Creative biography of Vakhtangov

Evgeny Rubenovich Simonov Theater Life starting with home performances and a gymnasium dramatic circle, Evgeny Vakhtangov gravitated not only to the acting path. He was always interested in directing. Having tried himself as a director, in the year he sought innovation in this activity until the end of days. In the year, his directorial performances were held in Grozny, and in years - directorial debut in a student theater circle.

This is a sad and at the same time cheerful play about orders in a German school, the premiere of which in the Vakhtangov interpretation took place in January of the year, as well as approaching that era. The performance itself was given in favor of those in need. Evgeny Vakhtangov’s performance “Flood” was then laid and formed the foundations of Vakhtangov’s creative skill both as an actor and as a director: a deep penetration of the director and performer into the spiritual and spiritual life and fate of the character, the sharpness and refinement of this perception of the literary hero when transferring to stage scrapes and attempts to convey his perception to the viewer.

He studied at the university and at the same time staged performances and played himself - in Moscow, including in the very popular amateur Mikhailovsky drama circle, organized by Evgenia Iosifovaya Zavadskaya, the mother of the future director Yuri Zavadsky, in Grozny, in Vladikavkaz during his visits there. And each time for each performance, the Vakhtangs made a general plan, developed mise -en -scenes, verbally and carefully listed the props, all the items that were supposed to be on stage and their movement during the performance.

He carefully described the costumes, invented the makeup and gait of the actors to reveal the character of the characters. He honed his skill on the “cabaret” programs organized by students for the sake of earnings and as an actor and a parodist, and as an author, director and musician. In winter, he, as an assistant, accompanied Leopold Sulerzhitsky to Paris, from whom he studied since the year.

Sulerzhitsky was invited to France for the production of the cutting of Maurice Meterlink's play “Blue Bird” on the basis of the Moscow Art Theater Premier of this philosophical fairy tale. The premiere successfully passed in the spring. This is how the skill of Vakhtangov as a director-innovator was gradually honed. In the year, Vakhtangov graduated from the drama school and joined the troupe of the Moscow Art Theater.

He had few roles, but Konstantin Stanislavsky drew attention to him, who examined his successor in him. That's just not grew. A possible successor passed away before the teacher. Konstantin Sergeyevich instructed the young artist to conduct practical classes in the first Moscow Art Theater Studio, opened in the year - and not just conduct classes with novice actors, but according to the method of acting of Stanislavsky himself.

But Vakhtangov was not enough and he worked in parallel with work in the Moscow Art Theater in other theaters - “Bat”, “Wandering Dog”, Theater in Terioki - and in Moscow theater schools. The troupe of Yevgeny Vakhtangov in Paris was a special place in this series was occupied by a student drama studio created by students of various institutions of Moscow. The students invited Evgeny Vakhtangov to lead her and play her.

Studios gathered, mainly at night, so the studio participants worked or studied. The studio did not have their own premises, so they rehearsed in rented apartments, in empty cinemas and restaurants. The scenery made what would have to be made, mainly from a burlap. But this did not prevent the studios from rehearsing, and Vakhtangov to try to create a new “folk” theater, which should replace the elitist.

Just as Stanislavsky, Vakhtangov considered the actor the main thing in the theater performance, but, unlike Konstantin Sergeyevich, he considered it necessary to stiffen to separate the actor’s personality from the stage image that he embodies. All the difficulties associated with such an “unsettled” existence of a student dramatic studio affected the first production of the year.

The premiere of Boris Zaitsev’s play “The Lanins Manor” failed, the responses of the critics were indignant. All this was reflected in Vakhtangov. But this did not stop either the director or the studios. They went to work “underground”, continuing to rehearse, develop the material, just within two years after the failure, they refrained from showing their developments and the results publicly.

In the year, the Studios declared themselves as the Moscow Drama Studio of Vakhtangov publicly. The formation of the master Studios engaged in secretly. Among Vakhtangov invited to classes were the best actors and teachers. Alexandrova taught them to move, and Pyatnitsky himself put their voices to the actors. It was in this environment that the understanding of the theater, which Vakhtangov constantly spoke of.

Everything that was happening on the stage should have been conditional, and this was emphasized by the fact that the artists put on theatrical costumes directly on modern clothes. As decorations, they often used the most ordinary things. Vakhtangov worked for wear, his emotional state was constantly increased - a serious disease of the stomach affected.However, the director’s creative impulses restrained the disease for five years.

Personal life Vakhtangov was lucky both in art and in personal life. He met the one that became his wife and guardian of the family hearth, the love of a whole life and his muse. She gave birth to him the son of Sergei, named after her great -grandfather, grandfather Vakhtangov, and later retained memorial things, collected and systematized the archive. Evgeny Vakhtangov Nadezhda Mikhailovna Baitsurova.

A native of Vladikavkaz from a modest poor family. They met in the year. He is a summer gymnasium student, she is an independent woman who earns a bread in the office, translating from the French article for the Terek newspaper. Her heart trembled in front of a gray -eyed handsome man. She visits the city theater with him, participates in the performances staged by him.

Perhaps she dreamed of a stage, but her life became her scene. Vakhtangov’s father was against this marriage and even wanted to deprive his inheritance. Only the birth of the grandson reconciled him with his son, and even then not quite. Nadezhda Baitsurova leaves after Vakhtangov in Moscow, ends the historical and philological department of the highest female courses.

Later, it will become the head of the literary part of the 3rd Moscow Region Studio, and in October in the year, in the morning before the wedding, they look at the “seagull” in the Moscow Art Theater and then go to the temple of Boris and Gleb on Arbat Square in front of the Khoader “Artistic”. Then personal life was not the subject of public discussion. The storms and passions raging in the family were not brought to people.

We will leave the cover of secrets over their relationship. But most of her life, Hope Vakhtangov, with honor and pride, carried her highest rank - the wife of a brilliant actor and director, the muse of the genius. No one knows what she had to go through when Vakhtangov’s working day lasted almost 24 hours, when they were persecuted by the lack of money and the disorder of the normal apartment appeared only in the year.

And this serious illness of her husband, when you do not know how to help. Death from the middle of the X Vakhtangov begins to torment pain in the stomach. In January, doctors diagnosed stomach cancer. Doctors did two operations, but hid the diagnosis from him. The disease was aggravated and aggravated, and in the year he almost never rose from bed. Director's work.