My Vysotsky biography

St. Petersburg 2nd Krasnoarmeyskaya St. Vysotsky’s creative heritage is not measured by the number of written poems and songs or the brightness of the roles played by him and is something more than books and films, because it is part of the genetic code of every Russian. By his work, Vladimir Semenovich formed and continues to form moral and moral guidelines, views, thoughts, and, of course, a civil position, showing an example of patriotism and prohibitive honesty and sincerity.

The popularly beloved artist received his name in honor of his paternal grandfather, Vladimir Wolf Vysotsky, a native of Belarus, the son of Skiplodov, who managed to graduate from three faculties of the Kyiv Institute of National Economy named after Korotchenko: legal, economic and chemical. In the year, the grandfather and grandmother of the poet moved to Moscow. Wolf changed his name, becoming Vladimir, and Deborah began to call herself Irina.

After school, Semyon Vysotsky entered the Polytechnic Technician of Communications and shortly before his end he met Nina Seryogina, who worked at the Intourist's hotel as a translator. Grandmother, Evdokia Andreevna, devoted herself to the care of her husband and children: two sons and three daughters, one of which, Nina, was intended to become the mother of the Russian poet. Semyon Vladimirovich and Nina Maksimovna got married in the year.

After the marriage, the newlyweds settled in a room in a communal apartment on the First Meshchanskaya Street. According to the memoirs of Nina Maksimovna, she gave birth to her son at 9 a.m. 40 minutes of January 25, at that time her husband was on a official trip and could not meet her from the maternity hospital. In childhood, Vladimir Vysotsky, the future poet lived in a communal apartment with his parents for the first three years of his life.

In the year, Semyon Vladimirovich was called up to the front, and Nina Maksimovna and Little Volodya went to the Evacuation to the Urals, from where they returned two years later. At the front, the poet’s father met Evgeny Stepanovna Likhalatova, who served in the main department of highways of the NKVD, and fell in love with what caused the divorce. Vysotsky did not return to the communal apartment on the First Meshchanskaya Street, his new house became the apartment of Evgenia Likhalatova, located in Bolshoi Karetny Lane.

Volodya Vysotsky in primary school is the lower row, the fourth boy on the left Nina Maksimovna arranged her life, marrying the English teacher. The stepfather, Georgy Mikhailovich Bartosh, did not even try to become a friend, and he also abused alcohol. The situation in which his son was forced to live was worried about Semyon Vladimirovich, but he failed to give Nina Maksimovna to persuade Nina Maksimovna.

The situation was resolved in the year, by court decision, Volodya moved to his father and his wife, Evgenia Stepanovna, whom he called the “mother of Zhenya”, and a year later he went to Germany at the place of his destination, to Germany. Vladimir Vysotsky with his father and stepmother at the school of the town of Eberswald, in which the children of Soviet troops studied, Volodya was accepted into pioneers.

He began to take the lessons of the game on the piano, and his father and Evgenia Stepanovna presented him with an accordion. Vysotsky during the years of life in Germany in the year Semyon Vladimirovich received a new appointment, in Kyiv, but at the family council it was decided that Evgenia Stepanovna and Volodya would not go to the place of service, but return to Moscow.

This difficult decision was made so that Volodya could properly prepare for admission to the university. Vladimir Vysotsky in his youth for a year in the year Vladimir Vysotsky graduated from the south of the male secondary school, receiving a certificate, in which there were “excellent” marks in five subjects, and “good” for nine. The certificate of Vladimir Vysotsky Student years in the year, listening to the advice of his father, Vladimir entered the Moscow Engineering Institute.

To understand that he cannot spend time mastering a profession with which he is not going to connect his life, Vladimir needed only six months. Having taken the documents from MISI, Vladimir began to prepare for admission to the theater institute, resuming classes in the theater circle. Young Vladimir Vysotsky. The middle of X is believed that this decision was greatly facilitated by the environment of the young Vysotsky.

The young film director Levon Kocharyan, a good friend of Vladimir, settled in a house in Bolshoi Karetny Lane, created a kind of closed club, in which poets, writers and artists gathered; Among them were Vasily Shukshin, Andrei Tarkovsky, Edmon Keosayan and Yuri Gladkov. It was then that Vladimir became interested in “criminal” characters. An analysis of the psychology of criminals brought him to the thought that not all “clients” of the criminal investigation department in the soul of scum, many law -abiding citizens pushed circumstances to crime.

This topic will further pass the leitmotif through the "thieves" lyrics of Vysotsky. Teachers were a lot of the features of his voice, as evidenced by the preserved protocol of the meeting of the department, dated November 5 of the year. In the document, Vladimir Saricheva, vocal abilities of Vladimir.According to an experienced teacher in stage speech, Student Vysotsky possessed a “bad and very small voice”.

Two years later, Professor Saricheva suggested that the hoarseness of Vysotsky’s voice was a consequence of an organic defect. A year later, a singing teacher Vishnevskaya assumed that wipes and hoarseness are caused by a defect of the nasopharynx or excessive smoking. Vysotsky was a favorite of the course in the last year of training, one of the mentors of Vladimir, Pavel Vladimirovich Massalsky, also noted that his student has no voice, but he brilliantly compensated for this shortage with the ability to feel the role and artistry.

After many years, many researchers will engage in analyzing Vysotsky's voice characteristics. Mark Zakharov said that it was the voice that had more influenced the formation of Vysotsky as an artist and as a poet. According to the director, if the voice of Vladimir Vysotsky were different, then his roles would be others, others would be his poems and songs, he would be others.

Vladimir Vysotsky - Morning gymnastics in the year Vladimir graduated from the famous university with a diploma of the actor of the drama and cinema and, by distribution, received a place at the Moscow Drama Theater at the Pushkin Theater, Vladimir Semenovich, served only four years. At the beginning of the year, he came to the director of the Moscow Theater on Taganka Yuri Lyubimov and soon first went on the stage of this theater, replacing the sick actor Vladimir Klimentyev in the role of the second god in the production of “Good Man from Sezuan”.

In the theater archive, the name of Vysotsky was first mentioned in the year as the name of the artist, approved for the role of the captain in the play "Hero of our time" based on the work of Mikhail Lermontov. Vladimir Vysotsky and Yuri Lyubmov at the beginning of the year, the premiere of the play “Antimira”, staged by Yuri Lyubimov according to the works of the poet Andrei Voznesensky.

The audience noted that Vysotsky read poetic texts in one breath, in his special manner, unexpectedly highlighting the deaf consonants and making semantic pauses that forced their hearts to freeze in anticipation of the moment when the artist spoke again. With Veniamin Smekhov in the production of Antimira in the production of Antimira, Vladimir appeared at least five times and participated in all general musical numbers.

Especially for Vysotsky, Andrei Voznesensky wrote the poems “Akyn’s song”, which first sounded like a song from the stage of the theater on Taganka. Subsequently, the artist will perform the “Akyna’s song” at each of his concerts. Vladimir Vysotsky - Akyn’s song immediately became a granted performance, staged according to John Reed of the same name “10 days that shocked the world,” was first shown in the year.

In it, Vysotsky played in several interludes, playing the roles of Alexander Kerensky, a soldier, a sailor-watch, young, rampant anarchist and others. It was thanks to this production that Vysotsky gained fame as an original singer, many people came to the performance only to hear his extraordinary voice, once rejected by teachers of the Moscow Art Theater School-Studio.

His angry hoarse voice was desperately longing for truth, not retaliation, and expressed doom: both social and human. The lyrics of the song, like most of the poetry of the actor, remains topical today. A fragment of the play “10 days that shocked the world” are considered significant the role of Galileo and the role of the poet Vladimir Mayakovsky, which Vysotsky played on the stage of the Taganka Theater for many years.

Many researchers recognize the role of Hamlet as the best of all its theatrical roles, and some critics call him Hamlet the best of all Hamlets ever played. Vladimir Vysotsky, in the role of Hamlet, to the question of why he entrusted the role of Hamlet to Vysotsky, Yuri Lyubimov often answered that he was sure that Vysotsky, like no one else, could express a complex set of personal mental, philosophical and universal problems with which Shakespeare generously endowed his hero.

The director pronounced these words after the death of Vysotsky, however, another interview with Lyubimov, in which he said that the artist literally begged this role, and at the first rehearsals of Yuri, it impressed that Vladimir did not understand the concept of the role of Hamlet and did not realize what he was doing on the stage. Hamlet’s monologue performed by Vysotsky’s explanation for such different statements by Lyubimov is very simple: only in the course of working on the role of Vysotsky, previously far from religion and faith, began to understand the issues that tormented the soul of Hamlet.

In addition, the director at first had a difficult relationship with Vysotsky: Lyubimov from the very beginning knew about the artist’s unhealthy addictions, but he could not influence him. Vladimir Semenovich himself called his favorite performance the production of “fallen and living”, dedicated to the memory of poets and writers who participated in the Great Patriotic War.Listening to Vysotsky, who fiercely read the verses of Mikhail Kulchitsky and Semyon Gudzenko from the stage, whose roles he played, the audience could not restrain emotions; It seemed to them that the voice of the artist from the stage with them was saying poets who died in the war.

It is believed that it was the participation in the play “Falls and Living” that prompted Vysotsky to write a cycle of poems and songs about the Great Patriotic War. The performance “Fallen and Living” for fifteen years of work in the Taganka Theater Vladimir Semenovich played in fourteen productions, reviving every role to the breath of his soul. Vysotsky cannot be presented in another theater or outside the theater; According to Yuri Lyubimov, once coming to the Taganka Theater, he forever remained in him and became part of him.

The roles in the cinema of Vysotsky’s personal contribution to the development of cinema cannot be overestimated, he was and remains a cultural phenomenon that did not lose relevance. Over the next few years, he played in the paintings “Career of Dima Gorin”, “Dismissal to the Coast”, “Fengrade” and “Stryapuha”. The first role of Vladimir Vysotsky in the cinema “Pearn”, the first wave of fame in the role of film artist Vysotsky was presented by the tape of two young directors of Stanislav Govorukhin and Boris Durov “Vertical”.

In the story of a group of climbers preparing to conquer the next height, Vysotsky played the role of a signalman who hid from his comrades a warning about the approach of a thunderclone. Director Gennady Polok did not operate Buff aesthetics to influence the audience, but used it to create the necessary tragic atmosphere, which is fundamentally different from that patriotic-placket, to which Soviet citizens are accustomed.

It was because of the revolutionary insolence that the tape was released on the screen only after many years, in perestroika years. Vysotsky’s game and the death of his character was a shock blow for the audience, brought a tragic note into the picture. The frame from the film "Intervention" came out earlier than the painting "Intervention", the musical drama "Dangerous Tours" also became a bright event in the cultural space.

Especially for this picture, the artist wrote several songs, among which “Bengalsky Biddens”, “Ballad of flowers, trees and millionaires” and “romance”. The image of a chansonnier Georges Bengalsky in many ways echoes the role of Andrei Zharkov, which he performed in the intervention tape. Vysotsky’s game impresses the audience with his naturalism, which is explained not only by his unique dramatic gift, but also by the deep understanding of the tragedy of the fate of his characters.

Vysotsky-Bengalsky’s bits “Dangerous Tours” The image of the Belarusian officer, the artist brilliantly embodied the director Evgeny Karelov in the picture of the director of Vysotsky, is not at all tormented by a sense of nostalgia, he is decisive and ready to consciously lose everything that is important to him. Vladimir Vysotsky and Veniamin Smekhov in the film “Two Comrades served” in the tape “The owner of the taiga”, shot according to the detective work of Boris Mozhaev, Vysotsky plays the role of the foreman of the artel, implicated in the robbery.

The role of a policeman, who cried out this business, was played by Vysotsky’s best friend - Valery Zolotukhin. On the set of the film “The owner of the taiga”, before a difficult moral choice, the hero of Vysotsky is also in the picture “Fourth”, created based on the play by Konstantin Simonov. The artist was able to brilliantly embody the image of a weak man, in which the spark of decency only glows.

The role of a journalist who accidentally recognized dangerous information and is not ready to act according to conscience is considered one of the most difficult in Vysotsky’s filmography. On the set of the film “Fourth” images embodied by Vysotsky on the screen forever remained in the memory of millions of people, he managed to play a lot of roles during his cinematic career, but Gleb Zheglov in the multi -part film “The meeting place cannot be changed”, the director Stanislav Govorukhin, shot according to the work of brothers, was the most beloved movie hero for millions of people.

Weiner "Era of Mercy." Vladimir Vysotsky, in the role of Gleb Zhelov, despite the fact that Zheglov in the literary work is very young, twenty -five -year -old, Govorukhin did not see anyone except Vysotsky in this role, and rewrote the script, given the age of the artist, who was already forty at the time of the filming. The meeting place cannot be changed.

Why Vladimir Vysotsky and Vladimir Konkin did not like each other the role of Captain Zhelov - the last in the filmography of Vysotsky, the actor died two years after the release of the painting “The meeting place cannot be changed”. Poems, songs and prose, Vladimir wrote his first poem in the year of the death of Joseph Stalin, in the year. The poem "My Oath" was preserved thanks to his mother, who printed it in the wall of the state institution in which she served.

On the guitar received as a gift from parents on the seventeenth birthday, Vladimir learned to play on his own. At first, his repertoire was made up of courtyard songs and the so -called thieves, in which the researchers of the poet’s work do not see anything strange. The generation of Moscow intellectuals, brought up in the post -war years, missed the cultural baggage of prison creativity, romanticizing it.

Poems and monologues of Vladimir Vysotsky, some researchers claim that Vysotsky began to write songs under the influence of Bulat Okudzhava's work. As a poet Vladimir Semenovich did not receive such recognition, which overtaken him after death, but now his works are published in huge circulations, some of them are included in the school curriculum. Poems, as well as Vysotsky’s songs are included in the category of those extremely rare phenomena that come from the soul of the Russian people and penetrate the consciousness of each person, becoming relatives for them.

But during the life of Vysotsky, it was upset that his poems refused to print, and he did not agree to the editors that editors offered.