Sergei TretIakov

Tret’Iakov, Sergei Mikhailovich

 

Born June 8 (20), 1892, in the city of Kuldīga, in what is now the Latvian SSR; died Aug. 9,1939. Soviet Russian writer.

Tret’iakov graduated from the faculty of law at Moscow University in 1915; he served in the Civil War of 1918–20. His first published works, which appeared in 1913, were futurist poems. As one of the theorists of LEF (Left Front of the Arts), Tret’iakov was an adherent of the literature of fact, which was reflected in his journalistic plays Are You Listening, Moscow?! and Gas Masks, both of which were staged in 1924 at the First Workers’ Theater of Proletkul’t by S. Eisenstein. Other works written in this vein are the play Roar, China! (staged at the V. Meyerhold Theater, 1926) and the documentary novels Teng Shih-Hua (1930), The Challenge (1930), and The Country of A-E (1932). He published the poetry collections The Iron Pause (1919), Iasnysh (1922), and Altogether (1924). His propaganda poems clearly show the influence of V. V. Mayakovsky. Screen versions of Tret’iakov’s works include Eliso (1928), Salt for Svanetia (1930), and Out of the Way! (1931). Tret’iakov’s works have been translated into foreign languages.

WORKS

Liudi na rel’sakh. Moscow, 1933.
Den Shi-khua, Liudi odnogo kostra, Strana—perekrestok. [Introductory article by V. Pertsova.] Moscow, 1962.
Slyshish’, Moskva?!, Protivogazy, Rychi, Kitai! [plays, articles, memoirs]. Irkutsk, 1966.

REFERENCES

Az’muko, L. A. Zarubezhnyi ocherk S. M. Tret’iakova. Irkutsk, 1970.
Russkie sovetskiepisateli-prozaiki: Biobibliografich. ukazatel’, vol. 7, part 2. Moscow, 1972.
References in periodicals archive ?
(18) The editorial board during this period included Lukacs himself, the scholar of Western literature Sergei Dinamov as overall editor and editor of the English edition, with the champion of avantgarde reportage, or 'factography', Sergei Tretiakov, as editor of the Russian edition.
The original caption reports that the Soviet playwright and journalist Sergei Tretiakov led "the writers brigade." (11) This photo collage reflects the short-lived but influential mission of the journal: to document contact between authors interested in or committed to communism.
Soviet discourse on the aesthetics of verisimilitude left its mark on Hughes's drama by way of Sergei Tretiakov. The above photo collage captures some of Tretiakov and Hughes's time together.
Clark (comparative literature and Slavic languages and literatures, Yale U.) situates her investigation into the production of Soviet culture in Moscow through the window of the activities of four "intermediaries" who represent the "cosmopolitan patriots" committed to the Soviet state, but pushing for more cosmpolitan culture: film and theater director Sergei Eisenstein; journalist and publisher Mikhail Koltsov; poet, novelist, and journalist Ilya Erenburg; and writer, photographer, and filmmaker Sergei Tretiakov.
Despite its phenomenological bias, this concept was widely used or referred to by many Marxist theorists, from Sergei Tretiakov to Walter Benjamin.
Meyerhold had intended to produce Sergei Tretiakov's eugenics play I Want a Baby!, which explored the sexual mores of 1920s Soviet society.