Translated material
The person is not from here
Moscow said goodbye to actor Albert Filozov
Albert Filozov in the “School of the Modern Play” - the theater where he worked until the last day of his life , 2013 . Photo: Pavel Smertin/ITAR-TASS
He played his last performance on March 27, on the International Theater Day, which was celebrated in Moscow by many hours of marathon - “Theater Night”. In the "School of the Modern Play", Albert Filozov worked since its founding. Actually, he himself is one of the founders of the theater. In 1989, the story of a new theater company under the leadership of Joseph Reichelgauz began with the play “A man to a woman”. Filozov and Lyubov Polishchuk were the first artists of the born troupe. Filozov will no longer play his last premiere: the play “Overcoat/Coat” will be released with another Bashmachkin.
Overcoming fate
Albert Filozov is from Sverdlovsk, where the Ukrainian family of his mother fled from dispossession. His mysterious non-standard appearance has always given out some kind of ours, not a Soviet breed in it-apparently, the Polish roots played a role. Father - a young Pole, inspired by revolutionary ideas, came to the USSR to build communism and was shot in 1937 as an enemy of the people. Six months after the birth of a son.
With love Polishchuk in the legendary performance “A man came to a woman”, 1 989
As a child, Alik Filozov was a real courtyard impatient, masterfully owned the techniques of a street fight and camp vocabulary. He never called his mother “mother” - he perceived her as an older sister and called her all his life by name, Katya. At sixteen, he was already standing at the machine at the local "ball", played in the musical performances of the Palace of Pioneers, dreamed of becoming a singer. He sang voiced Soviet songs in the choir: "Eh, it is good to live in the country of Soviet!"
It combined natural modesty, almost shyness and acting courage, intellectual timidity before rudeness and rare decency, which did not allow to remain silent
He entered the Moscow Art Theater School by accident, without leaving his hometown. The legendary school itself came for the Urals to look for talents. Today, this is impossible even to imagine, and then, in the distant Soviet time, such business trips behind the nuggets were practiced everywhere. Of the five inhabitants of the room in the dormitory of the studio school, only one remained alive. It was a room of stars, the girls did not get out of there: Alexander Lazarev, Anatoly Romashin, Gennady Frolov, Yuri Grebenshchikov, Albert Filozov. There was only one Frolov.
Lidia Savchenko and Albert Filozov in the production of "adult daughter of a young man", 1979
He lived a very happy acting fate: selected piece roles at the Stanislavsky Theater and the “School of the Modern Play”, incentive bright entreprises, somewhat just outstanding theatrical work, huge filmography, dozens of students at VGIK and RATI, three marriages, a historian, two charming daughters. The biography of the absolute lucky man, the beam of fate. And few of the audience understands that his whole life is a round -the -clock endless overcoming.
With Anatoly Vasiliev, on the tour of the performance "Sergo" in Rotterdam, 1987
The fact is that the acting profession for Filozov was a kind of shelter, a way of emigration from the real world. On stage and in the frame, he felt full, strong and free. Hence it is a rare sense of flight, some Shagalov’s inspiration that tides it off the ground: he almost soared over the stage. Light, mobile, aesthetic, musically gifted, witty - it seemed that everything turned out to be playful. But it was precisely about the “lack of acting” that he was sad most, always with envy and admiration spoke of the natural acting of his classmates and partners who could surprise the director with original decisions and ideas.
The biography of the absolute lucky man, the beam of fate. And few of the audience understands that his whole life is a round -the -clock endless overcoming
Jazz youth
The meeting with Anatoly Vasiliev made his theater fate. Filozov played in three Vasilievsky masterpieces who received world fame: “The first version of the“ Vassa Zheleznova ”,“ The adult daughter of the young man ”and“ Sersoo ”. It was a painful and passionate period. The authorities of the director Vasiliev were afraid and did not like, sensed in him a "stranger", an aesthetic enemy. For the "Vassa" and "adult daughter" the head of the Stanislavsky Theater Andrei Popov threatened to exclude from the party and dismiss from the theater. Life spoiled everyone - both artists, and directors, and the whole theater. Filozov proved himself a persistent, decent and fearless man: he, along with several colleagues, left the theater after his director.
With AleN Delon on the set of the Supernocate of the Soviet rental-Tehran-43, 1980
Legends went about the "adult daughter". The performance was difficult, passed quickly, but became an absolute symbol of time, a harbinger of future changes. The unique acting quartet, which was formed on the "adult daughter", is Albert Filozov, Emmanuel Vitorgan, Yuri Grebenshchikov and Lidia Savchenko. Grebenshchikov and Filozov lived together for a whole life-they were familiar from childhood, entered the studio school together, together they came to work at the Stanislavsky Theater, and together went to Vasiliev. Grebenshchikov died in his prime, at fifty years: he was shot down by a car. Lidia Savchenko died in 2011. Now there is no Filozov. The “adult daughter” has become for every center of fate, a source of living water, to which they fell all their lives. With what kind of rapture they talked about rehearsals and crazy Angels! How enthusiastically loved each other in every stage! This, of course, was a generational performance. They knew what they were talking about and what they were dancing about, their youth coincided with the youth of their heroes. Their disappointments, their pains, their sins coincided.
Filozov’s favorite filmmaker for the audience remained the melodrama “You never dreamed”, 1980
A jazz existence on the stage will determine their future fate: with Vasiliev, they moved to another level of profession - from performers to the authors, which, of course, expanded the boundaries of their stage freedom, changed the depth of breathing. The freshness of the "adult daughter" was replaced by the high tragedy of the "Serso", on which they met again, but not everyone withstood the path to the premiere. “Serso” rehearsed for four years - four years of painful, almost slave labor. For the premiere of strength and nerves, everyone was at the limit. The performance made a deafening impression. He fascinated like a shaman’s tambourine, pressed his power, changed the energy of the hall. Two poles of the "Serso", between which a short circuit was sparkled - Alexey Petrenko (Koka) and Albert Filozov (Cockerel). They determined the intonation of the performance, were its tuning fork, gave the main note by which the entire orchestra is oriented. Any falsity, even a small mistake would bring down the whole composition. Both Petrenko and Filozov are carriers of absolute hearing, and musical, and stylistic. This rare quality helped Philozov masterfully work in the most complex genres-in musical performance (on the stage of "School of the Modern Play") and in children's cinema, in which only large actors are able to look organic and charming.
Teacher and lyceum
In an amazing way, it combined natural modesty, almost shyness and acting courage, intellectual timidity before rudeness and rare decency, which did not allow to remain silent, to pass by injustice. On stage, he loved to hooligan, loved to laugh and laugh, had a delicate exquisite sense of humor. No acting was disdained-he starred both in series and in youth comedies, with pleasure wrote down audio books and audio players. Very appreciated pedagogical work, the students adored him. On Sundays he sang in a church choir in a small church near Moscow. He was a deeply believers and observed all the posts, communed, went to confession. He never moralized, respected the personal space of each person. There was no arrogance or pride in it. Probably so there should be a real Christian. Even if he is lying.