director yuri lyubimov really did not need the actors of the premiere. they left the crowd, remaining, at the same time, lyubimov created a performance as a part of it, as a powerful everything, connecting the image of many to be on a par with others , particles of the famous lyubimov multi-figured compositions. she herself lived with the feeling that she could do more and

something else, and she could not take patience. demidova with taganka yuri beloved at first glance separated more than united her in the first place. once a tradition in the sixties breakthrough into the future was, to begin with, a breakthrough to the forbidden past, when lyubimov ordered to hang portraits of merkhold vakhtangov brecht in the foyer of taganka. it was an artistic declaration and at the same time a political gesture. later, at the insistence of officials , stanislavsky was added here, it seemed to someone that everything looked not so blasphemous with him. in

fact, it turned out to be even more symbolic. on the stage of the early taganka it was difficult to maintain its separateness. well, in theatrical everyday life demidova kept her distance. she didn’t intrigue, didn’t make friends excitedly and tried not to be at enmity on her own. those who are engaged in the theater, well, in general , they should initially be alone in creativity. loneliness, but on the other hand, any person is lonely there's nothing you can do. from the golden time of taganka, filming of the behind-the-scenes life of common holidays, the word community, is the key here. i have to walk in the carriage of the world

for the moscow intelligentsia for hackneyed celebrities. the lord judges in these frames you can see poets and actors in others theaters and writers and academicians and astronauts and pop stars on the mountain and caressed by the authorities persecuted by it. a ham bridge in

this unity with spectators who stand at night for motogamku tickets, it is impossible to get unity with colleagues to each other, the substance of love, and the happiness that simply oozes from these shots. it certainly cannot deceive absolutely. not falling, but i sing on behalf of all the more zeks, we sometimes come across the living chronicles of demidov. andrei andreevich voznesensky here is a funny episode with a puppy that gives the theater

andrei voznesensky lyubimov gives it to alla while vasilisa is not bortnik, a quiet smell, and yet, please, she grabbed the puppy and left. ate pasha paul the pope, if she is, then not in the thick of events, not in the center of general fun. separately or quite briefly, somewhere in the corner with her husband vladimir volosky. here with her already in the hall in skits, she does not participate, there is no actress spectator at this celebration of life. holding hands with anyone

so as not to disappear one by one is not intentional. it is not known how her fate developed further, if it wasn't for the movie. at the age of 30, she becomes a movie star for an actress, with rare exceptions , youth plays an important role at the beginning of her career, but we did not see demidov young on the screen. they debuted a dozen years earlier and some of them while she was mastering the profession of an economist had already won international success. cranes and

some of them suddenly became people's favorites. lyudmila gurchenko after the film carnival night sometimes not getting married, never changes everything, very cool. everything changes them all into one imaginary row, you can see, to what extent? she demidov did not fit into the context of soviet cinema intellectual cinema required femininity of one year.

then i would take care of you. what can we say about the beauties of the people? temporarily gold, well, khoroshikova. imperial milk like alla larionova do not return

women girls who replaced simpletons in the sixties like natalya bogunova in the film goodbye boys alina polish wild dog dingovaya in the film when the trees were big you and i will say this, unlike theater art types. did soviet cinema have a type

in which demidova could fit in? is it because it took so long to start filming it because there was no cell in which it could be entered. and why, in fact, having missed her youth , early youth, soviet cinema in the late sixties in the early seventies is trying to make up for lost opportunities and made up for dashing in 5 years. demidova played 14 roles. in fact, the fact that the cinema, as it were, found it with some delay is very logical. the thaw, with its pathos of community, was not its time. her the time came when

notes of disappointment of alienation appeared in the air of the era. when was the demand for a person born, if not completely superfluous, then definitely separate? who is she playing? poetess from the captivity of the most shameful on earth you are my blade hardened word i am ready to take you out of the scabbard fanatics our revolution in all directions to light the great bonfire of the world revolution it

was very successful. a contemporary, which is rare for her, she played in the film you and me larisa shipitsko. underrated crippled by censorship misunderstood to this day where did you all disappear? well, she played, so her heroine could be both a manhattan inhabitant and a parisian. and

london bohemian and berlin intellectual another contemporary at risk. she considers this role a passing one. however, because of this role, just more than anything, it is understandable. why was she so sworn to the then intellectual directors who made regular pilgrimages to the state film fund to watch western films there, and why did she know how to demidov that few people in our soviet cinema knew how? in terms of risk she is the wife of a brilliant physicist who is on the verge of life and death. he's going to have open- heart surgery and the chances are slim. does she wander around

the hospital like a shadow? she is talking to the doctor. she climbs the flights of stairs and stands at the hospital window. she manages not to play. no fear no offense to her husband who does not want to see her. what is she playing? that is very difficult to play. loneliness is not her own, and she plays the hero’s husband that people die alone and you also have to endure this pain alone.

the director just needed this feature of hers. a man without sex and without age is a man without a corporeal man who does not seem to have a social and national affiliation. the fruit of the secret attraction to the forces of the temptation of resistance is a very late soviet resistance of a man who is tireless and elusive. not allowing himself to be called by name to be nailed to the address of the year of birth, the appearance compluk to the type. if someone

asks who you are, answer who i am, i'm nobody, like foxes once had a polyphemus. this is both a disembodiment and a refusal to hand over the address of the turnout, passwords of oneself, in the end ends. what is happening that they could not understand at all what this could be? the honey squad is coming. we believe

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ghost ritual gestures are correct when he she speaks badly about her wife

. he is so demok that such unexpected sharp things can be possible, this scottish, vosmetik, born by a blow of cunning, shamelessly seduced korolev. tension is created in the auditorium should be an open language of his daily work, not a secret rites, and a lively working process arranged open rehearsals, at which

all the people in the hall could express their comments. to be is the question to be or not to be? what is the question to be or not to be? to endure the earthly disgrace of fate and you need to resist. all over all the metals are the feeling of the work of the cathedral to be and they say it a little bit. so it's signs while with very finely done. and you are right. it is even somehow scattered, that is, not something to attach to what they naturally. and that each one, in my opinion, and with all my

heart is the only way, but now it turned out a little. just a cap. intimate process no intimate process please, here are people sitting for you. they watch what you do you answer to them. stand up and say. why are you and so on, and how did you feel? if you had to say something to an actor, it is difficult, difficult to feel, even very difficult. but to be honest, because everything was based on this, as far as the beginning is concerned. in the sense that it is not so now and cannot be decided such

things must be understood about the scarlet, taganka. here she immediately went to her dressing room, and here are other actors in between rehearsals of one of the most tragic performances. to die and know that by doing this you break the chain of heart torments

and thousands of hardships inherent in the body isn't this the goal that everyone wants to die? of overwhelming power, his poetry rested on an unmistakable sense of modernity. well, it was dark poetry. it was the hamlet of the era, without time the

image of soft dusty, suffocation was revealed in such metaphorical fullness and such a modern recognition that took my breath away both in the hall and on the stage. gertrude demidova was the flesh of the flesh of this without time. and its main victim is the modern theater, and on the other hand it is in shakespeare. she played the humiliated queen. she has gently with her act, it happens. there were subtle psychological materials - pride, queens, tender women, that's all, and then it started. so she was further humiliated or just. well, your son, who, what did you say, how to go, what’s with you mother, what’s with you? you look into the void, there you will be loud with

barren air. you, of course, eyes as if soldiers on a signal fly up at the end of your hair and build on the hood. but the disease does not need to be cooled unperturbed champions. in this couple. they were absolutely even, absolutely on a par with your sick peak, in terms of spirit, white, feverish, big artificial. delirium tremens my pulse, how does yours count? and also cheerful. there is no violation of the meaning in my words. ask again. i will repeat them, but the sick person could not in the name of god is just your balm, do not hold on to thoughts that everything is misfortune in your behavior. in me, such a

mother will tighten the rank with a crust, but hidden pus is everything inside. he must confess, repent of his deeds and beware. it was vysotsky. in her rise , she played shakespeare's quick shakespearean role unusually. where in labor yes, they never played it well, to be honest, because they played it. like some kind of climacteric last love, what a young woman she is. well, and so on. it doesn't matter if you're the main character. i made everything to talk only about gertrude. l in the morning i will go to get sick to watch 2 months and that's it.