Born in Moscow in the family of a scientific worker. In 1957 he graduated from the Moscow Architectural Institute.
The first poems published in 1958. In 1960, the first two collections of his poems and poems were published: “Parabola” in Moscow and “Mosaic” in Vladimir. Next came “40 lyrical digressions from the poem Triangular Pear (1962), Antimirs (1964), The Achilles Heart (1966), The Shadow of Sound (1970), The View (1972),” Release the Bird! (1974), The Oak Leaf for the Cello (1975), The Stained Master Works (1976), The Temptation (1979), The Uncorrected (1981), The Foremen of the Spirit (1984), The Rav (1987) ), “Axiom of self-interest” (1990), “Rossia, Poesia” (1991) and others.
Voznesensky one of the leaders of “variety” poetry of the 1960s, imbued with the spirit of innovation and the emancipation of man from the power of obsolete dogmas. Voznesensky defined the main
themes of his poetry in the “Parabolic Ballad”:
Sweeping Canons, Forecasts, Paragraphs,
Art, Love and History Ride
Along the Parabolic Trajectory!
Ascension speaks mainly to intellectuals, “physicists and lyricists”, to people of creative work, and gives paramount importance not to social and moral-psychological problems, but to artistic means and forms of its comprehension and realization. From the very beginning, his favorite poetic means becomes a hyperbolic metaphor, related to the metaphors of Mayakovsky and Pasternak, and the main genres are a lyrical monologue, a ballad and a dramatic poem from which he builds books of poems and poems.
Voznesensky began to create his poetic universe from the poem “Masters”, where it is not only about the seven ancient Russian builders of the “seditious temple”, but also “artists of all time.” About himself, the poet said at the same time:
I am the same artel,
With seven masters.
Among the “artists of all time” Voznesensky is especially
close to architects, sculptors, painters (Michelangelo, Rublev, Rubens, Goya, Filonov, Chagall) and poets, whose work in something akin to fine art (Dante, Mayakovsky, Pasternak, Khlebnikov, Lorca) . Expressive representativeness is also characteristic of Voznesensky’s poetry, but the architectural vision of the world (“architects in poetry”) is particularly evident in her. Quite early, from the collection of 40 lyrical digressions from the poem The Triangular Pear, he began to introduce his lyrical prose into poetic books: short notes, articles, essays, essays. In the book “The Rav,” they formed a rather large “extension” which included also the extensive essays “O”, “I am fourteen years old”,
Voznesenskii was one of the first to feel the acute need for “silence”. Silence is needed for the poet to communicate with nature, for love, for inner concentration and reflection on life, for gaining a sense of harmony; it is an alternative, a counterweight to the centrifugal movement of the century, its scientific and technological progress and disharmony. With such silence the poem about love “Oza” is connected also. The theme of femininity in general is widely represented in the poetry of Voznesensky: “Wedding”, “Autumn”, “Sitting pregnant, pale…”, “Beat the woman”, “Confrontation of the eyes”, “Elena Sergeevna”, “Song of Ophelia”, ” “,” The Monologue of Merlin Monroe, “” Ice 69 “,” Maybe! “.
The theme of the Great Patriotic War is one of the most important in the work of Voznesensky. The “Ballade of the 41st year”, later entitled as “The Ballad of the Kerch Quarry”, “Goya”, “Unknown Requiem in Two Steps, with an Epilogue”, “Doctor Autumn” and other works are associated with her. The poem “The Rove” is dedicated to the trial of gravediggers who extracted gold and other precious things from the burial of 12,000 civilians, mostly Jews, who were shot by fascists near Simferopol during the war. The poet regards the crime of greedy people before the sacred memory of the victims of war as the greatest sin leading to the disintegration of the connection of times, to the rupture of spiritual and moral ties between people, generations, epochs.
The theme of disintegration goes through all the work of Voznesensky, but over time the meaning of it essentially changes: if in the early period, in the 60s, the poet spoke of the disintegration of old, obsolete forms of life and art that prevented the birth and establishment of a new 1980’s first half of the 90’s. we are talking about the disintegration of existential, life-building spiritual and moral values (“Rhapsody of decay”).
The antidote to lack of spirituality and barbarism Voznesensky regards poetry and art (Poetarch), the selfless activity of Russian intellectuals as “superintendents of spirit” and the revival of Christian values. Non-Christian motives in his work become very significant, beginning with the poem “Andrew Polisadov” (1979), which tells about the life of the priest of the great-great-grandfather of the poet. Creativity Voznesensky in its spirit and artistic structure is deeply dramatic, spectacular, theatrical and stage. On the basis of his works, Y. Lyubimov staged the play “Antimirs” at the Taganka Theater; R. Greenberg at the Ivanovo Youth Theater staged stage compositions “Parabola” and “Mosaic”; A. Rybnikov wrote the rock opera “Juno and Avos”, and M Zakharov put it at the Theater. Leninist Komsomol; R. Shchedrin “Poetry”, A. Nilayev the oratorio of the “Master”, V. Yarushin rock oratorio of the “Master”.
Voznesenskii has experimented a lot in the field of artistic form, especially in recent years, creating “video”, in which verses are combined with drawings, photographs, font compositions, the text is in a certain form, for example in the form of a cross (the cycle “Crucifixion”). According to the author’s intention, such visual poetry should combine visual perception with spiritual perception.