Sports parades in the USSR (photos with comments).
73 years ago, one of the most famous parades in the history of mankind was held in Moscow. On November 7, 1941, soldiers of the Red Army marched in orderly columns past the Kremlin and Stalin at the Mausoleum, who immediately went to the front to defend the approaches to the capital of the USSR. Is it a joke, the enemy stood 25-30 kilometers away from the heart of the Soviet Union!? This parade was broadcast live on radio and infuriated Hitler, who, in hysterics, ordered the Luftwaffe to bomb Red Square along with the troops who were at the parade. Only that day, the Soviet anti-aircraft gunners were put on full combat readiness and did not allow a single Goering vulture to approach Red Square. And the “heavenly office” itself was clearly on the side of the defenders of Moscow. There was bad weather over the sky of the capital! This parade went down in history as an unprecedented manifestation of the courage of the entire Soviet people, their unbroken spirit and the manifestation of their readiness to fight the aggressors to the end!
In fact, parades were perhaps the biggest entertainment of Soviet times. Especially during the reign of Stalin. It took a long time to prepare for them, and they were held with incredible pomp in a very solemn atmosphere. Moreover, there were a variety of parades - military, workers, sports...
Sports parades took place as part of a general huge parade, mainly on the day of solidarity of all workers of the world on May 1 (although November 7 also happened). Separately, athletes marched on their day, which was celebrated on the second Saturday of August. Here are photos from parades of athletes from different times. So, we look at the faces of our not so distant ancestors, and with every fiber of our soul we are imbued with the spirit of that era.
1924 Parade of cyclists on Red Square.
Girls come out to Red Square. Obviously all are Komsomol members, and, of course, beauties.
And here are the guys, all of them fit and athletic...
And revolutionary-patriotic songs are sung together, which sends shivers through the body.
1932 Columns of athletes entering Red Square.
A column of Osoaviakhim passes in front of you in orderly rows ( Society for the Promotion of Defense, Aviation and Chemical Construction).
Such “multi-layered” compositions during processions in parades were very popular in the USSR in 1930-1960.
Column "Dynamo".
Stalin was glorified at every demonstration. This is a manifestation of national love. Although, if you don’t show it, they’ll immediately write you down as an “enemy of the people” with all the ensuing consequences.
1935 Young rowers.
1935 Young motorists.
Family cycling.
1936 The pioneer women show how they lead a healthy lifestyle on vacation - they brush their teeth in the morning, wash their faces with cold water, sunbathe in the sun... Thanks to Comrade Stalin for our happy childhood!
1936 A living TRP badge – ready for work and defense.
1936 Column of the Zenit sports society.
1936 Snipers.
No need to be surprised. Hitler's dream of having his troops march on Red Square in Moscow remained a pipe dream. These are the cyclist warriors of the Red Army demonstrating their training along with their four-legged friends. After all, no one will argue that a dog is man's best friend? Or do former Soviet citizens still think that the house committee is man's best friend?
But even those who were not yet called upon to defend the borders of their Motherland demonstrated their readiness to immediately join the ranks of the Red Army.
Parades of athletes often took place not only in the main squares of cities, but also in stadiums, as on Athletes Day. Look at the determined faces of these guys. What power and determination can be read in their looks! These guys are ready even now to defend their Motherland, both in the boxing ring and on the battlefield.
Yes, and such compositions were popular during demonstrations by athletes. The organizer of this one, in the photo, clearly deserved a promotion, or at least encouragement from his superiors.
Football players have also repeatedly taken part in sports processions, like the Moscow Spartak players in the photo.
By the way, this is how they celebrated the historic victory of Moscow “Spartak” in 1937 over the Basque national team, which was touring the USSR. By the way, a victory with a clear bad taste. Read more about this event in the article on my blog “1937. Basques in the USSR".
1937 Constructing such tall pyramids out of people was also popular in the USSR in 1930-1960.
Long live our dear Joseph Vissarionovich Stalin! The portrait of a leader of all times and peoples was an invariable attribute at all demonstrations at any level without exception.
Of course, the athletes demonstrated to the whole world what first-class weapons our country has. After all, concern for sports under Stalin was equal to concern for the country’s defense capability.
Holders of the GTO badge demonstrate their grace on Red Square.
And this is already the march of the future of the country of the Soviets. Future mothers, and behind them fathers of a healthy younger generation.
Just look at these guys! Neither stand up nor sit down - heroes from ancient Russian epics!
Each republic passed through in a separate column. As in the photo of the Uzbek SSR.
But these are Ukrainians.
Athletes after the parade.
In Stalin's times, parades of athletes were only welcomed and promoted in every possible way. Just like on the stamps.
But even after Stalin’s death, parades of athletes were not uncommon.
And not only in Moscow, but also in Leningrad. I myself took part in similar parades several times in my native Otradokamenka when I was little. And marches of rural athletes took place on May 1st. When it was already warm.
And as always at such parades, what was written on the poster in this photo was emphasized. Yes, there is no escape from this. The USSR was a militarized country. Almost all production is dedicated to the defense industry. And mass sports are no exception to this.
Albums of old photographs
Children's diary pages
Scraps of destinies, biographies
Where is friendship, hatred, love...
It is quite possible that tomorrow someone
He will yawn artificially at them:
"Pretty nice little retro,
Pretty nice little retro..."
And this was... year.
Let time, experienced biographer
Turns legends into reality
Passion silent cinema
Decrees telegraph style...
And the solar winds rush
To resurrect from the ashes of the fallen
Don't dare use the buzzword retro
Call everything we lived for!
(Words by Naum Olev, song to music by Maxim Dunaevsky from the film “Green Van” performed by Dmitry Kharatyan).
Kostenko Alexander Alexandrovich
Parades of athletes were extremely popular among Soviet citizens. And this is not surprising: only a military parade could be compared with such a powerful, spectacular and mass event. However, if the goals of holding the latter, as they say, lie on the surface, then why the parade of athletes was needed is not entirely clear.
History of physical education parades
The very first physical education parade, which was attended by Lenin himself, took place on May 25, 1919 on the capital’s Red Square. The participants in the parade were mainly the All-Education units, that is, those who had undergone compulsory military training. Since 1918, all workers from 18 to 40 years old were required to undergo such training.
It is worth noting that until 1939, when Sportsman’s Day appeared, such parades took place irregularly and were most often timed to coincide with other major events and dates. For example, in 1928 it was a sports competition dedicated to the adoption of the first five-year plan for the development of the national economy, and in 1937 the occasion was the anniversary of the revolution and the creation of the Constitution of the USSR.
Despite a certain chaotic nature of physical education events, the number of participants grew steadily every year: in 1924 - 18 thousand people, in 1928 - 30 thousand, in 1931 - 40 thousand, in 1932 - 70 thousand, in 1933 - 80 thousand.
The best directors, screenwriters, artists, and composers were involved in organizing the parades. This is how the famous choreographer of the Bolshoi Theater Moiseev staged the performances of many participants in physical culture processions, and the sketches of the costumes were drawn by theater artist Fedorovsky.
Since 1945, which was marked by the victory of the Soviet army over the fascist invaders, parades of athletes have acquired a special scope and entertainment. However, after 9 years the last physical training procession took place.
If you want to be healthy, toughen up!
One of the main goals of holding physical culture parades was, first of all, to promote a healthy lifestyle. The fit, slender figures of the procession participants, the strength and dexterity of their movements should have delighted the audience and, of course, given rise to the desire to become the same.
In general, enormous attention was paid to sports and physical education in particular at that time. Images of columns of participants in physical culture parades were printed on postage stamps, tear-off calendars, and propaganda posters.
In addition, immediately after the end of the Great Patriotic War, physical education departments were opened in many universities. Physical education classes and sports sections have appeared in educational institutions. In 1923, the first all-Union physical culture and sports society “Dynamo” was organized, in 1935 - “Spartak”.
In 1931, the project for the GTO (“Ready for Labor and Defense”) complex was approved. Since then, physical education has become a mandatory activity for many Soviet people. Despite this, the GTO has become a very popular complex, especially among young people, and the badge has become a cherished award. It was the winners of such awards who often became participants in physical education parades.
Mighty reserve
However, the main reason for promoting a healthy lifestyle in general and holding processions of athletes in particular was to increase the country's defense capability. This is evidenced by both the propaganda slogans that the parade participants carried in front of the audience (“Athletes are a mighty reserve of the Red Army and Navy!”), as well as the theme of such events (“Preparing future heroes”).
By the way, at that time all spheres of life and activity of Soviet citizens were subordinated to possible military actions. Everyone knows that many factories in the USSR producing consumer goods were designed in such a way that they could instantly retrain for the production of weapons or military equipment. The same applied to sports. Thus, the lucky owners of GTO badges received a large number of awards during the war. Some associate this fact with excellent physical fitness.
Physical education parades became a demonstration of the strength of ordinary Soviet citizens. After all, everyone knows that the solemn procession of 1941, the participants of which immediately after the event went to the front, infuriated Hitler himself. It was precisely to raise the spirit of the inhabitants of the USSR, and at the same time to intimidate the enemy, that parades of athletes were held.
TOPIC: FORMATION OF SPORTS DIRECTING IN THE USSR.
Question 1. Physical education parades on the square
The development of sports directing began with physical education parades on the square.
On May 25, 1919, on the anniversary of Vsevobuch, on the initiative of the Government, a military-physical training holiday was held for the first time in Moscow on Red Square. Vsevobuch fighters walked across the square with weapons, and some of them, together with athletes from sports organizations, demonstrated mass gymnastic exercises in motion for the first time.
This historical holiday, which was highly appreciated by the Government, marked the beginning of Physical Culture Parades - one of the forms of mass sports spectacles, which for many years became the leading one in the country.
From 1924 until the 1980s, Physical Culture Parades were held annually. The main arena for them has always been Red Square. However, since the mid-50s, Physical Culture Parades have lost their independence, turning into the leading column of workers' demonstrations on May 1 and November 7.
The head column of the demonstration differs in scale and significance from the classic Physical Education Parade. Its task becomes narrower and more specific - to set the main theme and tone of the national festival. Using the accumulated experience in using the expressive means of Physical Culture Parades, the director successfully solved the task assigned to it. Over the years, the leading column of athletes that opened workers' demonstrations looked new, but always interesting, colorful, thematic and emotional.
Physical education parades were especially popular in the 1930s. This was caused by the rapid development of physical culture and sports, the great enthusiasm and interest of young people in this new form of self-expression and communication, promoting the manifestation of free creativity of the masses, the collective and the individual at the same time. These years were very fruitful for directing. The huge number and diversity of participants, the breadth of topics, and the emergence of new means of expression created favorable conditions for creative growth. It is no coincidence that the Physical Culture Parades of that time aroused increased interest from both specialists in the field of sports and figures from various fields of culture and art.
In 1931, 40 thousand people took part in the Physical Culture Parade, in 1932 - 70 thousand, in 1933 - 80 thousand, in 1934 and 1935. - 120 thousand each, in 1936 - 110 thousand, in 1937 - 40 thousand, in 1938 -1940. the number of participants did not exceed 40 thousand people.
“If the organized masses march in a procession accompanied by music, sing in chorus, perform some kind of gymnastic maneuvers or dances, in a word, they organize a kind of parade, but the parade is not military, but, if possible, saturated with such content that would express the ideological essence, hopes, curses and all the emotions of the people - then those remaining, unorganized masses, surrounding the streets and squares where the holiday takes place on all sides, merge with this organized mass and, thus, we can say: the whole people demonstrates their soul to themselves" (see. A.V. Lunacharsky. About mass festivals, stage, circus.- M.: Art, 1981, p. 84).
The physical culture parades of the 1930s were just such a national celebration, which they waited for, prepared for, and in which not only the youth of the capital, but the whole country actively participated.
A characteristic feature of physical culture parades in the first years was that they were held only in motion. Stopping on the square was not allowed. This requirement, naturally, left its mark on the content of the actions of the parade participants, on the organization and direction of individual columns and the entire parade as a whole. Under these conditions, the director was significantly limited in the choice of means and, naturally, the organizational abilities of the column leader were more important than his creative and production abilities. The director's main tasks actually boiled down to practicing the parade step and alignment when passing the column, as well as searching for original attributes so that the viewer could accurately determine whether the column belonged to a particular group.
With the accumulation of expressive means and experience in holding Physical Culture Parades, the role of the director as a stage director gradually increased. Physical education parades began to have a thematic character. Each column participating in the parade had to choose and reveal a specific theme. This was not easy to do, since the director had literally a few minutes to implement his idea. The transience of movement also determined the choice of expressive means. During this period, the following become of great importance for the disclosure of the chosen topic: the form of construction of the column; subject for performing exercises in motion; the originality of the mass exercises themselves; various designs that help reveal the topic; gymnastic equipment mounted on vehicles; “living” pyramids, etc. A special role was given to the artistic design of the column and the costumes of the participants (Fig. 1-5.).
The music of Physical Culture Parades at that time was common to everyone. These were mainly marches, the main task of which was to ensure the clear passage of columns across the square without any disruption to the general flow of traffic. Therefore, musical accompaniment had no special significance for revealing the theme and performing mass exercises in movement, but served only as a background.
In 1933, mass gymnastic performances were introduced into the Physical Culture Parade for the first time. Only two delegations participated in this parade: a combined column of athletes from the largest enterprises in Moscow (directed by A. Lazarev) and a column of students from the State Central Institute of Physical Culture and Sports (directed by M. Okunev).
In subsequent years, the inclusion of mass gymnastic performances in Physical Education Parades became traditional. In connection with this, the composition of the parade has changed. It is styled to distinguish two parts: the first - the Physical Culture Parade itself, with basically the same tasks that faced the parades before, and the second - mass gymnastic performances. In this second part, each delegation demonstrated a composition of mass gymnastic exercises for several minutes, accompanied by specially selected or written music, using the expressive means of sports. But she did this no longer in motion, but on the spot, sometimes occupying the entire Red Square with her mass.
Thus, the 1933 parade gave birth to another form of sports spectacle - mass gymnastic exercises, which later, especially with access to the stadium, received very wide development and turned into an independent genre of spectacular art.
The 1933 physical culture parade posed new challenges for directing. An active search for expressive means began. New types of mass exercises appeared (flow, pyramid), as well as transforming objects, which, in the process of performing exercises by a large mass of participants, suddenly changed color, shape for the audience, and at the same time, their original meaning and functions. For example, a simple gymnastic mace instantly turned into an opening cotton boll or the head of a sunflower, a pole became a giant golden ear, an oar with colored blades or a flag, etc. In addition, the compositions of mass gymnastic performances began to be distinguished by colorful formations and rearrangements.
The Physical Culture Parade of 1937 gave a significant impetus to the development of the genre of mass sports and artistic performances. It was dedicated to the 20th anniversary of the October Revolution and brought together delegations from all the Union Republics of the country (150-200 people from each Republic). So, starting in 1937, Physical Culture Parades in Moscow became All-Union.
The political significance of physical culture parades is increasing. Each of them was dedicated to some important event in the life of the country and, therefore, had a specific theme. So, in 1937 the parade was dedicated to the 20th anniversary of the October Revolution; in 1938 - elections to the Supreme Council; in 1939 - to the XVII Congress of the CPSU (b); in 1940 - implementation of the decisions of the XVII Congress.
Participation in the Physical Culture Parades of delegations of the Union Republics radically changed the content of the mass performances of their second part. Along with mass gymnastic exercises, art was presented for the first time. At first, choreography was a particular success in the All-Union parades. The best professional choreographic groups of the Republics came to Moscow, who, together with sports delegations, showed their high skills. Thus, for the first time, the director was faced with the question of the possibility of synthesizing sports and art, which later became one of the main distinguishing features of mass sports and artistic performances at the stadium.
The mentioned features of the All-Union Parades led to a significant increase in the role of the director as a stage director. The imagery of the theme, the completeness of the composition, the originality in the selection of expressive means of sports and art, a serious, thoughtful approach to musical and artistic design distinguished the productions of the leading directors of that time.
During this period, the role of artists in the development and establishment of a new form of mass sports theater on a professional basis should be noted. The joint work of sports directors with professional directors, choreographers, artists and composers contributed to mutual creative enrichment. The result of this wonderful collaboration was the appearance of beautiful compositions of mass gymnastic performances and sports festivals, which were included in the treasury of mass art. This creative union of individual directors continues to this day.
The first to test themselves in this new promising genre and provide invaluable, effective assistance to young sports directors were choreographers I.A. Moiseev and K.Ya. Goleizovsky. Productions by I.A. Moiseev at the Physical Culture Parade in 1937 with A.A. Gubanov on the theme “The Border is Locked” (Belarus delegation), and in 1938 with director M. Okunev on the theme “If there is war tomorrow” (delegation of the Institute physical culture) entered the history of mass sports spectacles. They are still standards by which today’s productions can be compared.
I.A. Moiseev continued to collaborate with sports directors in the post-war years. Together with director Ya.B. Teverovsky at the Physical Culture Parades of 1947 and 1954. he staged very interesting, one might say innovative, compositions for the Russian delegation. For example, in 1947, in the finals of the performance, mosaic drawings appeared for the first time, which were made by athletes using double-sided but color-coded flags. Subsequently, they found wide application in the work of artistic backgrounds and were called “phoning flasks”.
K.Ya. Goleizovsky, together with A.A. Gubanov, represented the sports delegation of Belarus at the physical education parades of 1938 and 1939. They entered the history of mass gymnastic performances as the creators of flow exercises on a specially created structure for this purpose (1938), which received name "Belarusian vase". Since then, various modifications and analogues of this design have appeared and still appear in the compositions of sports festivals and mass performances - “Cup”, “Fountain”, “Spiral”, “Cylinder”, “Peacock Tail”, “Cotton Box”, etc. .
The practical activities of I.A. Moiseev and K.Ya. Goleizovsky in staging mass sports performances had a great influence on the work of sports directors of that time, and Ya.B. Teverovsky, A.A. Gubanov, who worked directly with them, deservedly occupied leading positions in directing mass sports shows in the country.
This joint work did not pass without a trace for the choreographers. The experience of working with large masses of participants and mastering the expressive means of sports still help today in the creative work of Igor Aleksandrovich Moiseev. For example, in the program (1983) of the State Academic Order of Friendship of Peoples Folk Dance Ensemble, whose permanent artistic director and dance director is I.A. Moiseev, the choreographic scene “Labor Festival” is built on the principles of mass gymnastic exercises, representing a successful a combination of expressive means of choreography and mass sports performances.
(Rice. 2, 3. Physical culture parades: Petrograd, 1923LYeningrad, 1939
Rice. 4. All-Union Sportsman's Day 1939. One of the moments of the design of the physical culture parade is a pyramid of gymnasts on a moving car.
Rice. 5 Physical culture parade 1945 Performance by the State Center for Physical Culture and Physical Culture of the Military Faculty).
Summing up the results of the pre-war period in the development of mass sports and art theater, we can draw the following conclusions:
1. The physical culture parade in the 30s, having reached the pinnacle of its development, established itself as the leading form of mass sports spectacles and holidays, earning the warm recognition and love of the people.
2. As a result of the creative search for new expressive means of the Physical Culture Parade, mass sports performances developed, which were initially included in the parade in the form of separate mass gymnastic performances, constituting its second part.
3. Sports directing of those years achieved certain successes, especially in staging individual mass gymnastic performances. Many expressive means have become established: mass freestyle, flow and pyramid exercises, exercises on various structures and gymnastic apparatus, etc. The installation of solo and group numbers with a mass number was carried out quite skillfully. For the first time, artistic means (dance compositions of professional and amateur groups) appeared and found widespread use in mass gymnastic performances. The best productions of those years were distinguished by high ideological content, imagery of solution and presentation of the theme, and completeness of the composition. A whole galaxy of talented sports directors appeared, such as S. Lazarev, A. Brykii, A. Brazhiik, A. Gubaiov, M. Okuiev, L. Orlov, M. Segal and others.
4. Since the themes of individual mass gymnastic performances developed at the level of the theme of the Physical Culture Parade as a whole - always large-scale and comprehensive in its meaning - the semantic montage of mass performances among themselves did not have much influence on the development of the logic of action (from the rearrangement of individual performances the meaning has not changed). Therefore, the basis for constructing the composition of the parade and, especially its second part, was, at best, based on the principle of increasing action. However, more often, regardless of content, individual speeches were arranged in the program according to the rank and importance of the delegations. The physical culture parades of those years did not have a final act - the finale of the performance. Thus, the absence of a semantic logic of action development in the disclosure of themes and ideas, the absence of a cross-cutting director's move in the performance as a whole were characteristic features of the direction of pre-war Physical Culture Parades. This also indicates that the function of the chief director as a stage director was reduced to a minimum. At the same time, given the enormous mass participation and large representation of delegations in the Physical Education Parades, his function as an organizer was of particular importance.
The All-Union physical culture parades, interrupted by the Great Patriotic War, resumed in 1945. It is noteworthy that in May the act of unconditional surrender of Nazi Germany in World War II was signed, and already in August the All-Union Parade of Athletes took place on Red Square in Moscow. The fact in itself is very significant, indicating the great role of mass sports festivals in the country. Soviet people, after the horrors of war, suffering, and inhuman tension, finally truly felt what peace on Earth was. Everything was imbued with delight, jubilation, and great love for the Motherland. It was a celebration of the pride of the victorious people, a celebration of joy and happiness.
Delegations from all the Union Republics, as well as Moscow and Leningrad, were represented in the ceremonial march and mass gymnastic performances. A total of 27 thousand people took part. Compositionally, this parade was built on the same principles as the Physical Culture Parades of the pre-war years.
In total, after the Great Patriotic War, four All-Union parades were held (1945, 1946, 1947 and 1954), and each of them left a special mark on the history of sports and art theater. The 1945 physical culture parade was the last All-Union parade held on Red Square and one of the grandiose celebrations dedicated to the Victory of the Soviet people in the Great Patriotic War. For the first time, the 1946 Parade of Athletes was held not on Red Square, but at the stadium. The 1947 physical culture parade was dedicated to a significant date - the 30th anniversary of the October Revolution, and the 1954 parade went down in history as the last independent All-Union physical culture parade in our country.
The Physical Culture Parade of 1946 was of particular importance in the development of forms of mass sports performances. Holding it at the stadium led to a revision of some already established traditions in staging work. The transition from the square to the stadium was not completely unexpected for the directors. After all, before, parades held on Red Square were repeated several times (in order to reach a larger number of spectators) at the Dynamo Central Stadium. Naturally, mass compositions prepared specifically for the square were not always directly suitable for the stadium. The directors understood that the stadium required different solutions. The process of searching for new and rethinking existing expressive means and compositions began.
It became absolutely clear that one of the expressive means of mass sports performances - formations and reconstructions in the stadium acquire a different meaning than in the square. The symbolism and colorfulness of the construction drawings, the purity and logic of the transition from drawing to drawing, from one episode to another become one of the main and determining components of the success of the spectacle. With the change in the color of the stage area (the gray paving stones of the square were replaced by the green grass of the stadium) and the viewing angle of the spectators of the performances, the color scheme of the participants’ costumes and items for performing exercises acquired special significance. After all, at the stadium the audience got the opportunity to perceive not individual zones of the stage space and fragments of performances, as was the case in the square, but the entire space and the entire composition as a whole.
The most difficult task that the stadium posed to the director was determining the angle of the performance. Logic dictated that the circular arrangement of spectators in the stands of the stadium requires an appropriate composition. In practice, everything turned out differently. Constructing a composition with an equivalent all-round view turned out to be a very difficult task, which has not been completely solved to this day.
We should pay tribute to the direction of that time, which found, albeit a compromise, a way out of this situation. A colorful backdrop was created at the stadium, like on the stage of a theater (chief director - M.D. Segal, chief artist - B.G. Knoblok). To do this, 7,000 participants were placed on one of the stands (opposite the central one). Each of them had an album bound together from colored sheets. At the director's command, all participants simultaneously revealed the color indicated by him and thereby created a color background for the performers on the field. It was new, unusual, large-scale, colorful and was a great success.
Many years have passed since then. The background in the stands has become an integral attribute of almost all major sports performances and celebrations. Over the past years, its enormous potential has been revealed as a very bright and effective means of expression, contributing to the figurative disclosure of the theme and idea of the presentation. It is not for nothing that today it is called an artistic background or a living screen. The main object for creating mosaic background patterns was the phonating two-color flag.
With the entrance to the stadium, there was a reassessment of values in the composition of the Physical Culture Parade itself. The stadium's running track did not allow for the first part, i.e. the parade itself, just like it was on Red Square. Here it turned into a march-parade of delegations of the Union republics and columns of athletes from the DSO and departments, gradually losing its original significance as an independent form of mass sports spectacle. At the same time, the stadium significantly expanded the possibilities for holding the second part - mass gymnastic performances. And the directors immediately took advantage of this. In particular, sports competitions in various sports (athletics, wrestling, boxing, weightlifting, football, etc.) began to occupy a large place in the programs, which alternated with mass performances.
The content of mass gymnastic performances has also changed. They have acquired a more sporty character. Folk dances began to be used less, but the volume of elements of sports and divine gymnastics, acrobatics and other sports increased. “The inclusion of athletes in 1946, 1947 and 1954 in the programs of the parades, in addition to mass gymnastic performances, competitions in various sports, justified itself. Parades as a spectacle have become more diverse and sporty. The spectators’ impressions of mass gymnastic performances, bright colors, and music have been complemented by intensity wrestling and passion." This conclusion, made by the main director of these holidays M.D. Segal (see: M.D. Segal. Physical culture holidays and spectacles" - M.: FiS, 1977, p. 24), is quite fair and objective if we consider sports performance as a set of separate, unrelated numbers, as a sum of colorful and emotional divertissements.
However, considering this innovation from the perspective of modern requirements for the ideological and thematic basis of the performance, it can be argued that it was a step back in the direction of that time. This is due to the fact that the inclusion of purely sports numbers of a competitive nature in alternation with mass gymnastic performances of a thematic nature inevitably leads to a violation of the integrity of the composition and prevents the audience from perceiving the main idea and logic of the entire performance.
One of the important components of mass sports performances is the tempo-rhythmic pattern of their construction. Its main characteristics:
duration of individual numbers, episodes, performance as a whole;
rhythmicity and arrhythmicity of time periods of individual, successive numbers, episodes;
tempo (number of actions per unit of time);
contrast of numbers and episodes according to the director's decision and choice of expressive means;
the effectiveness of individual numbers and episodes, their arrangement in the composition;
editing - the logic of the semantic connection of episodes with each other in revealing the theme and idea of the presentation (semantic editing) and the quality of the transitions themselves from issue to issue, from episode to episode (technical editing).
The effectiveness of tempo-rhythm, i.e. creating an emotional mood in the audience to actively perceive the performance largely depends on the duration of the spectacle as a whole. As practice shows today, the optimal duration of the performance, given that they are held without interruption, is 1.5 - 2 hours. When the performance drags on, the effectiveness of the tempo-rhythm decreases. Moreover, even a performance that is optimal in duration, but staged by the director without taking into account tempo-rhythmic patterns, can be perceived by the audience as drawn out and monotonous.
Comparing shows that are separated by decades, much less drawing conclusions and assessments, is very difficult due to the difference in conditions, tasks, requirements, etc. But the problem of time, especially the duration of the performance, became constant for directing the post-war years, which was associated with huge mass sporting events and wide representation of various delegations and teams.
For example, the All-Union Physical Culture Parade of 1954. About 40 thousand people took part in it. The following delegations and columns were represented in mass gymnastic performances with the participation of about 30 thousand people:
delegations from all Union Republics (from 300 to 420 people in each, excluding the largest delegations: Belarus - 700 people, Ukraine - 1000 people and Russia - 2800 people);
Column of Moscow schoolchildren (1300 people);
Column of DSO "Labor reserves" (3800 people);
Column of students from the Institute of Physical Culture named after. P.F. Lesgaft (850 people);
Column of Moscow university students (2800 people);
Column of students from the Central Institute of Physical Culture (850 people);
Column of gymnasts from trade union sports societies (4000 people);
Participants of the artistic background (7000 people).
In addition to the above-mentioned mass performances, the program of the 1954 All-Union Physical Culture Parade included:
Performance of the country's strongest gymnasts (separate performance);
Athletics competitions, combined into five independent program numbers (start and finish of marathon running; 3000 m run - men; javelin throw - women and men; 100 m run - women and men; 400 m run - men; running 100 m hurdles - men; 400 m hurdles - men; 4x200 m relay - women; 800 m run - women).
Competitions in classical and freestyle wrestling;
Weightlifting competitions (press, snatch and clean and jerk exercises to break records).
Above is the program of only the second part of the 1954 parade, i.e. mass gymnastic performances and sports competitions, and there was also the first part - a march parade, in which 24 columns of athletes representing the Union Republics, DSO and departments took part. The enormous mass scale of this parade is absolutely obvious.
And he was no exception. Mass participation as a characteristic feature of the All-Union physical culture parades dictated its conditions to the directors. Therefore, a spectacle lasting more than four hours was common.
Subsequently, both the number of participants in mass sports and artistic performances and their duration underwent significant changes. For example, 17,500 people took part in the opening celebration of the Games of the XXII Olympiad in Moscow in 1980. At the same time, the performance itself (greeting the youth to the participants and guests of the Games) lasted less than 1 hour, and the closing celebration of the Olympic Games with the participation of 13,000 people lasted 1 hour 30 minutes.
It is very difficult to talk about the dramaturgy of such grandiose sports spectacles as the All-Union Physical Education Parades. However, we can say with confidence that these were colorful spectacles of great political significance, promoting the way of life of the people, physical culture and sports in our country.
To the question: What are the most interesting properties of the HUNGER PYRAMID? given by the author Natalu the best answer is The Pyramid of Golod is a structure created in the 90s of the twentieth century by the scientist Alexander Golod, who devoted his life to researching the amazing properties of pyramids in the proportions of the golden section.
It was built from fiberglass without a single nail, its height is 22 m. The pyramid has interesting properties: an ion column several kilometers high has formed above it, due to which it has a beneficial effect on the climate and ecology of the area, in particular, it helps to tighten “ozone holes”. Having been inside the pyramid, people feel a surge of strength and energy and get rid of ailments.
The pyramid is located right next to the highway (at the 38th kilometer of the Moscow-Riga highway) on a hill and is clearly visible from the highway (this is the Istrinsky district in the near Moscow region). Having been inside the pyramid, people feel a surge of strength and energy and get rid of ailments. This is also confirmed by scientific research from the Institute of Theoretical and Experimental Biophysics of the Russian Academy of Sciences, the Vaccine Research Institute named after. Mechnikov RAMS, Hematological Research Center RAMS.
Hundreds of thousands of people, including famous singers, artists, sculptors, heads of various regions have already visited this largest of the Pyramids in Russia, built and studied by scientists under the leadership of Alexander Golod.
The cosmonauts, interested in the effect of the shape of the Russian pyramids, conducted a unique experiment, delivering crystals grown in the Pyramid to the MIR orbital station, and then to the International Space Station (ISS).
Having learned about Russian achievements from numerous reports from CNN, BBC, ABC, AP, Boston Globe, New York Times and other international media, they began to order from the ABO company the construction of Pyramids using ABO technology in other countries near and far abroad.
A delegation of monks from Japan, Korea and Tibet expressed great interest in the Pyramid near Moscow, noting it as an ideal place due to the state of the space inside and around it. Their conclusions are confirmed by studies of Russian scientists conducted at various institutes of the Russian Academy of Sciences and the Russian Academy of Medical Sciences, which showed a great positive effect on the environment and human health, both when visiting the Pyramid and when using specially prepared or processed products, solutions and crystals in it.
Some call the Moscow Pyramid a place that can improve fate. Everything is somewhat simpler: a correctly constructed Pyramid improves the structure of space and makes it more harmonious. The human body in this space also begins to develop in the direction of harmony and improvement. You shouldn’t expect miracles, but research and practice clearly show that there are significant improvements in almost all cases of using the effect of the Pyramid shape, and often even problems of the body that are considered incurable are completely resolved by regularly visiting the Pyramid or using the solutions and matrices prepared in it.
Reply from sprout[guru]
The pyramid has interesting properties: an ion column several kilometers high has formed above it, due to which it has a beneficial effect on the climate and ecology of the area, in particular, it helps to close “ozone holes.” Having been inside the pyramid, people feel a surge of strength and energy and get rid of ailments.
Pyramids in Golden Section proportions - pyramids built from fiberglass in Golden Section proportions by engineer Alexander Golod.
By 2002, 17 pyramids had been built on the territory of the former USSR. In particular, they are located in Bashkiria, Krasnodar Territory, Belgorod, Voronezh, and Tver regions. The largest pyramid, 44 meters high, is located in the Moscow region at the 38th kilometer of the Novorizhskoe highway at coordinates 55.784253, 37.06373655°47′03.31″ N. w. 37°03′49.45″ E. d. / 55.784253° s. w. 37.063736° E. d. (G) [source not specified 26 days] . The pyramid on Novorizhskoye Highway, thanks to the prevailing opinion about the “beneficence” of its internal space, is the subject of pilgrimage.
Proponents of pyramids explain the effect of the pyramid's shape by its “ability to change the structure of space,” due to which the properties of certain substances and processes change in the new space. According to Golod, one sip of water from the pyramid provides a guarantee against cancer, and thus hundreds of thousands of people have been cured, and the pyramids themselves will destroy diseases such as cancer, tuberculosis, etc. in 5-7 years. Of course, no significant changes in statistics on these diseases are observed even after 9 years. According to the magazine "Russian House", attempts to find out the details of the study of pyramids in institutes that allegedly confirmed the effect of the pyramids were also unsuccessful. In particular, the deputy director of the Hematological Research Center of the Russian Academy of Medical Sciences, Vladimir Gorodetsky, stated that if his employees were involved in pyramids, it was exclusively in private.
To prove its miraculous properties, the pyramid builder shook a bottle of “water” (or hit it) and it instantly froze. As Nikolai Vladimirovich Klassen, Deputy Director for Science at the Institute of Solid State Physics of the Russian Academy of Sciences, explains, this is achieved when there is a supercooled liquid inside the bottle without mechanical impurities that could become crystallization centers. Thus, such experiments are completely unproven.
The Chairman of the Commission for Combating Pseudoscience, Academician E. Kruglyakov, in the book “Scientists from the High Road” speaks about the Hunger Pyramids as follows:
tales about the magical properties of the pyramids...have no scientific basis.
Further about the properties of the Pyramids
http://www. abo.ru/
And the opinion of a skeptic
