocer más a fondo las metáforas que utilizó, disfrutar más esas imágenes, pero bueno, no se pudo. Igual me da gusto haberlo leído.
July 26, 2021
3,5 stars, really!
Prisypkin adora la chitarra. È un ex lavoratore e un ex membro del partito. È anche un fidanzato, solo che l'operaia che lo accompagna non gli garba più e infatti la cambia con nonchalance. Vuole emergere e accasarsi con una rappresentante del ceto borghese. Al suo banchetto nuziale ospiti fanfaroni rovesciano inavvertitamente la stufa e il fuoco, in fretta, divora ogni cosa. Muoiono tutti, naturalmente, ma non il nostro che, congelatosi sotto il getto degli idranti dei vigili del fuoco, cade in stato di ibernazione e viene scongelato nel futuro, dopo ben 10 piani quinquennali... Con lui, alla fine degli anni '70 ritorna in vita anche una cimice dei letti (cimex lectularius), un insetto succhiasangue che 50 anni prima gli si era intrufolato nel colletto della camicia.
Esemplari di fauna ormai estinta in un futuro artificiale, freddo e razionale. «Esseri di varia dimensione, ma identici nella sostanza». «Ambedue si trascinano nei puteolenti materassi del tempo» e parassitano dove possono: l'una il corpo umano, l'altro l'intero corpo sociale. Torna in uso la "birra" e si diffondono "malattie" (adulazione, amore acuto...). La nuova collettività decide quindi di rinchiudere i 2 insieme, nella gabbia di uno zoo. Separati dal mondo esterno, sono stranamente a disposizione della pubblica curiosità. «Cittadini! Fratelli! Miei cari! Da dove venite? Quanti siete? Quand'è che vi hanno scongelato? Perché solo io sto in gabbia?» (rif. La cimice, Nuova Accademia Editrice, 1965, con prefazione di Luigi Ferrante). Si legge tutto d'un fiato.
Prisypkin adora la chitarra. È un ex lavoratore e un ex membro del partito. È anche un fidanzato, solo che l'operaia che lo accompagna non gli garba più e infatti la cambia con nonchalance. Vuole emergere e accasarsi con una rappresentante del ceto borghese. Al suo banchetto nuziale ospiti fanfaroni rovesciano inavvertitamente la stufa e il fuoco, in fretta, divora ogni cosa. Muoiono tutti, naturalmente, ma non il nostro che, congelatosi sotto il getto degli idranti dei vigili del fuoco, cade in stato di ibernazione e viene scongelato nel futuro, dopo ben 10 piani quinquennali... Con lui, alla fine degli anni '70 ritorna in vita anche una cimice dei letti (cimex lectularius), un insetto succhiasangue che 50 anni prima gli si era intrufolato nel colletto della camicia.
Esemplari di fauna ormai estinta in un futuro artificiale, freddo e razionale. «Esseri di varia dimensione, ma identici nella sostanza». «Ambedue si trascinano nei puteolenti materassi del tempo» e parassitano dove possono: l'una il corpo umano, l'altro l'intero corpo sociale. Torna in uso la "birra" e si diffondono "malattie" (adulazione, amore acuto...). La nuova collettività decide quindi di rinchiudere i 2 insieme, nella gabbia di uno zoo. Separati dal mondo esterno, sono stranamente a disposizione della pubblica curiosità. «Cittadini! Fratelli! Miei cari! Da dove venite? Quanti siete? Quand'è che vi hanno scongelato? Perché solo io sto in gabbia?» (rif. La cimice, Nuova Accademia Editrice, 1965, con prefazione di Luigi Ferrante). Si legge tutto d'un fiato.
September 6, 2025
Devia ser uma peça e tanto, com o cenário do Rodchenko, que inclusive ilustra a capa da edição que li, da Editora 34. Como texto, é divertido e faz uma crítica contundente, que na minha interpretação pareceu apontar o oportunismo de agentes da (no caso do livro, proveniente da própria classe trabalhadora) no seio da Revolução de Outubro. Podems definir esse problema como a aristocratização dos que foram beneficiados pelo processo revolucionário. Um grande problema que, como sabemos, mais tarde dominou o partido e se serviu de sua burocratização. No entanto, Mayakovsky não é tão simples, e ele também contrasta de maneira ousada seu antiherói Prissipkin com um futuro socialista asséptico, que se apresenta como uma era da alta cultura mas que parece desprovido de alma humana. Contudo, talvez eu tenha me interessado mais pelo posfácio do Boris Shnaiderman, que, aguçado, apresentou (e criticou) o contexto da concepção da peça tanto na Rússia quanto, principalmente, no Brasil.
August 31, 2023
Not to be a dick but Mayakovsky didn't need to make the money grubbing woman Jewish and Shostakovich was right to criticise this play and the man himself¹.
It has many qualities, but it's... Extremely flawed, too. Tankies feel free to hate me in the comments but I won't read them <3
¹"Shostakovich later remembered: "I can readily say that Mayakovsky epitomized all the traits of character I detest: phoniness, love of self-advertisement, lust for the good life, and most important, contempt for the weak and servility before the strong. Power was the great moral law for Mayakovsky."" (Symphony For The City Of The Dead, pg. 67)
It has many qualities, but it's... Extremely flawed, too. Tankies feel free to hate me in the comments but I won't read them <3
¹"Shostakovich later remembered: "I can readily say that Mayakovsky epitomized all the traits of character I detest: phoniness, love of self-advertisement, lust for the good life, and most important, contempt for the weak and servility before the strong. Power was the great moral law for Mayakovsky."" (Symphony For The City Of The Dead, pg. 67)
December 28, 2019
This book is the Portuguese translation of the play Клоп (in English: ``The Bedbug’’) by the great Futurist Russian author Vladimir Maiakovski: a satire of the social upstarts that were product of the New Economic Policy (the so called NEP men), but also a critical view of Soviet society in the late 1920s. This nice edition is enriched with a text by Boris Schnaiderman about the play (illustrated with three 1929 photographs) and about the production of the play in Brazil.
December 14, 2024
Vladimir Maiakovski pode ser mais conhecido por sua poesia, mas deixou sua marca no teatro. E "O percevejo", de 1928, é apotanda como sua principal obra para os palcos. A tradução foi feita pelo diretor teatral Luís Antonio Martinez Corrêa e a revisão, posfácio e cronologia da vida e obra do autor por Boris Schnaiderman. A edição também traz um texto inédito de Maiakóvski sobre a peça.
Uma obra que satiriza os excessos da revolução bolchevique. E ainda contém fortes elementos de ficção científica.
Uma obra que satiriza os excessos da revolução bolchevique. E ainda contém fortes elementos de ficção científica.
November 20, 2019
obviously I didn't read this in Japanese, haha. I read this in my guy daniels translation, which still doesn't quite hold up to how I originally remember it. regardless, incredibly charming play (although I prefer the first half, pre-50 year time jump), and with a little cleaner translation (meaning, more rhyming!), this could be a HOOT here.
watch out houston! (or wherever I'll be) as soon as I get a theater, I'm staging all these Mayakovsky plays for your entertainment and enlightenment.
watch out houston! (or wherever I'll be) as soon as I get a theater, I'm staging all these Mayakovsky plays for your entertainment and enlightenment.
December 31, 2022
Esta era a primeira peça de teatro que consegui ler inteiro; não é meu meio comum para leitura. A história flui rapidamente e facilmente e a mensagem por trás era interessante e relevante ao longo das décadas.
April 26, 2019
Incredibly short and immensely entertaining read. Certainly a very strong contender in the renowned tradition of Russian satire, akin to the likes of Bulgakov.
February 8, 2021
é mestre, né
April 6, 2021
Comedia y teatro que reflejan el humor de la sociedad de la URSS y las contradicciones de esta. Muy divertida y fácil de leer.
October 13, 2021
a virada da Cena 3 para a Cena 4 é o maior plot twist do teatro e eu posso provar
This entire review has been hidden because of spoilers.
March 11, 2022
uma loucura, realmente
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June 14, 2024Ou como a cultura é arte reflete a sensibilidade da alma humana e extremismos ideológicos querem "destrui-la. Lo modernista Maiakóvski com uma sátira e "pitada scifi".
February 6, 2025
eu realmente ri em várias partes. não esperava
May 23, 2019
Ri-me a bandeiras despregadas durante todo o livro todo. A sátira é mordaz, a história é acelerada, e tenho certeza de que perdi algumas referências importantes, mas ok. Por ser uma peça de teatro, a história se desenvolve a partir de díalogos e dos conflitos no palo. Mas além do humor caústico, de que forma reagir a uma realidade soviética que cada vez mais se aproximava do absurdo completo?
June 9, 2013
Bastante atual, como todas as obras produzidas por mentes geniais. Vejo várias pessoas do nosso mundinho latino contemporâneo, do meu próprio mundinho cotidiano, descritas nas personagens desta peça, basicamente ambientada numa atmosfera de frustração, íntima e coletiva, no pós-revolução russa. Não é à tôa que Maiakóvski se suicidou pouco tempo depois dessa obra. Possuir a clareza que ele teve nas constatações aqui encenadas é de doer.
August 11, 2014
Uma sátira mordaz do parasita conhecido por "Philistinus vulgaris".
Mayakóvsky: o maior dos poetas-punk!
Resenha completa em breve no
http://www.awestruckwanderer.wordpres....
Mayakóvsky: o maior dos poetas-punk!
Resenha completa em breve no
http://www.awestruckwanderer.wordpres....
September 7, 2017
Interesante.
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