Biography performance actors

He staged performances and played himself - both in Moscow, and during the visits to Vladikavkaz. For each production, Vakhtangov developed a general plan, carefully listed all the items that should be on stage, described costumes, makeup and gait of actors, even calculated the pace of the curtain. Here Evgenia Vakhtangov inspired everything: scenery and acting, sound effects and technical details.

In the year, Vakhtangov decided to get professional theater education and entered dramatic courses at the Moscow Art Theater. Evgeny Vakhtangov wanted to become a director, and Konstantin Stanislavsky soon began to distinguish him from the rest of the students. He appointed Vakhtangov as the main assistant for working with young actors. Inspired by the methodology of Stanislavsky, Evgeny Vakhtangov dreamed of creating an acting studio.

The principle is to achieve everything ourselves ... to check the K. system to accept or reject it. Fix, supplement or remove lies. Everyone who came to the studio should love art in general and stage in particular. The joy of looking for in creativity. Forget the audience. Create for yourself. Enjoy for yourself. Judges themselves. " Evgeny Vakhtangov was striving for this by Stanislavsky himself.

At the same time, Vakhtangov worked in other Moscow theater schools, among which a special place was occupied by a student drama studio. It was created in the year by five students from different Moscow universities. A year later, novice actors invited Vakhtangov as a teacher and director. At first, the innovative studio of Yevgeny Vakhtangov did not have their own premises, the participants gathered in the rooms of students, then in restaurants, then in empty cinemas.

The rehearsals took place mainly at night, since during the day Yevgeny Vakhtangov was engaged in the 1st MHT studio, and the students studied and worked. The student studio presented her first production - “Lanin's Manor” in the year. The premiere of the performance caused a storm of indignation.

Critics sarcastically wrote about children's helplessness of novice actors, about the miserability of theatrical scenery, about the insolvency of director Vakhtangov. Stanislavsky was so angry at Vakhtangov for amateur performances and the failure of the “Lanins' Estate, which forbade him to teach outside the walls of the Moscow Art Theater and the 1st studio.

However, classes in the student studio did not stop, but now passed in the strictest secret. For his students, Vakhtangs hired the best none teachers, despite the poverty of the studio. Evgeny Bogrationovich said: “I need the best, most bold, maybe innovator in every region. We are so poor that we must learn from the best. ” Therefore, if, by setting the voice, Pyatnitsky was the best, then let's give Pyatnitsky.

Yes, Evgeny Bogrationovich knew how to recognize real people of art! He had a flair for them, and he tried to mainly grow teachers from his senior students. ” In the performances, he sought to emphasize the convention of what was happening on the stage, therefore, for example, the classic theatrical costumes of the Vakhtangovites put on top of modern clothing. And in order to strengthen this idea, the artists put them right on the stage.

In a matter of seconds, they reincarnated from the actors into the characters of the play. For scenery, ordinary household items were used that were played out with the help of light and fabric draperies. In the year, the student studio left the Underground and began to be called the Moscow Drama Studio Evgeny Vakhtangov. In the same year, Vakhtangov was seriously ill, but he became even more and more diligent to work.

The grotesque theater and fantastic realism after the revolution of the year the Vanguard Theater of Vakhtangov became difficult to find a common language with the new viewer - “primitive regarding art”. The director decided to join the theater of Konstantin Stanislavsky. In the year, the Vakhtangov Studio became part of the Moscow Art Theater, and the third studio was called.

A year later, the Third MHT studio had its own theater building. In honor of the discovery, the artists gave the performance “The Miracle of St. Anthony” according to the comedy of the same name by Maurice Meterlink. This was the second appeal of the Vakhtangers to this play, and this time Vakhtangs staged a performance in the traditions of the grotesque theater. He wrote: “The household theater must die.

Everyone who have the ability to characterize should feel the tragedy of even comedians of any character and should learn to reveal themselves grotesquely. The grotesque is tragic, comic. ” Absorbed by the work in several studios, the Vakhtangs almost did not follow his health: at one time he was engaged in gymnastics of the yogis and observed a diet, but then violated the regime: continuously smoked and sat down after performances at theatrical parties.

Shortly before his death, Yevgeny Vakhtangov began working on the production of Princess Turandot based on the tale of the Italian playwright Carlo Gotsi. With this performance, he opened a new direction in the theater directing - “Fantastic Realism”. Vakhtangov used the mask characters and techniques of the Italian comedy del arte, but made a fairy tale very modern.The actors right on the stage changed into the costumes of fairy -tale heroes, and at the same time talked on topical topics.

He told me that in this work he was fascinated by a specific acting state, this is: we are sitting in the front row and watching the performance, but I also play this performance. And I leave the first row, climb onto the stage and begin to play everything - grief and joy, and this friend of mine believes me ... And then I finish, sit down to him and say: Well, well, good? Documents and certificates ”Returning home after the next rehearsal of the play“ Princess Turandot ”, Vakhtangov did not get into it anymore.

The premiere took place without him, but Konstantin Stanislavsky was present at the performance. Adjusted by the work of his student, Stanislavsky personally expressed his confession to Vakhtangov: “What I saw is talented, peculiarly and, most importantly, cheerful! Young people have grown up very much. ” He died on May 29. Vakhtangov was buried in the Novodevichy cemetery.

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