OBERIU (Russian: ОБэРИу - Объединение реального искусства; English: the Union of Real Art or the Association for Real Art) was a short-lived avant-garde collective of Russian Futurist writers, musicians, and artists in the 1920s and 1930s. The group coalesced in the context of the "intense centralization of Soviet Culture" and the decline of the avant garde culture of Leningrad, as "leftist" groups were becoming increasingly marginalized. Founded in 1928 by Daniil Kharms and Alexander Vvedensky, OBERIU became notorious for provocative performances which included circus-like stunts, readings of what was perceived as nonsensical verse, and theatrical presentations, such as Kharms's Elizabeth Bam, that foreshadowed the European Theatre of the Absurd. The presentations took place in venues ranging from theaters and university auditoriums to dormitories and prisons. The group's actions were derided as "literary hooliganism" in the ever-more conservative press of the late 1920s. It was chastised even more in the early 1930s, and many of its associates were arrested. The OBERIU has often been called "the last Soviet avant-garde." Origins Some scholars say that the OBERIU manifesto was penned mostly by the poet Nikolay Zabolotsky with the help of Kharms. The core of the group included Daniil Kharms, Alexander Vvedensky, Nikolay Zabolotsky, Konstantin Vaginov, Igor Bakhterev, and others, including actors, musicians and filmmakers. The Russian artist Kazimir Malevich gave the OBERIU shelter in his newly created arts institute, letting them rehearse in one of the auditoriums. It is reported that he said to the young "Oberiuty" (as they are called in Russian): "You are young trouble makers, and I am an old one. Let's see what we can do." Malevich also gifted a book of his own ("God Is Not Cast Down") to founder Daniil Kharms with the relevant inscription "Go and stop progress!" Decline In the 1930s, Socialist Realism and Stalin's purges precluded the formation of any such "leftist" or "radical" public artistic groupings. After about 1931, The OBERIU held no more public performances, and most of those involved showed their writing only to a small circle of friends, though Zabolotsky went on to become a marginally accepted Soviet poet. Though the group was held together for a while by common interest, some split away. Zabolotsky seems to have had a falling out with Vvedensky. In the 1930s Kharms and Vvedensky became more closely involved with a group of friends who met semi-regularly for what they called "conversations." Yakov Druskin,