Bela Andreevna Rudenko |

Bela Rudenko

Phakathi kwemisebenzi yomdwebi waseLatvia u-Leo Kokle, kukhona isithombe esinemibala ye-pastel eluhlaza okwesibhakabhaka esiheha ukunaka ngokuzenzakalelayo. Ebusweni obucwengekile, amehlo ahluke ngokugqamile makhulu, ansundu ngokumnyama, anakile, ayabuza futhi akhathazekile. Lesi yisithombe soMculi Wabantu we-USSR BA Rudenko. U-Leo Coquelet, umculi oqaphile futhi ocabangayo, wakwazi ukuthwebula into esemqoka ehlukanisa umlingiswa wakhe - ubufazi, ukuthambile, ukucula kanye, ngesikhathi esifanayo, ukuzola, ukuzibamba, injongo. Ukwelukwa kwalokhu, uma uthi nhlá, izici eziphikisanayo zakha lowo mhlabathi ovundile okwakhulela kuwo ithalente elikhanyayo nelingokoqobo ...

Umlando wokudala womculi waqala e-Odessa Conservatory, lapho, ngaphansi kokuqondisa kuka-Blagovidova, wafunda izimfihlo zokuqala zobuciko bomculo, wathatha izifundo zakhe zokuqala zokuphila. Umeluleki kaBela Rudenko wayehlukaniswa ubumnandi nesimo sengqondo esicophelelayo kumculi, kodwa ngesikhathi esifanayo, ukuqina okuqinile. Wayefuna ukuzinikela okuphelele emsebenzini, ikhono lokubeka phansi yonke into ekuphileni enkonzweni ye-museum. Futhi lapho umculi osemusha ngo-1957 eba owawina ku-VI World Festival of Democratic Youth and Students, ethole indondo yegolide nesimemo sokuyodlala ekhonsathini eMoscow naseLeningrad noTito Skipa, wakuthatha njengokuphuma komgwaqo obanzi. , okuphoqa okuningi.

Wonke umnumzane weqiniso ubonakala ngokungahlaliseki, ukunganeliseki ngalokho okwenzekile, ngegama, into ekhuthaza ukuzihlola njalo kanye nokusesha kokudala. Lona kanye uhlobo lobuciko Bela Andreevna. Ngemuva kwekhonsathi elandelayo noma ukusebenza, uhlangana no-interlocutor ongathi sína, oqoqiwe olinde ukuhlolwa okuqinile nokuyiqiniso, ukuhlola okungenzeka ukuthi, mhlawumbe, kuzonikeza umfutho emicabangweni emisha kanye nokutholwa okusha. Kule nqubo engapheli yokuhlaziya, ekusesheni njalo, kulele imfihlo yokuvuselela kanye nentsha yokudala yomculi.

“U-Bela Rudenko ukhule esuka endimeni eya endimeni, esuka ekudlaleni waya kokudlalayo. Ukunyakaza kwakhe kwakuhamba kancane - ngaphandle kokugxuma, kodwa ngaphandle kokuphazamiseka. Ukunyukela kwakhe ku-Olympus yomculo bekulokhu kuzinzile; akazange akhuphuke ngokushesha, kodwa wavuka, enqoba ngenkani ukuphakama okusha eqenjini ngalinye elisha, futhi yingakho ubuciko bakhe obuphakeme nempumelelo yakhe evelele kulula futhi eqiniseka, ”kubhala uProfesa V. Tolba mayelana nomculi.

Esiteji, u-Bela Andreevna unesizotha futhi wemvelo, futhi yile ndlela anqoba ngayo izethameli, uyiguqule ibe umngane wakhe wokudala. Akukho ukuthinteka kanye nokuphoqelelwa kokuthanda kwabo. Kunalokho, kuyinjabulo yozwela, umoya wokwethembana okuphelele. Konke okuye kwaphila iminyaka engaphezu kwekhulu, uRudenko uhlala evula yena kanye nabanye njengekhasi elisha empilweni, njengesambulo.

Isitayela somculi sidala umbono wokukhanya, imvelo, njengokungathi njengamanje, kulo mzuzu, umbono womqambi uvuselelwa phambi kwamehlo abo - kuhlaka lwe-filigree, kukho konke okwawo. Ku-repertoire kaRudenko kunamakhulu ezothando, cishe zonke izingxenye ze-opera ye-coloratura, futhi ngomsebenzi ngamunye uthola indlela efanele, ehambisana nesitayela nesakhiwo somzwelo. Umculi ngokufanayo ungaphansi kwezingoma zamagama, ezipendwe ngamathoni athambile, kanye ne-virtuoso, nomculo omangalisayo, omangalisayo.

Indima kaRudenko yokuqala kwaba nguGilda ovela ku-Verdi's Rigoletto, edlalwa eKyiv Shevchenko Opera neBallet Theatre. Imisebenzi yokuqala yabonisa ukuthi umculi osemusha wazizwa ngobuqili konke ukuvela kwesitayela sika-Verdi - ukuvezwa kwayo kanye ne-plasticity, ukuphefumula okubanzi kwe-cantilena, ukuveza okuqhumayo, umehluko wezinguquko. Ivikelwe ubaba okhathalelayo nonothando, iqhawekazi elincane lika-Bela Rudenko lithembekile futhi lingenangqondo. Lapho eqala ukubonakala esiteji - ngobuqili kobungane, elula, enamawala - kubonakala kithi ukuthi impilo yakhe ihamba kancane, ngaphandle kokungabaza nokukhathazeka. Kodwa kakade kusukela ekujabuleni okucatshangelwayo okucatshangwa ukuthi uzama ukubiza uyise ngokungananazi, siyaqonda ukuthi ngisho nalesi siqephu se-actress u-Gilda akuyona nje ingane engenangqondo, kodwa kunalokho uyisiboshwa esingenakuzikhethela, futhi ukuzijabulisa kwakhe kuphela. indlela yokuthola imfihlo ngomama, imfihlakalo egubuzele indlu.

Umculi ukwazile ukunikeza umbala onembile kumshwana ngamunye womculo wedrama ye-Verdi. Yeka ubuqotho, injabulo esheshayo ezwakala endaweni kaGilda othandweni! Futhi kamuva, lapho uGilda eqaphela ukuthi uyisisulu nje, umdwebi ubonisa umlingiswa wakhe ethukile, edidekile, kodwa engaphukile. Edabukile, ezacile, evuthiwe ngokushesha futhi eqoqiwe, uya ngokuzimisela ngasekufeni.

Kusukela ekudlalweni kokuqala, umculi ubelwela ukudalwa okukhulu kwesithombe ngasinye, ukudalulwa kwesiqalo esinomculo ngomzabalazo oyinkimbinkimbi wabalingiswa, kuya ekuhlaziyweni kwanoma yisiphi isimo sempilo ngokusebenzisa ukungqubuzana kokungqubuzana.

Okuthakazelisa kakhulu umculi kwakuwumsebenzi kaNatasha Rostova ku-opera ye-Prokofiev ethi War and Peace. Kwakudingekile ukuqonda umcabango wefilosofi womlobi nomqambi futhi, ukuwulandela ncamashi, ngesikhathi esifanayo ukufudumala isithombe ngombono womuntu siqu, isimo sengqondo somuntu siqu kuso. Edala kabusha uhlamvu oluvelele oluphikisanayo lweqhawekazi lika-Tolstoy, u-Rudenko wahlanganisa izinkondlo ezilula nokudideka okubuhlungu, i-angularity yothando kanye nobufazi bepulasitiki baba inkimbinkimbi engahlukaniseki. Izwi lakhe, elimangalisayo ebuhleni nasekuthandeni kwalo, lembula ngokuphelele ukunyakaza okujulile nokujabulisayo komphefumulo kaNatasha.

Ku-arias, ama-arios, ama-duets, imfudumalo nokufiphala, intshiseko nokuthunjwa kwezwakala. Izakhiwo ezinhle ezifanayo zemvelo yabesifazane zizogcizelelwa nguRudenko ezindimeni zakhe ezilandelayo: UVioletta (uVerdi's La Traviata), uMarta (uMlobokazi kaRimsky-Korsakov), uLyudmila kaGlinka.

Umbono ophakeme wezimo zasesiteji, ukusabela osheshayo akucebisi nje kuphela okumangalisayo, kodwa futhi namakhono omculo omculi. Futhi izindima azidlalayo zihlala ziheha ngobuqotho nangokuguquguquka.

U-Bela Rudenko ungumnikazi ngokugcwele wesipho esihle kakhulu esidingekayo kumdwebi - ikhono lokuphindukuzalwa. Uyakwazi “ukulunguza” kubantu, uyakwazi ukumunca, ukuthwebula impilo kukho konke ukuhlukahluka nokuhlukahluka ukuze kamuva aveze ubunkimbinkimbi nobuhle bayo obumangalisayo emsebenzini wakhe.

Ingxenye ngayinye elungiselelwe u-Bela Rudenko inothando ngandlela-thile ngendlela ekhethekile. Iningi lamaqhawekazi akhe ahlanganiswe ubumsulwa nobumsulwa bemizwa, nokho wonke awokuqala futhi ahlukile.

Ake sikhumbule, isibonelo, indima kaRosina ku-Rossini ethi The Barber of Seville - ngokungangabazeki omunye wemisebenzi ehlaba umxhwele nekhumbulekayo yomculi. U-Rudenko usanda kuqala i-cavatina edumile, futhi ukuzwela kwethu sekuvele kuhlangothini lwe-heroine yakhe - ehlakaniphile, enhlanhlathayo, ehlakaniphile.

“Ngeke ngikwazi ukuzisiza…” esho ngobumnandi nangokudinwa, futhi uhleko olungacindezelwe luhlephula amagama; “unenhliziyo elula…” – egigitheka ehlakazeka njengobuhlalu (akananhliziyo nje elula, lokhu kugigitheka okuncane!). “Futhi ngiyavuma,” kukhononda izwi elimbambayo, futhi siyezwa: “Zama, ungithinte!”

“Ama-buts” amabili ku-cavatina ayizici ezimbili ezihlukene zomlingiswa: “kodwa,” u-Rosina ucula kancane, “futhi lokho kungukuqala kozungu; sengathi ubheka isitha esingabonakali. Owesibili “kodwa” mfushane futhi umbani ngokushesha, njengokushaywa. U-Rozina-Rudenko akacaci kuwo wonke umuntu, kodwa yeka indlela engabonakali kahle angakwazi ngayo ukuhlaba, yeka indlela enhle yokubhubhisa noma ubani omphazamisayo! I-Rosina yakhe igcwele impilo, amahlaya, uyasijabulela isimo samanje futhi wazi kahle ukuthi uzophuma enqobile, ngoba unenjongo.

U-Bela Rudenko kunoma iyiphi indima ayidlalayo ugwema izingqungquthela nama-clichés. Ubheka izimpawu zeqiniso kuzo zonke izithombe ezifakiwe, ulwela ukusisondeza ngangokunokwenzeka kumbukeli wanamuhla. Ngakho-ke, lapho kufanele asebenze engxenyeni kaLyudmila, kwaba umsebenzi othakazelisayo ngempela, nakuba onzima kakhulu.

Unyaka ka-1971 wawubalulekile ku-Bela Andreevna, lapho i-opera ethi Ruslan noLyudmila ilungiselelwa ukuqhutshwa e-Bolshoi Theatre yase-USSR. Ngaleso sikhathi, u-Bela Rudenko wayengumculi oyedwa we-Kyiv Theatre ye-Opera ne-Ballet eqanjwe ngo-TG Shevchenko. Indawo ye-Bolshoi Theatre yayaziwa kakhulu kumculi kusukela ekuboniseni ukuvakasha. AbakwaMuscovites bakhumbula uVioletta wakhe, uRosina, uNatasha. Ngalesi sikhathi umculi wamenywa ukuba abambe iqhaza ekukhiqizeni i-opera ye-Glinka.

Ukuzilolonga okuningi, imihlangano nabahlabeleli abadumile baseBolshoi Theatre, nabaqhubi bakhule baba inyunyana yokudala efudumele.

Ukusebenza kwahlelwa yinkosi evelele yomqondisi wesiteji se-opera u-B. Pokrovsky, owacebisa isitayela esidumile, senganekwane se-opera ngohlobo nezici zansuku zonke. Ukuqonda okuphelele kwasungulwa ngokushesha phakathi komculi nomqondisi. Umqondisi uphakamise ukuthi umdlali we-actress ashiye ngokuqinile ukuhumusha okuvamile ekuchazeni isithombe. I-Lyudmila entsha kufanele ibe yi-Pushkinian futhi ngesikhathi esifanayo yesimanje kakhulu. Akuyona into enohlangothi olulodwa, kodwa iyaphila, iyashintshashintsha: iyadlala, inesibindi, inobuqili, mhlawumbe ingenangqondo. Yile ndlela abonakala ngayo phambi kwethu ekusebenzeni kukaBela Rudenko, futhi umculi ubheka ukuzinikela nobuqotho njengezici ezivelele kumlingiswa weqhawekazi lakhe.

U-Ludmila unesimo sakhe sengqondo kumlingiswa ngamunye ku-opera. Nangu elele kusofa ephusheni eliwumlingo futhi ngokunganaki waphusha isandla sikaFarlaf esimfinyelela ngesithende sakhe. Kodwa ngokumamatheka okucashile, uthinta ngokudlala umqophi wakhe ngeminwe emhlane - ukuthinta okuphazima kweso, okudlulayo, kodwa okunembe kakhulu. Ubuhle bokuguquguquka kwemizwa kuya kwemizwa, ukukhanya kanye nezinkondlo kube nomthelela ekwakhiweni kwesithombe esiguquguquka ngokungavamile nesepulasitiki. Kuyathakazelisa ukuthi ngaphambi kokuba uLyudmila Bela Rudenko afunde ukudonsa umnsalo ngokudumile, umdwebi waqeqeshwa isikhathi eside futhi kanzima kuze kube yilapho ukunyakaza kwakhe kwezandla kuba nomusa futhi ngesikhathi esifanayo eqiniseka.

Ubuhle nobuhle bomlingiswa kaLyudmila kwembulwa ngokucace okungajwayelekile esenzweni sesithathu se-opera. Phakathi kwezingadi zikanokusho zaseChernomor, ucula ingoma ethi "Share-dolushka". Ingoma izwakala ithambile futhi ilula, futhi sonke isigcawu sephupho lesipoki siyaphila. U-Rudenko uthatha iqhawekazi lakhe alikhiphele ngaphandle kwezwe lezinganekwane, futhi lo mculo uvusa izinkumbulo zezimbali zasendle, umkhathi waseRussia. ULyudmila ucula, njengokungathi, yedwa, ethemba imvelo ngokuhlupheka kwakhe namaphupho. Izwi lakhe elicacile lizwakala lifudumele futhi limnene. U-Lyudmila ukholelwa kakhulu, eduze kwethu, ukuthi kubonakala sengathi uphila ngesikhathi sethu, ukhohlakele, onothando, okwazi ukujabula ngobuqotho, angene empini ngesibindi. U-Bela Andreevna wakwazi ukwenza isithombe esijulile, esihlaba umxhwele futhi ngesikhathi esifanayo nenhle kakhulu.

Abezindaba kanye nezethameli bawazisa kakhulu umsebenzi walo mculi. Nakhu okwabhalwa umgxeki u-A. Kandinsky ngaye ngemva kokuqala kwemidlalo ("Soviet Music", 1972, No. 12): "Esigabeni sokuqala, umculi odumile uB. Rudenko (umculi we-Kyiv State Academic Opera Theatre) uyacula. ULyudmila. Kunezici eziyigugu ekuculeni nasekudlaleni kwakhe - ubusha, ubusha, umuzwa wobuhle osheshayo. Isithombe asidalile sinezici eziningi, sigcwele impilo. U-Lyudmila wakhe uyathandeka, uqotho, uyashintsha, unomusa. Ngobuqotho nemfudumalo ye-Slavic ngempela, imishwana emnandi ethi "valelisa" yokugeleza kwe-cavatina, ingoma "engapheli" ye-aria evela esenzweni sesine iphefumula ngamandla nangamandla okuziqhenya ukusola komthumbi okhohlisayo ("Mad Wizard"). U-Rudenko uphinde aphumelele ezikhathini zeqembu: izikhalazo ezikhohlisayo, "Ungathukutheli, sivakashi esihle", ezenziwe kahle ngendlela "ekhulunywayo", imishwana emithathu yomculo wokuqala we-cavatina ("... umzali othandekayo" ). Izwi lomculi ligijima ngokukhululekile futhi kalula ku-coloratura enzima kakhulu, ngaphandle kokulahlekelwa ubuhle bayo be-timbre kubo. Iheha ukuthamba kwayo, “ifa” le-cantilena.

Kusukela ngo-1972, u-Bela Rudenko ube ngumculi ohamba yedwa ne-Bolshoi Theatre. Ingxenye elandelayo, efakwe ngokuqinile ku-repertoire yakhe, kwakunguMarta ku-opera kaRimsky-Korsakov ethi The Tsar's Bride. Kwakunjengokungathi, ukuqhubeka kwegalari yezithombe ezikhangayo zabesifazane baseRussia. UMarta wakhe ngezinye izindlela uyindlalifa kaLyudmila - ekuhlanzekeni kwemizwa yakhe, ngobumnene, ubuqotho nokuzinikela. Kodwa uma u-Lyudmila eyinganekwane evusiwe, khona-ke uMarfa uyi-heroine yedrama yengqondo, umlingiswa womlando. Futhi umculi akakhohlwa ngakho umzuzu.

Ukuceba ngokomzwelo, ingoma ebanzi, isiqalo esimnandi esimnandi - yonke into eyisici sesikole samazwi sase-Ukraine futhi ethandekayo kumculi - konke lokhu kuhlanganiswe ngokwemvelo esithombeni sikaMarta asidalile.

UMarta wakhe uwukwenziwa samuntu komhlatshelo. Esikhathini sokugcina, lapho ephendukela kuGryaznoy ngamazwi othando, embiza ngokuthi "uVanya othandekayo", lapho edabukisayo ethi: "Woza kusasa, Vanya", sonke isigameko siba sibi kakhulu. Futhi nokho akukho ubumnyama noma fatalism kuwo. UMarta othambile futhi othuthumelayo uyanyamalala, ethi kancane futhi ngenjabulo ngokububula okulula: "Uyaphila, u-Ivan Sergeyich," futhi i-Snow Maiden ibonakala ngokuzenzakalelayo phambi kwamehlo akhe, ngokudabuka kwayo okukhanyayo nokuzolile.

Isimo sokufa kukaMarfa Rudenko senza ngokumangalisayo nangomphefumulo, ngobuciko obukhulu. Ngaphandle kwesizathu, lapho enza i-aria kaMartha eMexico, ababuyekezi babhala ngokuzwakala kwezwi lakhe ezulwini. UMarta akasoli muntu ngokufa kwakhe, isimo esishabalala sigcwele ukukhanyiselwa okunokuthula nobumsulwa.

Okokuqala, umculi we-opera, u-Bela Andreevna Rudenko uyazi ukuthi angasebenza kanjani ku-repertoire yekamelo ngentshiseko efanayo, ngokuzinikela okuphelele. Ngokwenza izinhlelo zekhonsathi ngo-1972, waklonyeliswa uMklomelo Wesifunda we-USSR.

Uhlelo lwakhe ngalunye olusha luhlukaniswa ngokucabangisisa kahle. Umculi uyakwazi ukwakha amabhuloho "angabonakali" phakathi kwezingoma zomdabu, ama-Russian, ama-Ukraine kanye nama-classics angaphandle kanye nomculo wesimanje. Usabela ngokuqinile kukho konke okusha, okufanele ukunakwa, futhi endala uyazi ukuthi angayithola kanjani into eseduze nomoya nomoya wanamuhla.

I-USA, Brazil, Mexico, France, Sweden, Japan… Ijografi yohambo luka-Bela Rudenko lokudala namakhonsathi lubanzi kakhulu. Usevakashele eJapan izikhathi eziyisithupha. Umshini wokunyathelisa waphawula: “Uma ufuna ukuzwa ukuthi amaparele aginqika kanjani kuvelvet, lalela uBela Rudenko ecula.”

Kulokhu kuhlanganisa okunelukuluku nokumibalabala, ngibona ukuhlolwa kwekhono lesici somculi lokudala isithombe sobuciko esikholisayo nesiphelele esinezindlela ze-laconic, isithombe esinakho konke futhi esingenakho ukweqisa.

Nakhu okushiwo ngu-I. Strazhenkova ngoBela Andreevna Rudenko encwadini ethi Masters of the Bolshoi Theatre. “Iqiniso lobuciko obusezingeni eliphezulu libuye lethwe ekuculeni kwakhe nguBela Rudenko, umpetha owaziwayo wezwi nesiteji, one-coloratura soprano enhle, ongumnikazi wesu lokudida, ukulingisa, izwi, uhla lwetimbre ... Into esemqoka emfanekisweni wokudala. kaBela Rudenko wayenobuhle bangaphakathi futhi uhlala ekhona, ubuntu obufudumeza ubuciko balo mculi. "

I-rationalism yeciko iyavumelana futhi inengqondo. Ukusebenza kuhlale kungaphansi komcabango othile, ocacile. Egameni lakhe, uyenqaba imihlobiso emangalisayo yomsebenzi, akathandi i-multicolor ne-variegation. Umsebenzi kaRudenko, ngokubona kwami, ufana nobuciko be-ikebana - ukuze ugcizelele ubuhle bembali eyodwa, udinga ukushiya ezinye eziningi.

“U-Bela Rudenko uyi-coloratura soprano, kodwa futhi ucula ngempumelelo izingxenye ezimangalisayo, futhi lokhu kuthakazelisa kakhulu ... Ekuculeni kwakhe, indawo ka-Lucia we-opera ka-Donizetti ethi “Lucia di Lammermoor” yayigcwele impilo namaqiniso engangingakaze ngizwe. ngaphambi” , – wabhala u-Arthur Bloomfield, umbuyekezi welinye lamaphephandaba aseSan Francisco. Futhi uHarriet Johnson esihlokweni esithi "Rudenko - coloratura engavamile" ubiza izwi lomculi "elicacile nelimnandi, njengomtshingo ojabulisa izindlebe zethu" ("New York Post").

Umculi uqhathanisa umculo we-chamber nomzuzu omnandi: “Uvumela umculi ukuba ayeke manje, abambe umoya, abheke emagumbini angaphakathi enhliziyo yomuntu, abuke ama-nuances acashile.

Ngokuzenzekelayo, u-Bela Rudenko ufika engqondweni yothando lukaCornelius "One Sound", lapho yonke intuthuko yakhelwe phezu kwenothi elilodwa. Futhi mingaki imibala engokomfanekiso, ezwakalayo umculi ayiletha ekuculeni kwakhe! Yeka ukuthamba okumangalisayo futhi ngesikhathi esifanayo ukugcwala komsindo, nxazonke nokufudumala, yeka ukulingana komugqa, ukunemba kwephimbo, ukuncisha okunekhono, yeka ipiyanissimo ethambile kakhulu!

Akuyona into engaqondakali ukuthi uBela Andreevna uthi ubuciko bekamelo bumvumela ukuba abheke emagumbini angaphakathi enhliziyo yomuntu. Usondele ngokulinganayo emikhosini eshisayo ye-Massenet's Sevillana, Cui's Bolero kanye nedrama evuthayo yezingoma zika-Schumann nezothando zika-Rachmaninov.

I-opera iheha umculi ngesenzo esisebenzayo nesikali. Kubuciko bakhe bekamelo, uphendukela emidwebeni emincane ye-watercolor, ngezingoma zabo ezihloniphekile kanye nokujula komqondo wokusebenza kwengqondo. Njengomdwebi wezwe ezithombeni zemvelo, kanjalo umculi ezinhlelweni zekhonsathi ulwela ukukhombisa umuntu kukho konke ukunotha kwempilo yakhe engokomoya.

Umsebenzi ngamunye we-People's Artist we-USSR u-Bela Andreevna Rudenko wembulela izethameli izwe elihle neliyinkimbinkimbi, eligcwele injabulo nokucabanga, ukudabuka nokukhathazeka - izwe eliphikisanayo, elithakazelisayo, elithakazelisayo.

Umsebenzi womculi engxenyeni ye-opera noma ukwakheka kwegumbi - okuhlale kucatshangelwe, kunamandla njalo - kungafaniswa nomsebenzi wombhali wemidlalo yeshashalazi ongafuni nje ukuqonda impilo yabantu, kodwa futhi ukuyicebisa ngobuciko bakhe.

Futhi uma lokhu kuphumelela, khona-ke kungaba yini injabulo enkulu kumdwebi, kumdwebi olwela ukuphelela, ukunqoba iziqongo ezintsha kanye nokutholwayo kuhlala njalo futhi akuvimbeki!

Umthombo: Omelchuk L. Bela Rudenko. // Abaculi beBolshoi Theatre yase-USSR. Izithombe eziyishumi nanye. – M.: Umculo, 1978. – p. 145–160.