Khokhlov Vladimir
Definition: Z/K, Head of the central propaganda team of Sevzheldorlag
Documents (1)
Fund 06 / Inventory 1 / Case Ерухимович Соломон Вульфович
1. The story-recollection of Erukhimovich S.V. "Theater on the railroad"
The author was arrested in 1937 and sentenced to 10 years in the camps as a Japanese spy because he was born in Harbin and lived there for 21 years.
The memoirs are a story about the organization in the Gulag of concert and theater groups in which he worked.
The beginning of the memories is reflections on whether the author and his friends, actors and musicians, had the right to engage in art, while other prisoners were engaged in slave labor, lived in monstrous barracks, starved. Realizing that the system used these groups for its "savage" purposes, the author hopes that with their performances they brightened up the terrible life of the camps. A story about two episodes - blaming and justifying the actors: a concert in a sangorodok where prisoners with pellagra were gathered (they did not react to the performances, meekly and indifferently sitting in the hall), and a concert in front of prisoners women who cried, remembering their past life, and were grateful to the speakers.
The following is a description of the cell in the Big House, where he ended up immediately after his arrest. Assignment of the in-cell number - 221, although the cell was designed for 23 people. “Cultural enlightenment work” in the cell: a retelling of the content of films by a famous screenwriter (after he left the cell, he retold the films he saw in Harbin, the author), the performance of Vertinsky by the songwriter, reading poems, stories by him and other prisoners.
In February, sending to the camp. During the stages, the author "squeezed" the novels. An episode when the criminals, after such a story, returned the bread taken from them to the politicians.
Return to the topic - propaganda teams, concert and theater groups. Their saving role in the lives of professional actors and musicians, and sometimes just prisoners who attracted the attention of their superiors with their talent. These collectives were “the only source of entertainment for the camp management, civilian workers, guards, as well as residents of those abandoned taiga villages, regional centers where the camps were located. An interesting detail: if in addition to the “freemen” there were prisoners in the hall, then the first ones “sat with stone faces”; if there were no prisoners in the hall, they reacted to what was happening on the stage, like an ordinary audience.
Engagement of actors is usually only for easy work and release from it on the days of the performance.
In 1940, the transfer of the author from Ivdellag to Sevzheldorlag for the construction of the Kotlas-Pechora railway. Continuation of work in the concert brigade, which was soon turned into a "liberated" propaganda team of the Kovno branch due to the fact that the boss liked the performance of the artists at the concert where he was present. The unification of two propaganda teams, one of which included the author, into the Central, where he was appointed head of the literary department.
Since the summer of 1940, the author has been the head of theater groups. The general management of the work of the brigade was carried out by the head of the department. Attracting professional actors and musicians to the propaganda team. (There was competition between the heads of the GULAG departments, whose acting group was stronger.) Trips to camps.
The beginning of the war. The restructuring of the repertoire in connection with this: the performance of military songs, the compilation of literary and musical montages on military topics.
Transfer to Knyazh-Pogost, where the brigade lived and rehearsed in a separate hut. Story about the organization of concerts, the choice of programs, the relationship of the collective with the camp authorities. The appearance in the brigade of positions: administrator, head of the musical part, dresser, props, hairdresser.
The author's confession is that he is ashamed to cite poems, lyrics, lyrics of montages (they are given) because of their pathos and mediocrity. But without them, no concert numbers would have been missed.
A brilliant staging of Chekhov's "Jubilee" and other performances in which excellent professional actors played. Rich musical repertoire.
After the end of the war, a decrease in morale, as it became clear that the imprisonment of innocent people in the camp, which they had previously justified by a military threat, has another reason - this is the ideology of power.
The appearance after the war of a new contingent of prisoners: captured, found themselves in the occupied territories, as well as Vlasov, Bandera, policemen, who were considered political, which caused indignation among the latter.
In 1945, the release of the author, as he was "thrown off" two years for "good behavior and success in the construction of the railway." Continuation of work as a director and artistic director in the same theater group is already free-lance.
In April 1950, a second arrest "in the old case" and after a short investigation in the city of Syktyvkar, he was exiled to the Novosibirsk region, to the village of Severnoye, where he was already at general work.
After Stalin's death, release without personal consideration of the case and rehabilitation in 1956. Intentions to enter the Leningrad Theater Institute, but the refusal to accept documents, since the author was already 40 years old, and the institute was accepted up to 35.
The annotation was compiled by Zhidkova T.G.
The memoirs are a story about the organization in the Gulag of concert and theater groups in which he worked.
The beginning of the memories is reflections on whether the author and his friends, actors and musicians, had the right to engage in art, while other prisoners were engaged in slave labor, lived in monstrous barracks, starved. Realizing that the system used these groups for its "savage" purposes, the author hopes that with their performances they brightened up the terrible life of the camps. A story about two episodes - blaming and justifying the actors: a concert in a sangorodok where prisoners with pellagra were gathered (they did not react to the performances, meekly and indifferently sitting in the hall), and a concert in front of prisoners women who cried, remembering their past life, and were grateful to the speakers.
The following is a description of the cell in the Big House, where he ended up immediately after his arrest. Assignment of the in-cell number - 221, although the cell was designed for 23 people. “Cultural enlightenment work” in the cell: a retelling of the content of films by a famous screenwriter (after he left the cell, he retold the films he saw in Harbin, the author), the performance of Vertinsky by the songwriter, reading poems, stories by him and other prisoners.
In February, sending to the camp. During the stages, the author "squeezed" the novels. An episode when the criminals, after such a story, returned the bread taken from them to the politicians.
Return to the topic - propaganda teams, concert and theater groups. Their saving role in the lives of professional actors and musicians, and sometimes just prisoners who attracted the attention of their superiors with their talent. These collectives were “the only source of entertainment for the camp management, civilian workers, guards, as well as residents of those abandoned taiga villages, regional centers where the camps were located. An interesting detail: if in addition to the “freemen” there were prisoners in the hall, then the first ones “sat with stone faces”; if there were no prisoners in the hall, they reacted to what was happening on the stage, like an ordinary audience.
Engagement of actors is usually only for easy work and release from it on the days of the performance.
In 1940, the transfer of the author from Ivdellag to Sevzheldorlag for the construction of the Kotlas-Pechora railway. Continuation of work in the concert brigade, which was soon turned into a "liberated" propaganda team of the Kovno branch due to the fact that the boss liked the performance of the artists at the concert where he was present. The unification of two propaganda teams, one of which included the author, into the Central, where he was appointed head of the literary department.
Since the summer of 1940, the author has been the head of theater groups. The general management of the work of the brigade was carried out by the head of the department. Attracting professional actors and musicians to the propaganda team. (There was competition between the heads of the GULAG departments, whose acting group was stronger.) Trips to camps.
The beginning of the war. The restructuring of the repertoire in connection with this: the performance of military songs, the compilation of literary and musical montages on military topics.
Transfer to Knyazh-Pogost, where the brigade lived and rehearsed in a separate hut. Story about the organization of concerts, the choice of programs, the relationship of the collective with the camp authorities. The appearance in the brigade of positions: administrator, head of the musical part, dresser, props, hairdresser.
The author's confession is that he is ashamed to cite poems, lyrics, lyrics of montages (they are given) because of their pathos and mediocrity. But without them, no concert numbers would have been missed.
A brilliant staging of Chekhov's "Jubilee" and other performances in which excellent professional actors played. Rich musical repertoire.
After the end of the war, a decrease in morale, as it became clear that the imprisonment of innocent people in the camp, which they had previously justified by a military threat, has another reason - this is the ideology of power.
The appearance after the war of a new contingent of prisoners: captured, found themselves in the occupied territories, as well as Vlasov, Bandera, policemen, who were considered political, which caused indignation among the latter.
In 1945, the release of the author, as he was "thrown off" two years for "good behavior and success in the construction of the railway." Continuation of work as a director and artistic director in the same theater group is already free-lance.
In April 1950, a second arrest "in the old case" and after a short investigation in the city of Syktyvkar, he was exiled to the Novosibirsk region, to the village of Severnoye, where he was already at general work.
After Stalin's death, release without personal consideration of the case and rehabilitation in 1956. Intentions to enter the Leningrad Theater Institute, but the refusal to accept documents, since the author was already 40 years old, and the institute was accepted up to 35.
The annotation was compiled by Zhidkova T.G.
файл (присоединённый)
Alliluev Sergey Ivanovich,
Barbarov,
Vardiev Gleb Petrovich,
Gavronsky Alexander Osipovich,
Golovin Makary Danilovich,
Grigory Lvovich Nevolsky.,
Erukhimovich Solomon Vulfovich,
Kremer Romuald Apollinarievich,
Kreps Vladimir Mikhailovich,
Mitskevich Vanda Kazimirovna,
Petkevich Tamara Vladislavovna,
Pechkovsky Nikolai Konstantinovich,
salin,
Teslik Nikolay Danilovich,
Khmiel Aleko Frantsevich,
Khokhlov Vladimir,
Khrustalev-Kamensky Igor Sergeevich,
Members Vladimir,
Shemena Semyon Ivanovich,
Shtanko Nikolay Vasilievich
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