Polina Strepetova biography

Streptova P. The wonderful Russian actress Polina Pelageya Antipievna Strepetova - she gave most of her stage life to a provincial theater. She toured all over Russia, not bypassing small, provincial cities. Her art chanted a simple Russian woman, talked about her long -suffering fate, was imbued with anger against social injustice. In dying hours, summing up her life results, Strepetova said: “I served the people of Streputova’s life was bitter, difficult; her biography is largely similar to the biography of her heroines.

She spent her childhood in an atmosphere of poverty, worries about a piece of bread. She was brought up by Strepetov in the family of the Nizhny Novgorod theater hairdresser and his wife, a provincial opera singer. The multi-family poor, barely making ends, loved and never offended the child he had been thrown. It was an elementary literacy by her short time was taught by the old man who once studied at the seminary.

And the education was in charge of the nanny, the former serf; She sang sad songs to a small field, told fairy tales and how she talked about the hardships of life with an adult. Since childhood, Streptova dreamed of becoming an actress. She believed in her calling, sought to realize the cherished dream. The hot love of art and faith in their strength helped her in the fight against the inert customs of the provincial scene where she entered.

Strepetova did not have beauty, bright external data. She was short, stooped; Her hands seemed disproportionately long. But the polyps of Antipievna were extremely beautiful, expressive eyes, full of sadness, anxiety; She possessed an amazingly penetrating breast voice. Natural talent, the temperament of a tragic actress, the ability to own her stage data - all this made her beautiful on stage.

At the age of fourteen, Strepetova became an actress of the Rybinsk Theater: in the summer of the year, she first went on stage as a maid in Vaudeville "Why other people get married." From this day, her wanderings began on the roads of Russia for the glory of the Russian theater. From an early age, Strepetova was addicted to reading and always read a lot. Her favorite critic and thinker was V.

In his articles, she was looking for answers to exciting questions of theatrical aesthetics. The actress loved and Topko perceived Russian nature, folk songs. Polina Antipievna has always distinguished the independence of artistic thinking, a craving for realistic, truthful and complex images. Under the bonded conditions, the Entreprise Strepetov was supposed to speak in any roles proposed by the owner of the theater.

Sometimes in one evening she had to play in a five -act melodrama, and then sing in sabotage or entertain the audience in Vaudevil. Over the long years of provincial wanderings, Office has repeatedly sang the main parties in the operettes of Offetthah. The actress vaudevil and melodrama was most burdened. Endowed with a tragic gift, a fiery temperament, which appreciated the stage truth above, she could not put up with falsehood, crackling effects, and ideological wretchedness of melodramas.

To perform in such plays was flour for the actress, but thanks to her talent and thoughtful game, many melodramatic images were successful and kept in the repertoire for a long time. In a huge list of Role of Streputova, Schiller’s drama, Shakespeare's tragedy, Lermontov Masquerade, where she played Nina, are the drama of Schiller in the provincial period. But the All -Russian glory and hot love of the audience was won by the actress with the images of ordinary Russian women.

On the provincial scene, she first played Lizaveta in the “bitter fate” of Pisemsky, Katerina in the “thunderstorm”, Vasilisa Melentiev in the same drama Ostrovsky. The roles of Lizabeth and Katerina occupy a special place in the work of Polina Antipievna. Streputova women - pure, loving, deep - attract the viewer with emotional nobility, integrity of nature, proud independence of character.

To the hearts of ordinary people turned their art. Notes of social protest sounded powerfully in it, existing orders were angrily exposed. The defender of the rights of the detailed people was a brilliant artist. The name Strepetova was a banner of workers, students, a heterogeneous intelligentsia. The reactionary press was unkind to the creative of the actress. The Directorate of Imperial Theaters was in no hurry to invite an actress-bag to her stage.

Moscow met the art of Streputova in the years: she toured first in the public theater 2, and then on the stage of the artistic circle. Here the actress met closely with Ostrovsky. He considered her one of the best performers of his plays and called her "great talent." In the year, Polina Antipievna became part of the troupe of the private theater Brenko, the troupe was very strong, composed of the gifted actors of the province.

The theater team had an extensive classic repertoire; The dramas of Russian authors occupied a large place in it.The performances were prepared carefully, costumes and scenery corresponded to the style of the play. In this theater, Strepetov occupied the most prominent place. She played here, continuously improving them, her favorite roles, including Katerina and Lizaveta.

Performances with her participation turned into the largest events of theatrical life. In the year, Strepetov was enrolled in the troupe of the Alexandria Theater.

The Directorate of Imperial Theaters for a long time and stubbornly evaded this step, but the glory of the actress forced her to take her on the metropolitan scene. The life of Streputova in the Imperial Theater turned out to be difficult. The undivided hostess of the Alexandrian theater M. Savina saw a serious rival in her and fought with all her might to preserve her priority.

The repertoire of Streputova attracted the democratic audience - this audience filled the audience in the days of the performances and benefits of Polina Antipievna. The high -society public was shocked by the heroines from the common people, which caused discontent and nit -picking of the directorate. On the Alexandrian stage, Strepetov created the images of Stepanids in the drama of V.

Krylov "near the money" according to the novel by A. Ostrovsky, Sarah in "Ivanovo" by A. Chekhov and others. Streputova talent in full height; She experiences a new creative rise, although she prepares her roles in a complex, tense, and sometimes frankly unkind. Each performance of the actress is accompanied by a fierce polemic in the press. In some articles she is praised, thanks, they call her ingenious, in others they belittle artistic and human dignity.

In these difficult years, Strepetova is especially coming closer to Ostrovsky; He protects the actress and writes plays specifically for her. A new victory was Streputova’s performance as Kruchipina "Guilty without guilt." In her performance, a portrait of a provincial actress was especially reverent and dramatic. The events of the play were close to her, sometimes biographical.

I can’t get used to becoming. "These words Kruchinina could be put an epigraph to the image, complete soulful love for people, the desire to help offended, stretch out the hand to the beam." But creating on the state stage is becoming more and more difficult. The situation of the actress eloquently says her letter in the name of the director of the theater: “My best roles were transferred to other artists, I was deprived of the lines with other performers, I spent whole months in involuntary inaction, and either did not receive new roles at all, or I was entrusted with roles that did not meet the nature of my talent as exhausted to the struggle more, Strepetov leaves the state -owned collection and the state and the state.

The wanderings in the province begin again, performances in the capitals on private scenes with random partners. Over the years, the repertoire of the actress was replenished with the role of the old woman Matra Khlyustin created new ballets - "stars" and "magic dreams" of Count de Castro, the bridegroom of Beauty Clermond, fell in love with Venus. The bride’s brother called him to a duel, and the wounded count dreamed of stars.

Then the dreams scattered, and he came to Clermond. The script belonged to K. Valtz and, for all ordinaryness, towered over the extravaganzes of Mendes: a romantic story about the throwing of the young soul between reality and a dream revealed the spaciousness of feeling. A. Simon’s music did not possess originality, but offered the choreographer a variety of dance numbers. Khlyustin took advantage of this.

There were many mass dances in the Stars. Dancing guests at the ball characterized the era and place of action. The large cordobe of the starry sky was located in inventive patterns and groups, creating a mobile background for solo stars with Venus at the head. At the festival of the last act, the divertissement of national dances was also unfolded. The center of choreography was PAS de Trois of the main characters: the count danced with the bride, and an invisible dream for Clermond, the dream of beckoning him.

Effective classical dance conveyed the complex experiences of the heroes and thereby returned a worthy place in the Moscow ballet. Khlyustin was not an innovator. In the Stars, he declared himself an adherent of academism. This is what the troupe, the spectator and critic were welcomed. The one -act ballet "Magic Dreams" with the music of the young composer Yu. Pomerantsev was more new in terms of intention, but less successfully embodied.

The script relied on Russian fairy -tale motifs. The goblin drove two peasant teenagers through the forest and delivered them to frost.