Actor Bogatyrev Biography

Author: Vladimir Wester, Dilyara Tasbulatova Yuri Bogatyrev, who is more known as a wonderful actor, was also an excellent artist. He had one interesting habit: he kept detailed diaries, writing down in the notebook everything that happened to him in a day: that is, he wrote almost every day. The delightful diary is amazing. It is even more surprising that these notes made with such generous scrupulousness that the diaries of other celebrities and even then - not everyone was so attentive, are still not published.

Maybe because they are too frank and unexpected - even for those who knew him well? Read, however, the notes of Bogatyrev is a rapture. He writes well, convexly, with a mood, - let's say, with a literary brilliance: talent is talent. As they say, if a person is talented, then talented in everything. He brought the doll to M, having before this, the actor-collar, archaeologist, pop reader, artist on carpets, etc., True, Yura did not become a naval officer, although his father literally dreamed of this.

We read further: and reading, we hear Yura’s game to the piano, we find out how many times and for whom he was going to marry, we are present during his conversations with Eldar Ryazanov ... What a rich, joyful and sad, full of ideas and dreams of life. And ahead is the day when Yura frankly says about himself: “I imagine myself in the weight category up to 70 kilograms, relatively young, when roles that have never played, and absolutely not envious of people who have personal machines and exhibitions in the arena, are still looming ahead.” Yura flying closet, but he really never envied anyone, on the contrary, they envied him.

His All -Union fame and the fact that he was an actor of as many as two famous theaters - “Contemporary” and the Moscow Art Theater. And since he was constantly breaking between his two main dreams, to become an artist and speak on stage, one might say that both dreams came true to the extent that it was possible in such a existence “to break”. He performed in various roles, in the cinema and in the theater; What he succeeded in the highest degree, but these roles have exhausted only a small part of his capabilities.

It was said about him and it is worth repeating: “Guys, this amazing Yura can“ take the shape of any vessel ”and“ to adjust yourself to any suit ”, and his hands are“ upper legs ”, and he himself looks like a“ flying closet ”. He did not fit the slightly dismissive nickname “Actor actor”, he was rather “artist artist”. This is what was organic for him, for Yura, Yuri Georgievich, was none other than the born Vakhtangovets.

And it is precisely in the very sense in which the Evgeny Vakhtangov himself determined, who affirmed the priority of the actor’s personality over the image he created. Following this “freely of the Covenant”, he brilliantly portrayed people a nimble of tender, forever unsettled in this world. And with the same brilliance he played people of stupid, idiots, scoundrels and envious people, being a very smart person himself.

The Soviet Berdsley and he was also sophisticated, in love with art in a broader sense than an ordinary actor: Bogatyrev idolized “Mirisknikov” and “Diamond Valet”. The artist seemed to grab, recognized these lines and spots from the air, by some remnants, the aftertasis of the influences of the Ar-Nuvo. " Iya Savina, the famous actress, depicted in the drawing of Bogatyrev “Lady with a Dog” in the flashing light of a wavy dress and Chekhov lines, and at her feet he himself, a fantastic creature with the face of the artist himself, said: “I don’t know another such actor ...

There was an incredible combination of mind and an awkward dedication in him. And he was always unhappy with himself. In this sense, he looked like Faina Georgievna Ranevskaya, who went out and asked: “Well, how today, huh? And touchingly waited for approval. So is the yurochka. He is exhausted for the performance, laid out, and to me with the question: “Yechka, in my opinion, is nothing today, huh?

And I in response: "In my opinion, monstrous, Yura." And she saw tears in his eyes ... I rushed to reassure: “Yurochka, you worked wonderful! Frying friends said that Yuri Georgievich could even imagine an old man: how he, the eminent People's Artist of the USSR, goes along the Kamergersky in a fur coat and with a cane, and grateful students growl around. But no one could, so brilliant, to imagine, in complete solitude in a public canteen with a glass of compote and two brown sausages on a treasury, a cracked plate.

However, with all his fame, he was just a very lonely person: it was not known if it would have come to sausages, but at the top of glory he was lonely, although loneliness, here, the paradox, hated with his whole soul. And suffered from him. In general, this topic was for him the "most sick", as his friend Alexander Adabashyan said. Yes, he was generally naobitsa, there were no other such performers, actors with such a fate, in our cinema: a huge talent, if not a genius, while also a large artist - in everyday life, simply put, “in everyday life”, he felt deeply unhappy.But the point is not only in “HOUTH” as such: this is the tragedy of self -identification, double life, and even with a feeling of guilt, which imposes a hypocritical society on people with its sexual preferences.

Indeed, in fact, despite fame and a huge gift, he was an outcast. Perhaps that is why it was so early and died: he tried to get away from his main problem with the help of excessive use of strong drinks and medications. The posthumous bustle ... After his death, unexpected, random, fatal, the sustaining began, posthumous vanity also began: almost all the circumstances of his life, everything that happened to him and what never happened, after his tragic departure was repeatedly beaten, published, remembered and replicated.

For the most part, we will pay tribute, honestly and tactfully, but sometimes - with some vulgar pleasure, with the voluptuousness of the note gossipers, inventing “sensations” and “previously unknown details”. The secret of his death oh, Lord “solved” psychics, oracles, astrologers and even fortunetellers. May Day, name of the heart, all these gossip and idle conversations are completely incompatible with his opinion about himself and his profession: "Pushkin inspires the soul, Gogol gives food to the mind, Chekhov helps to comprehend the profession deeper." His roles were scrupulously laid out into small components, digging to the “essence”, trying to understand how all this succeeds in the same person.

How does he turn out that “the sad and light toxicity clearly peeps in his interpretation of the role of Victor Karenin in the“ living corpse ”, and he shows the subtle sense of the game and fantasy beginning in the“ pearl Zinaida ”role in Zinaida: Yurika, and tobacco, and Gogol’s Gogol’s Swvenes, and then, then, then, then, then, then, then, then, then, then, then, then, then, then Gogol, and then, then, then, then the Gogol’s interpret And now, too, Schweitzer, as it turned out, is not obsolete.

As someone said: “The best film adaptation of“ dead souls ”of all existing ones, but Manilov is no equal ...”. The audience understood that they were in front of the Gogolian Manilov: “Truly Educated Man”, who did not allow “such a pleasant guest” as Pavel Ivanovich Chichikov, to go to the doorway after the owner: “I will not allow such a pleasant guest.” In the end, they barely squeeze together into this very opening.

It is clear that Manilov is in some way an enthusiastic idiot. But he is an idiot special, an idiotic laughter, sickeningly, patho-sentimental and exhaustingly polite: with exorbitant susyukans. Teteshka, his wife-fool Larisa Udovichenko, this sweet-haired gentleman on the spirit does not bear “low life issues”, everyday routine of agriculture, wanting to live all the days “in the bosom, in some way, nature”.

So that the "May Day" never ends, and the "name day of the heart" was eternal. And his dreams are the most maninovsky: “How good it would be, darling, how glorious if you take and spend an underground passage from here, and the exit right on the theater square.” And we immediately appear to this Gogol dreamer coming out with his darling from under the ground to the theatrical square - and from these wild dreams he takes a fuss.

It is not clear, in essence, which of them, in fact, is more disgusting: “a gap on humanity”, terrifying Plyushkin, or this, Gogolevo-Bogatyrevsky Manilov-some kind of sugar, empty, like a drum. Bogatyrev plays Manilov not “momentary”, but “eternal” - such enthusiastic idiots and idealists without an idea, which Russian reality can breed to infinity, and in our slanting time is full.

And not just a fool, but the top of human stupidity. In this performance, in the role of Orgon, by the way, Kalyagin was busy. So he said that “Yura played the wrong person, but a stuffed fool. Full of quotes subtracted somewhere. Imagine when a fool says the right things, and even temperamental, and even when the words erupt at a frantic speed, interfering with himself and the expression of thought ...

He blushed, bluish, sweated ... It was amazing! An explanation of love How did he work on his roles? Only in complete solitude and with full dedication, so that the role is polished to shine. He went on the stage of famous theaters, starred in a movie, playing twenty -nine roles. Critics wrote about his roles by Mikhalkov “His among strangers, a stranger among his own” and his Sayapina on “Vacation in September”, about Stolz in “several days from the life of Oblomov”, about Romashov in “Two Captains”, about Philippka in “Explaining Love”.

The Philippic, played by Bogatyrev, Alter Ego Evgeny Gabrilovich, according to whose scenario this film was set, is the epic, this “Life and Fate” of a separate intellectual, who made the eyelid -wolf departure: a writer, a military correspondent, a loving husband, a lyricist, a romantic, an eccentric and a “convinced” Muscovite. Bogatyrev in this role lives the huge life of his country, and the whole world, looking at him with defenseless, impudent eyes of an idealist who fell into the ochip of an idealist.In his first novel, composed somewhere in the slums of Sokolnikov, he wrote: “The new 20th century did not actually began on January first, but on August 1, on the first day of the imperialist war.

I saw the birth of this century. First in Italy, in Venice, from where the tourists fled, and hotels, gondolas, and tables of endless coffee houses, and the beach on Lido stood empty, and the sunbeds by the sea also stood empty ... Yes, a new century began with a feeling of emptiness and danger. " This expectation of a world catastrophe is also felt in the Mannov “death in Venice”, with its half -empty beaches of Lido, which is approaching, as a foreboding of war, cholera, humanistic, the century ends 14 years later than due.

The unfinished play ... It is funny that, say, Serge war from the “unfinished play for a mechanical piano” is no longer the “protection” of the intelligentsia, but a merciless parody of it, on its decorative “going to the people”: “Sophie! Tomorrow we will go to where the peasants mow hay and give them their frock coats. ” This is both the other side of idealism, and the mockery of Manilovshchina-Bogatyrev always has an internal theme, his role is interconnected, he, as it were, writes his own history of Russia-fixed in art-archetypes.

And here it was played so - in the internal meaning, according to the "melody" of the role, exactly like Chekhov’s. The egregious emptiness of life, a voluntary spending on trifles, chatter, beautifulness ... People drink, eat, say, and at that time their lives collapse. They live mechanically, like this attraction, this is a piano. And this tedious empty “play” is not that not finished - it is endless.

On Gilyarovsky ... Yuri Georgievich moved to Gilyarovsky Street only after his defenseless “banal household” and problems, with her tightly connected, his friends persuaded to write a letter to the highest party and administrative bodies. You write to them so that because of the long-term residence in the Penal room in the former apartment of Inessa Armand, at 9 Manezhnaya street, you cannot play your roles on the stage of the Moscow Art Theater of the Country, the country's stage.

” And so that it is necessarily not at the devil on the horns, not on the faceless sleeping outskirts, but in the area close to the city center. Oddly enough, it turned out. He moved there and moved, celebrating a housewarming in the circle of close friends. And he carefully placed books on the shelves, wonderful books on art that he collected from his student years. And hung his paintings.

And he went to the theater from Gilyarovsky Street. Almost every evening he went on stage, but already starred less in the cinema. Four days before the exhibition ... The worst and most irreparable happened on the night of the 1st to 2nd February in the same small apartment on Gilyarovsky Street. There are several versions of what happened. One of them is almost “official”, dry and protocol: they walked, drank ...

Suddenly it became bad with the heart ... They called an ambulance ... The paramedic was introduced into the heart of the artist Klofelin - a drug incompatible with tranquilizers and drunk champagne. Yuri Georgievich received tranquilizers for several years. Champagne was disconed on the occasion of a major fee in the currency, which he received from the Italian producer of the film Mikhalkov “Black Enches” for the role of a somewhat stupid cheerful leader of the nobility.

It began with champagne and ended with mourning flags on the facade of the theater in the chamberlain ... Four days, on February 6, on the Tver Boulevard, in the premises of the branch of the theater museum of Bakhrushin, in the House-Museum of Ermolova, the personal exhibition of the works of Yuri Georgievich Bogatyrev was to open. He prepared it for more than ten years. Or longer.

Perhaps all my life.