Taganka century masters: 100 years of Yuri Lyubimov

Today the Master of the Taganka 100 years. For a century, and this century it in something defined. And marked. And modified. A generation he compared his life with Taganai and performances that made the Master. Admired his performers and songs in the main throaty Genius. Master Yuri Lyubimov… himself as a century — violent, vivid, contradictory, lonely, powerful.

photo: Natalia Gubernatorova

The strange thing is, food in Moscow, and many stumble on tonight. That is, start to think about it, though, and did not think: Taganka (the theatre together with the area) — the only one. Confederation of theatre unions and the Chekhov festival, in Leontief lane, he said. The hotel “MARRIOTT” on Tver, and on Petrovka, here we were drinking coffee with him. And in Vakhtangov theatre on the Arbat, when he was rehearsing “Devils,” I looked to meet Katalin. But with these buildings in different parts of Moscow are connected and other people, I think, so why is it I rarely think or not think at all, but about Yuri Petrovich just remember, and often. Why? Here, I think, probably, the law of conservation of energy: the more a person has, the more powerful ingrained, downright ripped into the stone wall, to stay there forever and not let go. Lyubimov is just the same energy that forever.

With his wife Katalin. Photo: vetervostok.blogspot.ru

Budapest. Royal castle high above the Danube, and we (J. P., Catalin and I) spend Sunday afternoon under the blazing April sun. Burn I must say, beautiful, cheeky and fun. Because the situation is still hopeless and beyond our control: the departure of our plane in the morning delayed until midnight, so we allow ourselves something cannot afford in Moscow, relax and have fun.

— Yury, not este this calbasu, she smoked, bad for you, is Catalin a stern voice. You’d think she was a doctor-a nutritionist: do not eat, do not drink. And her “Yury” still “steal” from the table in the cafe where we landed: that the glass upset, “while Katya does not see”, then salami whole piece will swallow, not chewing, “when Katya vigilance will lose”…

In General, this pair even then, back in 2001, and years later, made a lasting impression on me. And outside (always stood out from the crowd inexplicable feature), and what happened between them and that they are not concealed. Yes, they were joking with his love, and he did it very elegantly. It’s like she’s strict and good-natured young lady, and he’s a bully, tempted by this Hungarian proud for its bright and fierce way to live.

But punks were punks Taganskaya, — remembered then, in Budapest, Yuri Petrovich, — I was once so beat that I barely reached home. Mother opened the door and froze from my view…

Friday in “Robinson Crusoe”, 1947.

Then came the details, with comments for the past ITU-bytyu. I then marveled at his such frankness, which is not every public man, and with the world, allow yourself. Reckless children’s openness, after which what you want, and think about it. And he doesn’t care. Yes, he spit on who and what think about it. His gift is to live and work — like and does not need foreign “dumalag”: Lyubimov too strong, too solid and indivisible. Beautiful man, so similar to aging, but not old lion. Because ages beautifully.

This openness has obvious advantages, but also painful cons. Yes, he disarms it all, but without calculating — just cannot do it differently. But he suffers because openness ruled out any protection. At the rehearsal of the play “Woe from wit” I see how he suddenly lost, when my remark gets from the scene of dispute in a boorish manner. But this confusion is not ill-mannered rudeness in front of the artist, and in front of the primitive materialism of man in General, his single-celled device. How so? He’s been working on a fix, trying to elevate nature, naively believing that sooner or later evolved into the breed (and suddenly?), as a result of what he has? The presumptuous arrogance of the artist? At this point, his broad strong shoulders somehow gently fall to the ground. But, it turns out, is short: Yuri Petrovich not to hold a grudge. He simply has no time — the premiere is in a week.

In the movie “On the stage of the scene”, 1956.

Here he is sitting in his office on the second floor. The walls are white and one is that behind all the labels — for him, about him, about his dissolute and such motley, but still their favorite artists. Filatov, Demidova, Vladimir Vysotsky, Zolotukhin, Slavin, Zhukov, laughter, Farad, politseymako, Shapovalov, Antipov — the representatives of the Golden period of the Taganka. Varying degrees of talent, different characters, fate. But they are birds their nests, even in time preserving its ancestral traits — some sort of defiant independence, some, however, are greatly deceived.

But it’s not about them, and that the main person who took his precious collection, and stood over them, allowing them to stand on par with each other. Not everyone could maintain themselves and their dignity at such a height. Someone crashing through the floor, taking the fall for a free flight. But he remained in his office, under the white wall with colorful autographs of the great who admired the theatre house, built Lyubimov, and its freedom-loving inhabitants. Even now, when he’s not in this house for almost 900 days, I see it here and only here for a small table under the wall.

Marina Ladynina in a film “Kuban Cossacks”, 1950.

Oh, how bittersweet… Because Yuri Petrovich not laugh, is not angry, will not impress a paradoxical response: that’s who the true paradoxes. This Siracusa wall — the witness of time, events, fate… Round Lyubimova — scientists, philosophers, artists, but not the authorities, who have suffered the insolence of the Director and cynically allowing intellectuals to have in the face of the Taganka valve for letting off steam. Not allowed in his office and wealthy guilders, desperately built your business underground in the planned economy of the USSR. About fashionable characters and say nothing: with the advent of the new time, the new Russia their way here ordered. There I no double standards, he doesn’t run between the towers of the Kremlin, as it began to do some of his colleagues. He Is An Artist, A Master. And the Master of such fussiness is not stuck. And this is the main lesson of the Master.

In the movie “Cain XVIII”, 1963.

As another lesson of generosity. The episode that I’m still ashamed: events on tour Taganka in the Czech Republic, which resulted in the tragic changes in the life of the theatre. Then I didn’t believe Yuri Petrovich and took the position of observer. A year and a half, I arrived in the Czech Republic, dug up fact: before lies the translator, who misled journalists. Realized his mistake, called Yuri Petrovich and simple, without explanation, said: “Yuri Petrovich, forgive me.” On the other end was a second pause of what seemed an eternity. Without another word I was forgiven. Generosity — the only property of truly great people and true talents.

And finally, our last meeting. 95-year-old Yuri Petrovich comes to the editorial office of “Moskovsky Komsomolets” in the theatre award “MK” (by the way, the only newspaper award in Russia), he declared “Man of the year”. More precisely, first, it does not come because Katalin behind the wheel, lost. And we all are sure that I have a personal chauffeur. It turns out, no. Live frugally after leaving from taganki.

But here they are with Katalin reach edition. The corridor is grey as a LUN. His eyes are blue-gray and laughing. Is he 95? He-he, but he is so free and so joyful! Sitting at the table editor, drinking vodka, eating smoked sausage, and just talking about theatre, politics and theatre again.

Still the strange thing — food in Moscow and many other places stumble on tonight. That is, think about it, though, and did not think: Taganka (the theater along with area) is it. Confederation of theatre unions and the Chekhov festival, in Leontief lane, he said. The hotel “MARRIOTT” on Tver, and on Petrovka, here we are, it seems, drank coffee with him. In “Sheremetyevo” at dawn, flew in from Budapest, and Vakhtangov he rehearsed “Demons”, and I looked back to meet Katalin. I ask him to forgive you and think about it. Why? Perhaps the law of conservation of energy — the most important: the stronger the person, the greater ingrained, downright ripped into the stone wall, to remain there forever. Lyubimov is just that most of the energy that forever.

Leave a Reply

Your email address will not be published. Required fields are marked *