Svetlana Vorobyova biography

Kizhi, hay lip. Based on materials from archival documents ”, as well as many scientific publications and museum exhibitions that cause constant interest. She made a noticeable contribution to the development of Russian folklorism, restoring the genealogy of fourteen storytelling families of the nineteenth. XX centuries. On the documentary archival material, she established the exact date of the birth of the Kizhsky storyteller Trofim Ryabinin and Tolvui science of Irina Fedosova, also showed blood and godmother, family-related ties of the most famous Zaonezhny storytellers.

Svetlana Vasilievna is one of the initiators of the revival of chapter holidays in the Kizhsky volost, the “Kizhskaya regatta”, the author and inspirer of unique museum projects and the cycle of exhibitions from the history of the Zaonezhny “Stages of Human Life”. Since the year, Svetlana Vorobyova took part in the work of Russian and international conferences and symposia, is one of the organizers of the international scientific conference “Ryabinin Readings”,, gg.

The main cities are Svetlana Vasilievna, please tell us where you were born, and where did your childhood have passed? The joyful and sorrowful pages of the life of our family are connected with this city. When the war began, my mother was 11 years old. Grandfather went to the front, and his grandmother and mother survived the most difficult period of the Leningrad blockade: from September to the moment of evacuation to Moscow in August, the great -grandmother did not survive the terrible blockade winter.

In the year, after removing the blockade, grandmother and mother returned to Leningrad. Here my mother graduated from school, entered the institute and met my father, who studied at a military school. I was born in Leningrad and here I went to first grade, and then my dad was transferred to the Urals. We lived in a closed city where there was a military plant.

My dad, a military engineer-engineer, practically did not talk about his work, and in childhood I really did not know what my father was doing. To the question: “Dad, what are you doing at work? The city was classified, even its name was forbidden to mention. A very intelligent city where highly qualified specialists worked - and what were the libraries there! Perhaps this has determined the choice of my future profession.

After graduating from school, I went to Leningrad to go to the university. My grandmother was the head of the planned department of the Central Research Institute of Electric PribB and wanted me to enter the economic, but it did not attract me at all. I entered the Institute of Painting, Architecture and Sculpture. Repin to the faculty of theory and history of art.

For 15 seats, five of which were held in the directions, applications were submitted, but I really wanted to study there, carefully prepared. At first she lived with her grandmother, then moved to the hostel. St. Petersburg is a city museum with its legends, ghosts. Institute named after Repin is essentially one of the oldest educational institutions in Russia is the former Imperial Academy of Arts.

The building of the Academy of Arts is one of the most outstanding works of Russian architecture of the 18th century, it was built specifically for this educational institution by architects A. Kokorinov and Zh. All in it is filled with the spirit of the work of many generations of artists who came out of these walls. The Academy of Arts is not just an educational institution, it is a whole world full of beauty and harmony, but sometimes mystery.

It even has its own ghost-the spirit of the architect J. Wallen-drama, who, according to legend, hanged himself in the building of the Academy. None of the students, of course, saw him, but this legend still lives in academic walls. The Academy has an amazing library. Funds include unique publications on art and architecture, there were no closed funds: we had the opportunity to work with these rare books.

So, for example, the world's first fashion magazine, released in the second half of the 17th century, was given to students. On specially made huge tables, it was convenient to lay out drawings and drawings, a separate hall was designed to work with reference books and encyclopedias, the third hall for professors. Learning was interesting. Our teacher Boris Nikolaevich Fedorov, a large specialist in folk architecture, led us a special course and simply fell in love with us in the wooden architecture of the Russian North.

For a diploma, I collected material on Kargopol - these are amazing places. In our student years, we went a lot on expeditions in the North Territory: Vologda, Kargopol, other cities and their surroundings. Thirty years later, I was lucky with a group of colleagues to visit the seminar in the Kenozersky National Park and take a picture under the same spruce as in the student years.

The main things - the choice of a place of work, of course, was not accidental? It was necessary to look for a place of work. I did not dream of getting to the Kizhi Museum, in the summer, before the fourth year, I went to the Arkhangelsk region to the Maly Korely Museum-reserve, but got on time-the whole administration was on vacation, and no one could tell me anything definite.

A year later, I dared to go to Kizhi Island.The director of the museum at that time was Valentina Matveevna Ionova, she looked at me skeptically, but still gave the necessary paper. What was her surprise when a year later I came to Kizhi with a suitcase: “Have you arrived? But we have not agreed on anything. ” Then the phone rang and the director distracted from a conversation with me.

For this minute respite, I thought that I would beg me to take me to any position, but by hanging the telephone, Valentina Matveevna said: “You will be a guide.” So in the year I became an employee of the Kizhi Museum, first as a guide, and a year later she became a junior researcher at the scientific department, who was headed by Boris Alexandrovich Gushchin. Thus, the Kizhi Museum is my only place of work.

This was just a mystical omen: in childhood, even in the Urals, I bought a beautiful badge with the image of the Preobrazhenskaya Church, I really liked it, and I wore it for a long time, and then with the crossings the badge was lost somewhere, but the image of the Preobrazhensky church remained with me forever. In the seventies, the main exposition of the museum was still formed, we worked a lot on new exhibitions, were improved, systematized and built with ethnographic accuracy of the interiors of peasant residents of the Kizhi museum-reserve.

A lot of material and items for the museum funds were collected on expeditions. Each new researcher was obliged not only to take excursions, but also to give lectures on the subject of the museum. It was a time when all employees knew the whole exposition of the museum very well. Many local residents worked in the museum. These are the most remarkable people that I had to ever meet.

Moshnikova, A. Elizarov, A. Bagaev, O. Prokhorov, V. Elupov, V. Egorov, A. Vasiliev-all of them were to some extent my teachers. We can say that it was from their stories that I first learned about the great peasant culture of Kizhe. Their stories and numerous expeditions gave material to improve the exposition of the museum. The head of the expedition was Boris Fights.

The Kizhi Museum in this expedition was represented by six employees, of which Yuri Naumov and Boris Gushchin work in the museum, besides me, in the museum. We were all young, romantic. It was both study and a lot of work on the study and description of individual monuments and entire villages. In total, the expedition worked for four months, of which I worked in it.

The idea of ​​the participation of the Kizhi Museum in a complex expedition was supported by the director of the museum - Valentina Matveevna Ionova and Lyudmila Vasilyevna Lopatkina, who replaced it. I was convinced that science in the museum does not have to be only applied, it is very close to academic. Ideally, this is a harmonious synthesis of scientific research using them in practical work.

In order to introduce any improvements to the museum exposition, it is necessary to study a comprehensive relevant topic. A museum researcher should be comprehensively educated and have a sufficient breadth of views in order to put his scientific research into practice. Only the depth of knowledge in a particular field of folk culture gives a good result.

For example, in order to make additions and amendments to the interiors of peasant houses or supplement to the appropriate small architectural forms of the personal plots, L. Trifonova and I constantly went on an expedition to Zaonezhnaya, collecting material on this topic. Scientific work requires time, effort and perseverance. There are times when the work does not go, stops, and you need an effort to continue it and achieve a result.

At the same time, much is done by the deductive method: logical conclusions are drawn by comparing various known facts, studying archival documents. Kalashnikova arose a folk group. Its idea was born from the very feature of museum science - to try to approach the understanding of folk culture through a peculiar perception of it from the inside - through songs, reconstruction of a suit, dance.

In the first composition of FET there were Fontodoviks - experts in the costume of E. Yaskelyanen, E. Naumova, employees of our department, including me. The folklore group represented Karelia and Russia at the Baltic Folklore Festival of the Baltic - 96, where it was noted as a team, which is reverently retaining the authentic tradition of not only song performance, but also costume.

The creation of each element of ethnographic costume was preceded by serious research work. The experience of the Kizhi Museum in this area can be considered unique: all the costumes of our folklore-ethnographic theater are created according to the samples from the stock collections of the museum. With great enthusiasm, we took up the restoration of many traditional female skills - the development of gold sewing and the reconstruction of lost technologies for the manufacture of bead jewelry, teaching various types of embroidery, and making copies of hats.

And then the idea of ​​the “revived exposition” program arose to demonstrate these traditional peasant skills in the museum exposition.