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Socialist Realism's central code of conduct was, in Stalin's words, to "above all portray life truthfully." Any form of art that depicted Bolshevik life was to do so in a realistic and accurate manner, "on its way to socialism"; "that will be socialist art, that will be Socialist Realism." (Lincoln 333) This was the paradigm that all Soviet art was to be modeled after; implemented in 1934, the formula of Socialist Realism would heavily influence artistic life in the Soviet Union until the 1960s.
The rise of Socialist Realism was rapid and dramatic. It dampened Europe's excitement over Russia's post-schism, secular art by redirecting art inward towards the Soviet people and forcing form and function upon it rather than abiding by the ideal of "art for art's sake." Once again, the ancient religious ideals of Orthodox Russia were shunned, and the Party replaced God at the forefront of Soviet life. The Party mimicked Socialist Realism as a model for the people, who were expected to take the example of their heroic yet humble forefathers and arise from the masses to submit themselves to the principles of Lenin, then confidently lead their comrades forward to a bright Bolshevik future where both nature and human opposition would bow to the power of the Soviets.
Although the Soviet Union was markedly secular, it adopted Orthodox Russia's replacement of the individual with the collective. Many artists collaborated on gigantic pieces that depicted the immense size and grandeur of their unified country. Overwhelming all other artistic principles, Socialist Realism became synonymous with the state. It modified the past and the future by making both conform to reality and to Lenin's timeless ideals. Most importantly, it portrayed the Soviet Union's future as being filled with an unequaled prosperity that would forever shame capitalism and its proponents.
However, much of the "reality" that Socialist Realism depicted existed solely in the minds of the Soviet people. Socialist Realism portrayed life only as the Bolsheviks wanted it seen, and in many ways created an idealistic world of fantasy that "overlooked massive failures" (Lincoln 335) such as the death and suffering that continued to prosper in labor camps throughout the country. Socialist Realism was Stalin's aesthetic cover-up of the horrid, truly real Soviet reality, and if an artist intentionally or accidentally ventured too far "behind the scenes" in his work, official confession and apology to the state did not always prevent him from being sent to one of many labor camps.
Socialist Realism was largely effective in indoctrinating simple-minded men and women with Bolshevik ideals. Nowhere else was this practice more effective than in Soviet literature, which was directed towards the unsophisticated, newly literate masses rather than the intellectual elite. Much of this literature focused on the Russian Civil War and the immortalized heroes that were crucial to socialism's victory. It was meant to instill the proletariat with a nationalistic pride that would direct its minds and hearts towards the interests of the state. Because of their overwhelming prominence, the influences of Socialist Realism were nearly impossible to escape.
One of the most paradigmatic, and also one of the first Soviet heroes was Vasilii Chapaev, a Red soldier killed in the Civil War and elevated to the status of legend through the efforts of Socialist Realism. The author Dmitrii Furmanov wrote a novel depicting Chapaev's exploits, which was made into a screenplay in 1934 and became one of
Quotes talked about in this paper
- "behind the scenes" in his work, official confession and apology to the state did not always prevent him ...
- "The Defense of Petrograd", a piece that portrayed the persistence and determination of the Soviet Union's workers to defend their motherland at all costs, and also in later works in which he ...
- Meyerhold continued to write plays of a rebellious nature until his statement that Socialist Realism had "nothing to do with art" ...
- "A Mother", which portrayed a nude Soviet woman holding her child, was called "The Madonna ...
Names referenced in this essay
Stalin, Deineka, Vasilii Chapaev, the only independent playwright, Eisenstein, Lenin, Dmitrii Furmanov, Aleksandr Nevskii, Russian Jew, Mikhail Sholokhov, Isak Babel, Aleksandr Rodchenko, Marx, Madonna, Prokofiev, Maiakovskii, Dmitrii Shostakovich,
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Locations referenced in this paper
Soviet Union, the Russians, Europe, Moscow,
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Keywords mentioned in this essay
Socialist Realism, Soviet, Bolshevik, Socialist Realist, Soviet Union, Soviet people, Stalin, Civil War, the bolshevik, Soviet life, socialist art, Chapaev, Russian Civil War, Deineka, Soviet art, Soviet literature, Soviet nation, the russian civil war, socialism, Meyerhold, comrade, artistic, labor camps, public eye, a better future, Realist art, World War II, artists, civil strife, hero, Lincoln, Lenin, revolution, cossack, Aleksandr Rodchenko, his people, bright future, many ways, art world, Mikhail Sholokhov, a moment, heroic mission, a film, Red Cavalry, collectivization, newspaper articles, common, natural disasters, unity, collective,