Contemporary | Colta.ru

1.

The first sensation is the almost physiologically experienced loss of something substantial. The foundation, a supporting column, a supporting wall collapsed.

Very paradoxical, if you figure it out, feeling. Tabakov’s belonging to the “great story” was always felt more or less, although in his appearance it was not read as if nothing heroic-and it was not at all in the role of an unsurpassed characteristic actor. In the biographical text of Tabakov and in his artistic image there was completely no evidence of the seemingly mandatory injuries to him by the time. At some point, the external softness, the branded cozy loosenness turned into an economic outrage, a business-shaped grip, which the hero (especially in Russia) did not fit at all. Tabakov’s career developed safely, evenly, without visible seams, scars and painful installation malls, and its always successful in all conceivable and unthinkable hypostasis only emphasized this apparent linearity.

In fact, it was, of course, an optical illusion.

His biography was formed by the movement of tectonic plates of history, at the junction of which the man-man twice became a tobacco hero. The first time-in the era of “Contemporary”, on the basis of which in the USSR, not only the theatrical update began, but also the thaw: the legendary “forever alive” Rozov graduates of the Moscow Art Theater School rehearsed precisely during the days of the XX Congress of the CPSU. The second time-already in the 2000s, when, after the death of Oleg Efremov, he accepted the leadership of the Moscow Art Theater.

It was during these years that Tabakov’s unique property of Tabakov was manifested to perceive the changes in the eras active, active, interpreting them as “proposed circumstances”. Tabakov played time as a role - with all his natural animal organic, with deep artistic intuition. Examples of such an existence, as the musicians would say, Con Tempo in the history of the domestic theater will be very, very little: the acute sense of time allowed Tabakov not to notice his course - perhaps, so yesterday's care is perceived as a surprise, nonsense, oxymoron.

2.

The severity of the loss of loss is directly proportional to its influence on the modern Russian theater: our dramatic scene exists today in reality, which is largely designed by Tabakov.

Generous, generous and devoid of any envy, it belonged to rare for the theater world, consisting mainly of single individualists, a breed of artists with an aggravated sense of professional, workshop responsibility for the common cause. Of course, the genes of the “Contemporary” elbow affected the collegiality and the feeling of the elbow - in 1970, after the departure of Oleg Efremov in the Moscow Art Theater, it was Tabakov that became the director of the theater. Having headed the Moscow artistic fiction in thirty years, for starters he took off most of the performances from the repertoire, and then turned a loss -making enterprise with a vision below the average into a rich full -willed multiplex with four sites - collecting directing names and ruthlessly closing the premiere after the general priests that seemed unsuccessful to him; Grounding gambling into the Moscow Art Theater MHT, which he collected with the passion of a note entomologist. An outstanding teacher who raised more than one generation of artists (Tabakov’s direct or indirect students were Mironov, Mashkov, Bezrukov, and Serebryakov), a bakery, but a tough owner, he was a genuine theater builder - perhaps the only theater leader in the recent history of Russia, worthy of a loud title of an intensive care unit, who unanimously determines the work of a complex theater organism.

The severity of the loss of loss is directly proportional to its influence on the modern Russian theater: our dramatic scene exists today in reality, which is largely designed by Tabakov.

However, only Tabakov’s influence on the domestic scene, of course, was not limited to the Moscow time. The godfather of the new Russian theater, he institutionalized the whole directorial generation, bringing to the large scene of Mindaugas Karbauskis, Evgeny Pisarev, Kirill Serebrennikov and Konstantin Bogomolov, not counting dozens of other directors of different ages and calibers, which have passed over the past eighteen years through the Moscow Art Minerals. It was Tabakov who tried in action a completely new model of the theater for Russia as a supermarket, on the shelves of which the widest and most motley assortment manages to adjourn - from arthouse to mainstream, from acting beneficiaries to radical directing.

A sophisticated manager, Tabakov always gravitated to strong gestures. At the head of the Moscow Art Theater, he has established himself as a state -ownedist, in comparison with whom PUSSY Riot and Peter Pavlensky seem small children. In the fall of 2002, a few weeks after Nord-Ost, stretch marks with the slogan “Terrorism” climbed over the Kamergersky lane-this Moscow art announced the debut performance of Kirill Serebrennikov based on the Presnyakov brothers. In 2004, Tabakov deprived the usual abbreviation of the theater “A”, and its name is the words “academic”, considering it a generation of socialist times: the theater can be anything, but not dead, untouchable. In the same season, in the premiere of the “Cherry Orchard”, Adolf Shapiro, dedicated to the centenary of the Chekhov play, Renata Litvinova came to the Ranevskaya stage. Even earlier, the “cops” became the people of Moscow art - and there was nothing surprising in this: the Moscow Art Theater always remained primarily by the acting theater, and who else, if not Konstantin Khabensky, Mikhail Porechenkov and Mikhail Trukhin, could claim the status of the premieres of that time. All that was left to do to Tabakov was to present them to each other, legitimize in rights.

3.

In history, he entered the personification of courage, fearlessness and will, doing this with the same simplicity and ease, as if he had gone into the cululis. Only a fearless person could on the eve of the eighty years, already struggling with a deadly diagnosis, to play him - and then his own death - on the stage of his native theater. The role of Tabakov in the Jewelry's anniversary was an uncompromising spiritual and human experience for the viewer, comparable except that Marina Abramovich ’s performance “ Artist IS Pressent " . Only a truly fearless artist could take off in the “three stories” of Kira Muratova-not just practicing Self-irony, not just ridiculing all his acting stamps so beloved by shirnarms, but arranging a brilliant mockery autodafa.

We say “tobaks”-we mean “voice”, that in the old theater it was respectfully called “organ”: it was not by chance that he became one of the main characters of “Contemporary”-the first Soviet theater, which allowed himself to speak with the audience without pathos and official, as close as possible to the manner of speaking to the daily speech of those who sit in the audience.

In 1960, the 25-year-old “three times romantic” Tabakov chopped a bourgeois set in the “noisy bottom” of Efros-Rozov-Rozov-Alexander Aduev, he played long before the emblematic “ordinary history” of the “contemporary”. Later, Tabakov got used to the role of Aduev Sr.-a realist who took the pragmatic course at the Wall of the Moscow Art Theater, which became one of the cultural symbols of the zero; reliable, active, thorough, very sober and very reasonable person, who, apparently, had almost no illusions left.

But how to determine what to name the characteristic Tabakov intonation, which is essentially no less a mystery than the notorious smile of Mona Lisa? This is not sarcasm and not irony, the core of which almost always eats tenderness. The grin of Tabakov, wandering on his lips, even in those cases when it was not quite implied, always seemed poisoned by some kind of cholence bitterness. She could well belong to one of Dostoevsky's hidden characters, and really not recognized and not understood.

Perhaps still ahead - we now have a lot of time.