| Fifty-six years old. Shchukin School, graduated in the seventy-first year (course of Yuri Katin-Yartsev), more than thirty years of service at the Mayakovsky Theater. Six dozen roles in film and television. And enormous nationwide love - this is how they love not stars, not unattainable divas, but loved ones, kind and understandable. Gundareva’s main works date back to the seventies and eighties, when the community myth of the wise sergeant, good neighbor, and sensitive commandant began to be voluntarily and forcibly renewed in culture. But her roles overcame the husk of state orders, returning to the grain of the people, and the energy of her heroines, giving birth to a dozen children, arranging the destinies of others in a government dormitory, remaining faithful to the most lost characters, was absolutely non-totalitarian. Their choice was quiet and undemonstrative: not the propaganda slogan “This is the only right way,” but the human view - “and so it can be.”
Of her theatrical roles, Katerina Izmailova was the best - and there was more “Mtsensk District” in her than “Lady Macbeth”: Gundareva’s heroine was driven not by calculated deceit, but by that inner freedom that has always been characteristic of her heroines. Not freedom - will, this is from the popular dictionary, and in the stuffy space of a provincial town this will mutated into a destructive impulse, complete disregard for people who stood in the way.
“Autumn Marathon”, “Truffaldino from Bergamo”, “Sweet Woman”, “St. Petersburg Mysteries” - her heroines were different, but always made carefully, expressively and easily. She was a hard worker with an incredible sense of responsibility: having suffered a stroke four years ago, already in her hospital room she watched all the films nominated for Nika - she took her membership in the Film Academy very seriously. I kept getting ready to return to the theater, I thought about playing in The Brothers Karamazov. But the disease never allowed her to do this. Culture Department
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