There are actors, strained, hoarse nurture his gift. And
there are those who gave the very nature of "breathing lung" - a high
simplicity and elegance of the game, the inherent genius. This was Evgeni Evstigneev - artist not by trade but in his heart, a master at all times. October 9 it would have turned 85 years old."An actor should be able to play everything"With the change of eras in the film are changed and popular types. 1930s-1940s
- while Nikolai Kryuchkov characters, Yevgeny Samoilov, Boris Andreyev -
man of integrity, of the heroes in the truest sense of the word. Mid-1950s-1970s
- the era of Alexei Batalov, Innocent Smoktunovsky, Mikhail Ulyanov,
Evgeniy Evstigneev, who played the complex, people have doubts.Evgeny Evstigneev there for almost 20 years - he died in 1992. But his legend alive - the legend of the artist out of time, an artist with a universal talent. Evstigneev was attentive to the "human tissue" of all his roles (this is his definition), was able to feel any character. "An actor should be able to play all" - was convinced he was.He
explained the nature of his play-acting: "I am, above all, curious. And
though all men love not, an interest in him an artist should never
lose."
In the role of Khludov - Vladislav Dvorzhetsky (right).Evstigneev created images - an exhaustive encyclopedia of manners. The old poluditya Pleysher ("Seventeen Moments of Spring"), hedonist and "magician" Professor Transfiguration ("Heart of a Dog"), a millionaire with a serpentine smile Koreiko ("The Golden Calf"), weak-kneed Paramon KORZUKHIN ("Running"), with a respectable thief sovereign Ruchechnik appearance ("The venue can not be changed"), an aging master dancer Beglov ("Winter Evening in Gagra"), Ivan the Terrible Demon ("Ermak") ... The actor has played heroes, prohindeev, losers, and in every part of human knowledge invested nature and humor.Evstigneev played not only the voice and face, as many modern actors, but every cell of his acting being. Outwardly ugly, it is so eye-catching and paralyzing the audience with his acting electricity.It is this feature Evstigneeva at the time drew attention to it theater educators. And if he was wrong on exams, teachers forgave him for his failings obvious talent."Talking" gameHis expressive playing at times makes it unnecessary even program the monologues of his characters.So it was, for example, in the play "The Lower Depths" by Gorky's play in the production of "Contemporary" (1968). Evstigneev got the role of aa, pronounced the famous monologue "Man - free! .. Man ... it sounds good!". Initially, actor tuned in to the irony of his hero. However, after the tragic events in Czechoslovakia in August 1968, Gorky's ode to human freedom was played with very different overtones, and uttered the words Evstigneev Satin bitterly. At one of the premiere performances of "The Lower Depths," saying the monologue-climax, the actor suddenly forgot the text. Galina Volchek, the former wife Evstigneev and the play (and later - the principal director of "Contemporary"), horrified and explained who was sitting next to her actor Andrzej Wajda error. Polish film director, in response said that Evstigneev and so said "enough."His role Pleischner in the series "Seventeen Moments of Spring" Tatiana was almost wordless Lioznova. It evolved from a children's embarrassed smile hero, his eccentric disorderly walking, neurotic movements of hands, stoop and distraction. But this largely "pantomimic" role was one of the strongest in the repertoire of the actor. The slightest movement of the soul of the character is seen clearly in the plastic, gestures and facial expressions. "When you have healed as it is easy to swim in the general course of nature, because they do not have to lie, to torture myself," - notice the artist.Picture of the "Never" in 1962 and Todorovski directors Dyachenko now few people remember. But it is a brilliant episode - a solo on the forks, Sung Yevstigneyev. This is a solo performed at the time of his face - that attractive, the caustic, then thoughtful, then gambling. With the same self-abandonment Evstigneev played in a youth percussion instruments in a small jazz orchestra in Nizhny Novgorod, where he was born.In generation Evstigneeva same universal artist was Yevgeny Leonov. They were wonderful antithesis: an open, simple, sensitive, Leonov, the spitting image of the "holy man" from Sarafanov vampilovskogo "eldest son" - and closed, complex, discreet Evstigneev, partly similar to the Transfiguration professor of Bulgakov's "Heart of a Dog."Both actors are equally brilliantly played, and the tragedy and farce, performed the role of Chekhov (Leonov was playing in the play Ivanov, Evstigneev - Serebryakov in "Uncle Vanya", in Dorn's "Seagull", Firs in "Cherry Orchard"). Both actors have not played Dostoevsky, but would have done it admirably. No Leonov, nor Evstigneeva almost did not get "William, you know, our Shakespeare."Real life - satireUttering this hilarious comedy gnarled phrase "Beware of the Car" (1966) Eldar Ryazanov, Evstigneev as a director of amateur explicitly reminded Dynin, head of the summer camp comedy, Elem Klimov, "Welcome, or trespassing" (1964). It is this "baby" comedy, which because of biting irony of Khrushchev's first-fix ideas nearly fell on the shelf, and made a popular film actor Evstigneeva. The film was sold to the quote, like many other tapes with Evstigneeva.As a theater actor Evstigneev has been known since the mid-1950s. In 1956, graduates of the Moscow Art Theater School, Oleg Efremov, Galina Volchek, Oleg Tabakov, Evgeni Evstigneev, Igor Kvasha and Lily Tolmachev organized studio of young actors - the future theater "Contemporary" - was chosen for her the most topical, the least cloudy ideology repertoire. Enthusiasm that had the creators of the theater, passed, and spectators. In any weather to get tickets to the "Contemporary" was a line. Since the 1960s the public was in the theater "in Evstigneeva."In 1960, Evgeni Evstigneev landed the role of the king in the play "The Emperor's New Clothes" on the play by Schwartz. There is a famous prime minister flattery: "Let me put it bluntly, rudely, like an old man: you're a great man, sir!". King reacted this way: "Come here, old faithful ... Never be afraid to tell me the truth in your eyes." The role of the monarch's self-satisfied in the performance of a classic Evstigneev, fans of the actor and still download the Internet record performance.In the early 1970s, followed by Evstigneev Ephraim left the Moscow Art Theatre (Efremov headed Academic Theatre). A famous scene in the tradition often hopelessly staged semi-official work, and Evstigneev grieved excommunication from life. Efremov, where he could, walked away from ideological dogmas, and yet hard to accept Evstigneev "differences in the repertoire." "In the" Contemporary "we have a contradiction, but we understood each other ... And here [at the Moscow Art Theater - ed.] ... A single theater of faith is not enough."Evstigneev found an outlet in the movie. Sometimes he came out five films a year. Eldar Ryazanov, who shot an actor in several films ("The old-robbers" in 1971 - one of the best), recalled that Evstigneev was so worn out with work that in the pauses between shots climbed into any nook and slept until colleagues hounded jokes and wit. After resting, the actor instantly switched into the role and enrich it with new improvisations.However, this "burning" the role was a downside. Evstigneev tired record take after take to ensure that its partners have finally played well, as requested by the director. Taking off in 1970, "Flight", Alov Naumov and a lot of torment over the scene, which played Mikhail Ulyanov (General CHARNOTA) and Evgeni Evstigneev (KORZUKHIN). With each new duplicate of Evstigneev felt less enthusiastic, while Ulyanov, by contrast, is inspired. Actors have decided to being "separate" - given the opportunity to rehearse Ulyanov again and again, and Evstigneev entertained with pleasant conversation. Finally, the actors were "on the same wavelength", and the directors were quick to shoot a scene.
Dignity and vulnerabilityIn 1988, Evstigneev played one of his best roles - professor of Transfiguration in the film by Vladimir Bortko "Heart of a Dog." Best of Bulgakov's doctor - "magician magician and" - and is difficult to imagine. In the words and gestures Evstigneeva Transfiguration - a leisure and dignity, the poison of irony, self-sufficient arrogance of man ... and the horror of what is in his cozy house burst into revolutionary chaos. "In the Great [Theater - ed.] Let sing, and I'll operate on. ... That's good, and no destruction," - so the world order sees his chamber Transfiguration.And in the works Bortko, and filmographies Evstigneeva film "Heart of a Dog" - a picture-manifesto, a fundamental statement about the professionalism, human dignity and at the same time - the human vulnerability.In March 1992, Evgeni Evstigneev not a matter of hours before the scheduled live heart surgery. He has already passed the study in a London hospital where he was to be operated on. Actor believed that he could play again, to teach, to transmit to his young wife, the actress experience of development roles. The miracle did not happen. As discussed his family, had an experience, accumulating for years."None of us saw the game the great masters of past generations ... It seems that everything has already happened. And no matter what did the actor can always be found in the history of the corresponding legend ..." - Evstigneev notice. And then he explained: "I was not embarrassed. It is likely that for future generations, we are creating another legend." And indeed: the master Evgeni Evstigneev was a wonderful and unforgettable legend of the 20th century.
In the role of Khludov - Vladislav Dvorzhetsky (right).Evstigneev created images - an exhaustive encyclopedia of manners. The old poluditya Pleysher ("Seventeen Moments of Spring"), hedonist and "magician" Professor Transfiguration ("Heart of a Dog"), a millionaire with a serpentine smile Koreiko ("The Golden Calf"), weak-kneed Paramon KORZUKHIN ("Running"), with a respectable thief sovereign Ruchechnik appearance ("The venue can not be changed"), an aging master dancer Beglov ("Winter Evening in Gagra"), Ivan the Terrible Demon ("Ermak") ... The actor has played heroes, prohindeev, losers, and in every part of human knowledge invested nature and humor.Evstigneev played not only the voice and face, as many modern actors, but every cell of his acting being. Outwardly ugly, it is so eye-catching and paralyzing the audience with his acting electricity.It is this feature Evstigneeva at the time drew attention to it theater educators. And if he was wrong on exams, teachers forgave him for his failings obvious talent."Talking" gameHis expressive playing at times makes it unnecessary even program the monologues of his characters.So it was, for example, in the play "The Lower Depths" by Gorky's play in the production of "Contemporary" (1968). Evstigneev got the role of aa, pronounced the famous monologue "Man - free! .. Man ... it sounds good!". Initially, actor tuned in to the irony of his hero. However, after the tragic events in Czechoslovakia in August 1968, Gorky's ode to human freedom was played with very different overtones, and uttered the words Evstigneev Satin bitterly. At one of the premiere performances of "The Lower Depths," saying the monologue-climax, the actor suddenly forgot the text. Galina Volchek, the former wife Evstigneev and the play (and later - the principal director of "Contemporary"), horrified and explained who was sitting next to her actor Andrzej Wajda error. Polish film director, in response said that Evstigneev and so said "enough."His role Pleischner in the series "Seventeen Moments of Spring" Tatiana was almost wordless Lioznova. It evolved from a children's embarrassed smile hero, his eccentric disorderly walking, neurotic movements of hands, stoop and distraction. But this largely "pantomimic" role was one of the strongest in the repertoire of the actor. The slightest movement of the soul of the character is seen clearly in the plastic, gestures and facial expressions. "When you have healed as it is easy to swim in the general course of nature, because they do not have to lie, to torture myself," - notice the artist.Picture of the "Never" in 1962 and Todorovski directors Dyachenko now few people remember. But it is a brilliant episode - a solo on the forks, Sung Yevstigneyev. This is a solo performed at the time of his face - that attractive, the caustic, then thoughtful, then gambling. With the same self-abandonment Evstigneev played in a youth percussion instruments in a small jazz orchestra in Nizhny Novgorod, where he was born.In generation Evstigneeva same universal artist was Yevgeny Leonov. They were wonderful antithesis: an open, simple, sensitive, Leonov, the spitting image of the "holy man" from Sarafanov vampilovskogo "eldest son" - and closed, complex, discreet Evstigneev, partly similar to the Transfiguration professor of Bulgakov's "Heart of a Dog."Both actors are equally brilliantly played, and the tragedy and farce, performed the role of Chekhov (Leonov was playing in the play Ivanov, Evstigneev - Serebryakov in "Uncle Vanya", in Dorn's "Seagull", Firs in "Cherry Orchard"). Both actors have not played Dostoevsky, but would have done it admirably. No Leonov, nor Evstigneeva almost did not get "William, you know, our Shakespeare."Real life - satireUttering this hilarious comedy gnarled phrase "Beware of the Car" (1966) Eldar Ryazanov, Evstigneev as a director of amateur explicitly reminded Dynin, head of the summer camp comedy, Elem Klimov, "Welcome, or trespassing" (1964). It is this "baby" comedy, which because of biting irony of Khrushchev's first-fix ideas nearly fell on the shelf, and made a popular film actor Evstigneeva. The film was sold to the quote, like many other tapes with Evstigneeva.As a theater actor Evstigneev has been known since the mid-1950s. In 1956, graduates of the Moscow Art Theater School, Oleg Efremov, Galina Volchek, Oleg Tabakov, Evgeni Evstigneev, Igor Kvasha and Lily Tolmachev organized studio of young actors - the future theater "Contemporary" - was chosen for her the most topical, the least cloudy ideology repertoire. Enthusiasm that had the creators of the theater, passed, and spectators. In any weather to get tickets to the "Contemporary" was a line. Since the 1960s the public was in the theater "in Evstigneeva."In 1960, Evgeni Evstigneev landed the role of the king in the play "The Emperor's New Clothes" on the play by Schwartz. There is a famous prime minister flattery: "Let me put it bluntly, rudely, like an old man: you're a great man, sir!". King reacted this way: "Come here, old faithful ... Never be afraid to tell me the truth in your eyes." The role of the monarch's self-satisfied in the performance of a classic Evstigneev, fans of the actor and still download the Internet record performance.In the early 1970s, followed by Evstigneev Ephraim left the Moscow Art Theatre (Efremov headed Academic Theatre). A famous scene in the tradition often hopelessly staged semi-official work, and Evstigneev grieved excommunication from life. Efremov, where he could, walked away from ideological dogmas, and yet hard to accept Evstigneev "differences in the repertoire." "In the" Contemporary "we have a contradiction, but we understood each other ... And here [at the Moscow Art Theater - ed.] ... A single theater of faith is not enough."Evstigneev found an outlet in the movie. Sometimes he came out five films a year. Eldar Ryazanov, who shot an actor in several films ("The old-robbers" in 1971 - one of the best), recalled that Evstigneev was so worn out with work that in the pauses between shots climbed into any nook and slept until colleagues hounded jokes and wit. After resting, the actor instantly switched into the role and enrich it with new improvisations.However, this "burning" the role was a downside. Evstigneev tired record take after take to ensure that its partners have finally played well, as requested by the director. Taking off in 1970, "Flight", Alov Naumov and a lot of torment over the scene, which played Mikhail Ulyanov (General CHARNOTA) and Evgeni Evstigneev (KORZUKHIN). With each new duplicate of Evstigneev felt less enthusiastic, while Ulyanov, by contrast, is inspired. Actors have decided to being "separate" - given the opportunity to rehearse Ulyanov again and again, and Evstigneev entertained with pleasant conversation. Finally, the actors were "on the same wavelength", and the directors were quick to shoot a scene.
Dignity and vulnerabilityIn 1988, Evstigneev played one of his best roles - professor of Transfiguration in the film by Vladimir Bortko "Heart of a Dog." Best of Bulgakov's doctor - "magician magician and" - and is difficult to imagine. In the words and gestures Evstigneeva Transfiguration - a leisure and dignity, the poison of irony, self-sufficient arrogance of man ... and the horror of what is in his cozy house burst into revolutionary chaos. "In the Great [Theater - ed.] Let sing, and I'll operate on. ... That's good, and no destruction," - so the world order sees his chamber Transfiguration.And in the works Bortko, and filmographies Evstigneeva film "Heart of a Dog" - a picture-manifesto, a fundamental statement about the professionalism, human dignity and at the same time - the human vulnerability.In March 1992, Evgeni Evstigneev not a matter of hours before the scheduled live heart surgery. He has already passed the study in a London hospital where he was to be operated on. Actor believed that he could play again, to teach, to transmit to his young wife, the actress experience of development roles. The miracle did not happen. As discussed his family, had an experience, accumulating for years."None of us saw the game the great masters of past generations ... It seems that everything has already happened. And no matter what did the actor can always be found in the history of the corresponding legend ..." - Evstigneev notice. And then he explained: "I was not embarrassed. It is likely that for future generations, we are creating another legend." And indeed: the master Evgeni Evstigneev was a wonderful and unforgettable legend of the 20th century.
