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sū lián、 é luó sī zuò jiā。 sū lián kē xué yuàn yuàn shì。 1899 nián 5 yuè 31 rì shēng yú mò sī kē。 1915～ 1918 nián zài mò sī kē dì sān zhōng xué jiù dú shí kāi shǐ wén xué huó dòng。 guó nèi zhàn zhēng qī jiān zhì yuàn cān jiā hóng jūn， 1920 nián fù yuán hòu zài mò sī kē rèn xiǎo bào biān ji， wǎn shàng dào gōng chǎng dāng yè bān qián gōng。 1924 nián fā biǎo fǎn yìng shí yuè gé mìng qián hòu 'é luó sī nóng cūn jù biàn de cháng piān xiǎo shuō《 huān》 hòu， chéng wéi zhí yè zuò jiā。 20 nián dài hòu bàn qī hé 30 nián dài jiān shì xiǎo shuō hé xì jù chuàng zuò， jiào zhù míng de yòu cháng piān xiǎo shuō《 zéi》、《 suǒ xī hé》、《 sī kù tǎ liè fū sī jī》 hé《 tōng guò hǎi yáng de dào lù》； jù běn《 bō luò fū chǎng guǒ yuán》 hé《 bào fēng xuě》 děng。 fǎn fǎ xī sī wèi guó zhàn zhēng nián dài céng dào qián xiàn， chuàng zuò shàng zhù yào wán chéng 4 mù huà jù《 qīn lüè》 hé zhōng piān xiǎo shuō《 gōng kè dà shū mǔ sī kè》 liǎng bù lì zuò。 qián zhě xiě zhàn qián yīn xíng shì fàn zuì zuò láo de zhù rén gōng（ 1964 nián xīn bǎn gǎi wéi “ sù fǎn ” shí de méng yuān rù yù zhě） chū yù hòu yì rán cān jiā kàng dí dǒu zhēng bìng wéi jiù yóu jī duì cháng 'ér zhuàng liè xī shēng de gù shì。 hòu zhě zhèng miàn gē sòng hóng jūn yīng yǒng wán qiáng de zhàn dǒu jīng shén。 fēn bié yú 1946 nián hé 1949 nián chū bǎn de《 zhàn shí wén cún》 hé《 wǒ men de suì yuè》， shōu jí liǎo tā zhàn shí de zhèng lùn jí zhàn hòu zài gè zhǒng chǎng hé fā biǎo de yǎn shuō、 suí bǐ děng。 qí jiān wán chéng de jù běn《 jīn mǎ chē》， biān chī zì sī zì lì， ōu gē nǚ zhù rén gōng jiān qiáng xìng gé hé gāo shàng qíng cāo。 cháng piān xiǎo shuō《 é luó sī sēn lín》 tōng guò liǎng gè zhèng zhì shàng hé dào dé shàng wán quán duì lì de lín xué jiā， cóng 1905 nián dào wèi guó zhàn zhēng nián dài de bù tóng dào lù hé mìng yùn， zài xiàn 'é luó sī jìn bàn gè shì jì de qū zhé lì chéng， fù yú zhé lǐ， jiào duō yùn yòng mín jiān chuàng zuò hé yì shù xiàng zhēng， qīng xīn bù sú， huò 1957 nián shǒu cì bān fā de liè níng jiǎng jīn。 50 nián dài hòu qī yǐ hòu， chū rèn sū lián zuò jiā xié huì lǐ shì huì shū jì chù shū jì。 yǐ fā biǎo de zuò pǐn yòu kē huàn diàn yǐng xiǎo shuō《 mǎ kè - jīn lì xiān shēng táonàn jì》、 zhōng piān xīn lǐ xiǎo shuō《 yè fǔ gài ní · yī fán nuò fū nà》、 lùn wén jí《 wén xué yǔ shí dài》。
Life and work
During the Russian Civil War, he worked as a reporter. His first (and perhaps best) novel, The Badgers (1924), employs a fairly conventional style but is filled with peasant speech; it "deals with the impact on the village and the peasantry of the Revolution and symbolically pits brother against brother in the struggle." His dark novel The Thief (1927), set in the criminal underworld of the Russian capital, was warmly welcomed by critics in Russia and abroad, but Brown considers it "spoiled in execution by the self-conscious literary poses of the author and his transparent derivation of himself from the irrationalist Dostoevsky. Leonov nonetheless performs a shrewd psychological dissection upon his main character, a disillusioned commissar who has become a member of a gang of thieves. He produced a thoroughly reworked version of this novel in 1959."
The Moscow Art Theatre under the direction of Constantin Stanislavski staged Leonov's play Untilovsk, which was set in a remote Siberian community. The production opened on 17 February 1928, having given a preview to the theatre's management committee three days earlier. Both the committee and the wider press disapproved of the play's ideological stance; Anatoly Lunacharsky, writing in the Leningrad journal Krasnaia, described it as a step backwards for the theatre.
Soviet River (1930) describes the construction of a paper mill on the banks of a river in the middle of the Siberian forest; Skutarevsky (1932), "probably one of his best works in style and intellectual power, explores the psychological problems of an eminent scientist working in a socialist state and, in what is undoubtedly an autobiographical statement, traces his development from a skeptical critic of the new order into an enthusiastic supporter." In 1934, Leonov helped Maxim Gorky to found the Union of Soviet Writers. The following year, he published a fantasy about the Soviet future, Road to the Ocean, in which the hero, "another embodiment of Leonov, meditates on the suffering he has caused and endured and tries to answer the question whether it was worth while in the total economy of history."
Immediately after the start of World War II, Leonov penned several patriotic plays, which were quickly made into movies and won him the USSR State Prize (1943). His novel The Russian Forest (1953) was acclaimed by the authorities as a model Soviet book on World War II and received the Lenin Prize, but its implication that the Soviet regime had cut down "the symbol of Old Russian culture" caused some nervousness, and Nikita Khrushchev reminded the author that "not all trees are useful ... from time to time the forest must be thinned." In 1967, Leonov was named a Hero of Socialist Labour. He was admitted to the Soviet Academy of Sciences five years later. During the last decades of his life, he worked upon the dark nationalistic-religious epic The Pyramid (1994).
[edit]Filmography
1963 Русский лес (The Russian Forest) - screenplay
1975 Бегство мистера Мак-Кинли (The Escape of Mr. McKinley) film / closet screenplay