Actress Babanova: biography, personal life

She was a unique and extraordinary talented actress of the theatrical world of the last century. Playing over thirty dramatic images in Meyerhold's Melpomene Church, Babanov's actress fell in love with an incredibly large number of spectators. She had a voice that represented a harmonious combination of fabulous "softness" and gentle lyricism. Actress Babanov for a long time speaking on the radio, her tales and productions were adored by millions of citizens of the Soviet Union. Her talent for acting was so multifaceted that she managed to create a number of multifaceted roles on the stage. What was the creative path of the Soviet actress? Let's consider this issue in more detail.

Biographical information

Babanova Maria Ivanova was born in the capital on October 29, 1900. Childhood years passed in Zamoskvorechye. The family of the future actress followed the patriarchal foundations. According to some sources, Babanova's father came from a kind of gypsy barons, while others cite the fact that he was a representative of the working intelligentsia.

Anyway, but the actress Babanova reluctantly recalled her childhood, believing that she did not have it in principle, since there were a huge number of prohibitions.

Study

Soon the girl goes to the Commercial College (in the future Plekhanovsky), where she demonstrates her unique voice data: she reads prose and poems with special inspiration at concerts.

The period of Babanova's youth at the behest of fate coincided with the time when the theatrical world was experiencing rapid development: various variations of scenic directions were created, which helped the beginning students to "find themselves" in the profession. Creative search ultimately predetermined its future destiny.

After the school, she becomes a student of the Commercial Institute, and then transferred to the 2nd Moscow State University.

In 1919, the future actress Babanova is selected for the Theater-Studio HPSRO (Art-Educational Union of Workers' Organizations), whose leaders are M. Bebutov and F. Komissarzhevsky. It was at the scene of this Melpomene church that Maria Ivanovna's debut as an actress took place. She was confirmed for the role of Fanchette in the production of "The Marriage of Figaro". In this university, as the actress recalls, she was taught, rather, not the main, but secondary things: fencing, rhythmics, acrobatics - all this was a new and incomprehensible test for her.

Soon the HPSRO studio was reorganized: it became an integral part of the 1st Meyerhold Theater created by the RSFSR.

Babanova Maria Ivanovna is now studying at the Higher Director's Studios, organized by Vsevolod Emilievich.

The beginning of the theatrical career

In 1922, the novice actress fell into the troupe of the Theater of Actors under the leadership of Meyerhold (later GITIS). On the stage of this temple Melpomene premiered the production of Vsevolod Emilievich "The Magnificent Cuckold", in which Babanov took part. The day after this event, a mysterious unknown person woke up famous. Critics noted that there was another bright talent in the theatrical world.

A year after the triumphant performance, Maria Ivanovna Babanova, an actress who is already well known by Soviet spectators, will try on herself the image of Polina in Ostrovsky's play "Profitable place" on the stage of the Theater of the Revolution. Again, the production of the work took up the eminent Meyerhold. And here the theater critics noted the high level of skill of the protégé.

Departure from the theater headed by Meyerhold

Soon after the brilliant performances, Maria Babanova took the place of the leading theater prince, headed by Vsevolod Emilievich. But Meyerhold preferred that his wife, Zinaida Reich, "sit" on him. However, in the confrontation between the talents of the two actresses, Babanov won.

In 1927 Maria Ivanovna was forced to leave the Meyerhold Theater and go to the Theater of the Revolution, to which she would serve the rest of her life. And yet she will always thank her teacher, who opened the way for her to the art of hypocrisy. In the Theater of the Revolution, she will play many brilliant roles: "Poem about an ax" (Anka), "Bride" (Larissa), "Sons of Three Rivers" (Mari), "Romeo and Juliet" (Juliet).

Experts have repeatedly talked about how Filanova managed to play filan and talent on theatrical stage.

"Difficult" actress

However, in her career there were not only ups, but also falls. It also happened that, despite her high skill in the game, the viewer did not remember the images into which Babanov was reincarnating. Over the years, Maria Ivanovna became more selective in her work and her numerous refusals of what seemed to her "uninteresting" roles aroused resentment among the directors. Some of them even became known as "difficult" actresses.

In 1979, she last took to theatrical stage, taking part in the play "All Over" (Edvar Albee), which Oleg Efremov put in the Moscow Art Theater.

Family life

Undoubtedly, Maria Babanova is an actress whose personal life has developed far from a trivial scenario. She married several times. Even in her early youth, the actress, secretly from her father and mother, became the wife of a classmate. At that time, they were happy: they went to visit, they happily spent time with sincere conversations, heated arguments over various political convictions. Over time, the marriage began to crack. He left for faraway Kazakhstan, and more Babanov Maria Ivanovna, whose husbands "did not like the soul in her," never saw her again.

The second elected actress was a dance partner - David Lipman, with whom she did not live long. The third husband of Babanova was the famous writer F. Knorre - she parted with him after the Great Patriotic War.

Maria Ivanovna died on March 20, 1983, she was buried at the Novodevichy Cemetery of the capital.