Aphorisms of Ranevskaya Faina Georgievna about women, men, about life and about oneself

How much did you need to have the talent to be almost without playing the leading roles, to be known as one of the best actresses of your century? A tragicomic actress, who never played her leading role. She was doomed to loneliness because of her talent.

Aphorisms Ranevskaya surprisingly popular, the frequency of quoting her "branded" expressions can be envied by any writer. She perceived the theater as a separate unique world. She was selflessly in love with him. Obviously, on such people art is held.

Her real name is Faina Girshevna Feldman. Her father's name was Girsh Khaimovich Feldman, and her mother was Milka Rafailovna Zagovailova. The girl will come up with the nickname "Ranevskaya" only after twenty years. The girl was born on August 27, 1896 in the family of a Taganrog industrialist, at the turn of the silver and iron centuries. Her soul belonged entirely to the age of Pushkin. And she was destined to go through the bright and tragic path of her solitude. It is about this - eloquent aphorisms about life, said by her self.

Childhood, youth

The nature of the girl showed up in the gymnasium. She completely refused to attend the Mariinskaya Gymnasium because of studying the exact sciences. But with pleasure I devoted much time to literature, singing. Faina Ranevskaya in her youth was already an incorrigible idealist. Running forward, we say that she is the same for the rest of her life. Then the tactful parents moved their daughter to home schooling.

At the age of 15, the girl decided to become an actress, and was trained in a creative studio, and at 19 she left for Moscow to become an actress.

The Moscow ordeal. Help the ballerina

Faina was in despair: she herself could not find a job in any capital theater. Faina Ranevskaya in her youth was like Andersen's ugly duckling. In a tall, shy and awkward girl, the directors did not consider the gift of the actress. Money for life was not (parents emigrated). In desperation, Faina asked for money from her former partner's business partner, but he refused.

But here, obviously, fate intervened. Simply on the street, she did not have a livelihood, lonely and hopelessly leaned on the column of the opera house in Moscow, saw the famous ballerina Catherine Geltzer. She regretted "the most unhappy girl in the world."

Thanks to her participation, Ranevskaya Faina Georgievna became an actress in the dacha theater near Moscow, Malakhovka, in the troupe of Madame Lavrovskaya. It was at that time that, with the light hand of Malakhovka's actors, a nickname followed it, which later became a stage name "Ranevskaya". Chekhov's heroine of the "Cherry Orchard", as you know, was prone to waste money. Faina Georgievna really was like her in this respect. Sometimes immersion in her inner world dominated her common sense ...

Once in Kerch, where the country theater toured, Ranevskaya went to the bank to get her salary. Going out into the street, she thoughtfully held the bills in her hands. When they suddenly took off the wind, they only had to say: "How sad, when they fly away!" After this episode by the name of Feldman, nobody called her ... But the half-active troupe could not long feed her talent.

In desperation from deception and incompetence of fellow cheats on tour in Feodosia (she was not paid the earned money), the actress leaves them and goes to Rostov.

Indeed, the dacha theater could be for Faina Georgievna only an intermediate milestone in creativity. In fact, he was not even like a temple of art. Unemployed people at the posts of actors and directors, household disorder. On the discrepancy between the actor's ideals and reality, many of Ranevskaya's statements testify.

Help of actress Pavla Wolf

The future People's Artist, then only dreaming about the scenes of the capital's theaters, again begged ... The brilliant actress Pavel Wolf in Rostov was exactly the creative teacher who needed a romantic, girlfriend in love with art. Many aphorisms of Ranevskaya differ in understanding the essence of the actor's profession.

She taught Fain to really creatively work on a role like a demiurge: first understanding it, having studied it to the slightest nuance, comprehending the very soul of the heroine, and then inspiringly breathing life into it with her game. Undoubtedly, thanks to her the girl was held as a creative person, and her unique talent was given a proper cut. Paul Wolfe taught her best student not to play, but to live on stage, to see what the author wrote between the lines and display it.

In difficult times, Paul Wolf sheltered her, rescued her from the horrors of the civil war, taking him to the relatively calm Feodosiya. And already there they both managed to resist hunger, greedily grabbing for absolutely any role. A great help was the help of Maximilian Voloshin , who lives not far from them (namely, in Koktebel) . Without the fish that he brought to them, it would be quite hungry ...

NEP. Theatrical thaw

In the years 1923-1924. The NEP period began. Finally the country is full, gone hungry! It was the era of jazz, which at that time was associated with freedom of manners. The press stopped displaying only decrees, and people eagerly read about celebrities, learning that:

• Poets Balmont and Yesenin mnogozhenstvovat and drank;
• Akhmatova, having fallen in love with Blok, divorced Gumilev and then recklessly entered into a series of marriages;
• A. Blok does not live with his wife, and V. Mayakovsky lives with a stranger.

Young, full of creative forces, the actress dreamed about the spectator's glory, she wanted to not just play on stage, but live art. Ranevskaya's statements about this testify.

At that turbulent time, Paul Wolf and Faina Ranevskaya received an invitation for one season from the Kazan Theater. Then both of them moved to Moscow. Ranevskaya Faina Georgievna met with the leading actor of the Moscow Art Theater V. Kachalov. Friendship with this man connected her to the end of his life. Her dream was to perform in this theater. However, to see, at that time it was not to be realized. Vasily Ivanovich even arranged a meeting with Nemirovich-Danchenko for her, but Ranevskaya had been embarrassed and confused before that that he called her "crazy."

Game in different theaters of the USSR

In 1925, Ranevskaya Faina Georgievna managed to play in three theaters: Moscow's MONO, in the sanatorium theater of the city of Artemovsk, in the Baku working theater. In the latter, she met actor Mikhail Zharov. She brilliantly succeeds in the roles in the performances "Our Youth" and "Hurricane."

In 1926-1927 years. Pavel Wolf and Faina Ranevskaya performed in Homel first, then in Smolensk. In their performance revived the play based on the work of K. A. Tenev "Love Yarovaya." Then Faina Georgievna changed two more theaters: the Arkhangelsk and Stalingrad. It was in the latter, thanks to the assistance of the director Boris Piasetsky, that Ranevskaya herself began to invent roles for herself. He found the key to her talent. "I need you to play!" - he told the actress. That's how she played in the "Law of Honor", "Storm".

Chamber Theater, Central Theater of the Soviet Army

Then, having traveled almost the entire Soviet Union, Faina Georgievna returned to Moscow. True, for two more seasons: in 1930 and 1931. Pavel Wolf and Ranevskaya go to Baku. The first was invited to the pedagogical work, the second - to the Theater of Working Youth. Director Savchenko thanks to his subtle vision of the real spirit of the classics impressed the actress. She was no longer that naive girl who came to study theatrical art.

Faina Ranevskaya about women, perhaps, said more aphorisms than any classic playwright. Between the actresses of theaters there was fierce competition. Not always honest, sometimes harmful to art. However, thanks to the developed imaginative thinking, Ranevskaya could only bring out a phrase to pure water, to show who is who. Its characteristics are deep and imaginative:

• Mixture of the field bell and rattlesnake ;
• Against whom we are friends, girls (told to actresses whispering behind the scenes);
• She does not have a face, but a hoof.

She was imperiously attracted to the Moscow Art Theater. However, she began conquering Moscow from the Chamber Theater directed by Alexander Tairov. This time has not passed in vain. The maestro's philosophy that the truth of art often does not coincide with the truth of life caused Ranevskaya to play in such a way that viewers felt the plot as part of their real life. The role of Zinka in the "Pathetic Sonata" Kulish made the theater connoisseurs (for example, Professor GITIS Golubovsky) talk about her as a star of the first magnitude.

In the Central Theater of the Soviet Army, actress Faina Ranevskaya first met with the director, to whom she was averse to antipathy and with whom she subsequently had to work for many years. It's about Yuri Alexandrovich Zavadsky. "Well, what did Faina call me now?" Asked Zavadsky, pretendingly and humbly. Indeed, Ranevskaya did not skimp on the phrases, here are just a few:

• Gertrude (the director wore the title of Hero of Socialist Labor);
• Puff (he was bald);
• Lilliput, elongated in length (due to high growth).

And Zavadsky was amorous, fooled many friends Ranevskaya: Marina Tsvetaeva, daughter of Pavla Wolf. Indeed, there were good reasons for antipathy.

However, speaking objectively, Ranevskaya should be grateful to Zavadsky for the fact that he actually saved all the actors of the troupe, having achieved in 1936 the transfer of the theater to Rostov. Together with Ranevskaya there were Vera Maretskaya, Vyacheslav Plyatt, Pavel Wolf, Nikolai Mordvinov.

On the mourning days after the death of Maxim Gorky Ranevskaya, it was for the first time and brilliantly to play the role of his Vassa Zheleznova (the play was lying under the cloth for 25 years). Her game then shook the whole theater Moscow. It would seem that dreams come true: she waited for the invitation of the director Sudakov from the Maly Theater. However, the Soviet government did not welcome the movement of personnel on their initiative. Directed Popov (Zavadsky gave him the post) gave a real baiting to the actress. The logic was classically soviet: "Today you are a" flyer ", and tomorrow - an enemy of the people!" However, Ranevskaya still left! With a scandal, left without shelter. Paul Wolf rescued her again, sheltering herself.

Theatrical persecution. Escape to the cinema

The actress was left without a theater. Through the efforts of the partocrats and intriguers, she never managed to rise to the stage of the Maly Theater, where Georgian and Gogolev, Vladislavsky and Golovin shone. Again she begged, she sold her things ... Jokes, the aphorisms of Faina Ranevskaya of that period differ in chased sharpness. They really convict. For example, this one, in the photo below.

Faina Ranevskaya came to the cinema. She was invited by director Michael Romm to the role of Mrs. Loiseau in the silent film "Pyschka" based on the work of Maupassant. The actress reverently treated high art, so she read the novel in the original and on the set-up articulated in French. Romain Rolland, who saw this, was completely ecstatic. The band was waiting for success in the world, the French even bought a film. Secondary heroine, Mrs. Loiseau, overshadowed the main character of Pyschka! However, Galina Sergeeva, who played Pyshka, became a well-deserved artist of Russia.

Then Faina Georgievna had an episodic role of the priest in the film "The Duma about the Cossack Golota" directed by Savchenko. Ranevskaya was given freedom in designing an image of a priest who was absent from the original work. What happened? It turned out really funny. The film crew clung to their bellies. The episode became the decoration of the film.

People's favorite

However, the role of Madame Skorokhod in the film "The Foundling" (1939) brought her real fame, which she hated because she poisoned her life. Cliché "Mulia, do not worry me" was repeated even by Leonid Brezhnev, handing her the Order of Lenin. When the children were following her on the street again, shouting this phrase, she turned to them in a picturesque way and pronounced: "PeonyEry, go to ZH .." (this phrase also became popular).

Why did Ranevskaya manage to play brilliantly? Perhaps, Irakly Andronnikov partly answered this, asserting that she managed to show in the role not only the "human being", but also "a personal attitude towards him." She was given a greater sense of how to deepen and develop the author's design. In life - modest, unsettled, always doubting herself, Faina Georgievna brilliantly plays women of power, unceremonious, impudent, cunning.

Roles in films

In 1942, she starred in the film "Alexander Parkhomenko, brilliantly played invoice tapershu: in the style of the matured Vera the Cold, gnawing monpasier and in the puff of smoking. In 1943 Ranevskaya returned to Moscow. There she plays many roles in the Theater of Drama: beginning with the grandmother of Oleg Koshevoy, ending with the wife of Professor Losev.

At this time, the capital actors, hungry for work, returned massively from the evacuation. Faina Georgievna was shot in the films "Man in a Case" and "Wedding" (1943), "The Heavenly Slug" (1945), "The Elephant and the Girl" (1946), "The Engineer's Error of Cochin", "Cinderella", "Spring" (1947). ). On the set of "Spring" she meets Orlov's Love, which highly appreciated her play.

The director of the movie "Cinderella" Eugene Schwartz allowed Ranevskaya, to her delight, to edit the role of the stepmother as she pleases. And she contributed to this role its know-how: "fabulous swinishness", which is based on "the network of the right people," and such that "the king envies."

In the movie, she came to a relatively late, already famous theatrical actress, at 38 years old. Her only major role in the film "Dream" is so memorable to the audience that they did not let her pass in the street, enthusiastically reciting: "Mulia, do not make me nervous!" Aphorisms Ranevskaya replenished with this meaningless phrase, which has become synonymous with the man-henpecked.

Many connoisseurs of her talent are surprised, why does she have so few works of art? She herself answered this question with a short, polished phrase: "To mourn in a bad film means to spit into eternity!"

Confrontation: actress Ranevskaya and director Zavadsky

In 1949 the director Zavadsky invited Faina Ranevskaya to her theater. The spectators went "to Ranevskaya". Her roles were decorated with performances "Fair of Vanity" and "Storm". But one day Zavadsky threw out of the performance "Storm" her episode to please the theater, his ex-wife Vera Maretskaya. Of course, Faina Georgievna was offended. Her stay at the Moscow Art Theater was by no means cloudless. It's no secret that Faina Georgievna felt and understood art more subtle and many-sided than the man who directed it, the director of the Moscow Art Academic Theater, Zavadsky. Their verbal duels, which took place over the course of dozens of years, were like bullfighting. The reason is clear: the director did not want to recognize the primacy of Faina Georgievna, and she could not, in turn, "lower her bar". Be that as it may, the book of Faina Ranevskaya's aphorisms includes these her pearls:

She succeeded the theaters (Pushkin, the Moscow City Council, the Red Army, the Maly Theater, the Theater of Drama). She performed in many cities of the USSR. However, she returned to the Mossovet Theater, where she worked until her farewell performance (in 86 years) in the play, where her partner was Rostislav Plyatt.

In the last decade of her stage activities, Ranevskaya was faced with such a phenomenon as the overly free interpretation of classics by filmmakers and half-educated actors. She quite reasonedly declared the harm of this approach and called barbarity, when, for example, the content of the same Ostrovsky's work was distorted on the stage.

The actress-philosopher

In addition to acting talent, she was given a god and another talent, philosophical - the ability to think figuratively and formulate a thought. Quotes and aphorisms Faina Ranevskaya sometimes even rude, but accurate are amazing. In her conviction, the Good should be active, and the Truth - said directly in the eyes. Her expressions were born differently, many of which later became popular with the people. Most often at once, immediately and precisely in the context of the life situation that initiated them. Her wit was congenital, it was like a reflex (modern experts consider IQ actresses extremely high).

Faina Georgievna in principle did not accept compromises, and always with open visor answered with powerful charismatic phrases for rudeness or baseness in her address. As an actress, she had one strong trait, with which everyone was forced to reckon: to turn an episodic role into a masterpiece. Therefore, the directors who secretly wanted to limit her on the stage, because of this game, were forced to give her roles again. After all, the audience went to the theater because of Faina! She alone was able to replace the whole troupe. There are cases when, in an unfinished play in which the actress finished playing her local episode, the public, having watched the game of the great actress, simply got up and left.

Loneliness

Ranevskaya's aphorisms about life are sad in their majority. And what else could they be? Fate left her alone, without relatives. She never married, did not have children. Therefore, she built her own destiny, quite unlike anybody else's. Faina Ranevskaya was short-lived, when she was personally talking about her. However, it is known that she did not like men. Emerging twice in her childhood and youth feelings for the opposite sex faced with rudeness and unceremoniousness. The first time the boy-schoolboy simultaneously invited her and her real friend to a meeting, Faina, crying, only said to them: "God will punish you!"

Working in the theater "Mono", she fell in love with the lead actor. He himself made an appointment at her house. However, he appeared there drunk and with a walking woman. After this episode, Faina summed up her relationship with men.

How did she develop relations with colleagues in the artistic department? Absolutely in different ways. However, she always remained kindly ironic. Ranevskaya's aphorisms about men are known in which she teases them for their frivolity and indiscriminate choice of girlfriends. Biographers-art critics name the names of women close to her: Pavel Wolf and Anna Akhmatova.

However, according to biographers, links with men and even the pregnancy of Ranevskaya were, but she interrupted them, adjusting to the everyday life of the Theater. So came old age: not warmed by the laughter grandchildren, not happy with the arrival of children.

Death that shook the country

After the death of her close friends - Pavlya Wolf and Anna Akhmatova - Faina Ranevskaya lived the most terrible, final act of the tragedy, where the main actress was she.

On the wall of her favorite room, combined with the study and the living room, there were portraits of her friends and respected people: Maya Plisetskaya, Maria Babanova, Anna Akhmatova, Vladimir Mayakovsky.

When she could still walk, she picked up a half-frozen mongrel and sheltered her in her apartment. There was another joy: a volume of the most beloved poet - Pushkin. Terrible, terrible loneliness.

One day a woman looking after an 86-year-old actress, having entered the apartment, found her dead, and next to it a dog howled from grief.

Conclusion

Faina Georgievna Ranevskaya herself lamented that realized in the work of just something 1% of 100% possible. In art she was an absolute maximalist, as evidenced by her aphorisms. Ranevskaya-actress was characterized by such a trait as constant creative dissatisfaction with the level of her personal performance of roles. Perhaps, therefore, its level of interpretation of the role was ten times as high as the director's setting. Unfortunately, often the latter, having organizational power, were literally jealous of the unique actress to art, condemning her role to episodes. Quotes and aphorisms of Faina Ranevskaya testify to the energy of a unique actress not allocated on the stage ...