Will enter the legends of the Russian scene

Sergey Yursky died

Sergey Yuryevich died on February 8, 2019. At the 84th year of life.

He was ... Yes, of course, the People's Artist of Russia, the laureate of the Order of Merit to the Fatherland, the State Awards of the Russian Federation, “Kinotavr”, the State Prize named after K.S. Stanislavsky, the "Theater Star" award, the Tsarskoye Selo Art Prize, was awarded Pushkin’s medal ... Yes, and not listed.

He was a brilliant Chatsky in “Woe from Wit” by Tovstonogov. Aesop, Tuzenbach, Henry IV, ironic sage in Miller's “price”. Moliere and Faritiev in his stories of the BDT. And in the 1970s, due to the conflict with the Leningrad authorities, he was supposed to leave the city and theater.

He was the Ostap Bender in the Golden Calf "Schweitzer (a moan is rushing here in the public: after all, there is no person in the country who would not laugh at this film-and so there are three generations), an improviser in" Little Tragedies ", the worn Uncle Mitya in the film" Love and Pigeons ", the father of Joseph Brodsky in a brilliant intellectual film" A one and a half rooms ", Comrade Stalin (To this role, Yura made several approaches - and played it infernally).

He was the star of the Mossovet Theater. He adorned the scene of the Moscow Art Theater. He shone - together with his wife, Natalia Tenyakova - in the "chairs" of Ionesko (in his production, his free translation).

This performance for many spectators has become almost the main theatrical shock of the 1990s.

And the half -century union of two large artists, Sergey Yursky and Natalia Tenyakova, was a model of the Family Union “at the theater”. And he will enter the legends of the Russian scene: so - you can.

He was a prose writer, playwright and director Igor Vacetis: Yura created this mask already in the 21st century, loved it. The last premiere of Vacetis, reception, was played in April 2018.

He was an essayist, the author of brilliant theatrical notes and the columnist of Novaya Gazeta.

He passed through the era, changing little. The main thing: without losing posture, directness and shine.

He entered the camp of free-thoughts, the “signatures” of letters in defense of the persecuted, the prisoners of mercy for the fallen back in Leningrad of the 1960-1970s. And he retained this civilian firmness, its almost youthful excitement in a new time, when he protested against the Chechen war and the Okhta Center Tower, clearly spoke about Russian-Ukrainian events after 2014, defended NTV, Khodorkovsky, Pussy Riot, Kirill Serebrennikov. It carried his straight, as in his youth, shoulders along the boulevards of Moscow on a protest "walk of writers." Carried a white ribbon in the buttonhole.

He read Pushkin best in the world. And this is directly related to all of the above. There is not only and not so much an acting school as a confirmation of the “right to Pushkin” by personal experience in decades. And the mind, of course. He heard all the seventh meanings by A.P.

They would get to meet in the living room, to bow to the theater stairs - Sergei Yuryevich would excellently support a conversation with Alexander Sergeyevich. Like few in the twentieth century.

Jurassic is shine, drive, elegance. Petersburg honorance of phrase and gesture. Direct and grace. Acute irony. Mind and dignity. This is the heritage of old Russia, St. Petersburg culture, carried through the country of Soviets and through the ambitious fun of our era.

And the “preservation of posture” in his case is a symbolic, value concept. Save!

Jurassic is as honed as the intonations of his reading, as simple (in the Pushkin understanding of simplicity!) An explanation of his unchanged position in an interview with 2016:

- Fifty -five years I have been serving the theater, and through the theater I serve humanistic ideology, the ideology of finding what freedom is needed for . Freedom is an oxygen environment necessary for life. It was possible to breathe. The answer to this question is why to breathe - I am doing. And the answer was unusually clear, for example, during the thaw.

For all the firmness of the position (a sharp mind, excellent upbringing and the eternal light irony they generated, allowed him not to take this position of pathetic) Sergey Yuryevich was by no means an optimist. Rather, he thought (and spoke about this more than once) that "the intelligentsia is over." And his last play - the production, the role mentioned above reception (2018) at the Mossovet Theater - was about bewildered people who together experienced the end of the world in the hotel lobby.

But I remembered and saw in the performance-as the 80-year-old Yura was sitting in a chair. Siping tinted tea from a glass for whiskey. Silently. Flickering human significance from the corner.

I wanted to look at him for hours. What a blessing that the film and the figure retained its roles!

... But his essay, when you start to re -read them, are strong and good. They will be read. Here is a piece of 2002. Undoubtedly software. And belonging to the new century.

Fragment of the text of Sergei Yursky

& Nbsp
“And such a picture arises in front of me: some huge, wide river ... I have not yet seen the Northern Dvina, but maybe this is the Northern Dvina or Amur that I saw, or the Neva on which I was born. And I stand on the banks of this river. And next to me, and further to the right and left some giant ... "Phenomena" or something? Volvo. There are skyscrapers one after another, offshore zones are spread out in the distance, dashing defaults rushed over all this ... And the river flows past all this, infinitely dirty, along which the garbage is in a stream, in which some kind of impurities, chemistry, waste waste, garbage, fish are dead ...

And all this flows. And to my great surprise, across everything, a steamer is sailing, on which some flags (from afar cannot be disassembled) and the song comes quite friendly, although the sound blows the sound. The steamer is painted. The mast is normal, made of strong wood. And there are sails. And even there is a car - old, apparently, but puffing. There is a boat! Past all the dirt. And to my amazement, even the water around the steamer is clean! There is no garbage, nor chemistry, nor garbage. There is some space around. And he rushes against the current. "

... on the film, “in the number” - but the ship “Sergey Yursky” floats. And it will swim for a long time.

The New Gazeta brings deep condolences Natalya Maksimovna Tenyakova, Daria Sergeevna Yurskaya and all relatives, friends, and audience of the artist.