Lyudmila Meshchensky biography

Shakespearer's daughter to the anniversary of the agrippins of glass agrippina Steklov - the General Center of an impressive acting dynasty. Muscovites on the move will call her father Vladimir Steklov and, a little thought, the son of Danil Steklov, who also paves his separate path, plays the Moscow Art Theater. And the old-timers-theaters of Krasnodar, Simferopol, Astrakhan, Grodno will remember her grandfather and maternal grandmother-Mikhail Moschensky and Elena Domashova.

Driving with his parents “from Kerch to Vologda”, she became an actress and their daughter, Lyudmila Moschenskaya. By the way, it was Mikhail Ivanovich that was the first to see and appreciated - in the cinema in front of the session, the young actors read poetry, and the future son -in -law simply shocked him: without pronouncing half of the letters, he took fiery energy and hair.

The most important thing in the life of Agrippina Steklov made all the most importantly. Early, at nineteen, became a mother. Early, at twelve, she went on stage as Shakespeare's daughter, Sergei Shakurov, in the play of Vladimir Portnov “To be or not to be” and at sixteen starred the film “Transti-Wants”. Also, early, although not without hesitation, decided to connect her fate with the stage.

The workshop was directorial, and one of the classmates, Viktor Shamirov pushed the fate of Agrippina in the right direction, putting the “Dulcine of Toboss” based on Volodin’s play. The performance was successful, presented GITIS at student festivals, and Agrippina - Dulsinei received her first prize for the best female role. The peasant Aldons, strong, earthly, distrusting and non -focused, not climbing into his pocket for a word, indifferent to herself and others, learning about the love of the rest of the Quixote and accurately glancing at herself from his eyes, turned into a free woman born for love, sacrifice, a great mission, but not for vegetation next to the unloved and jealous husband.

Steklov played this transformation so selflessly that she immediately impressed Konstantin Raikin, and he invited her to his troupe. The theatrical legend says that her future husband and member of the artistic council were such Vladimir Bolshov for some reason opposed her invitation, not yet knowing that they would soon heal with one family. The logical period of masses flew for agrippina rapidly.

Somehow immediately it became clear that she should take her separate place in the troupe. Her talent, like her red hair, is too bright, inconvenient for life, a noticeable from everywhere demanded a separate plan. Agrippina Steklova is the actress that causes him. Its first role was the role of Madonna Liber, a stately, imperious, simple -minded, explosive wife of a fisherman in the “Kyozhin skirmishes” - crazy in energy and drive of the comedy of Karl Goldoni, who became a presentation of the new youth of the theater.

It is quite obvious that Yuri Butusov could not pass by such an actress. In his Macbett in Satyricon, Agrippina played one of the witches who became interested in people and leaned to them, changing her appearance - either Lady Duncan, then Lady Macbett. She rode on a ball, dangled in German, moved in the manner of a broken doll-all the actors of Butus invented the most acute drawings of the role.

And in Agrippin, Stewlova discovered one of her main acting topics: the insidious queens, cheerful witches, cunning businessmen, twisting gentlemen - leading treacherous and exciting games not for life, but for death. In the tragedy, farce, gignoole, clowning and other genres, equidistant from psychological realism, Steklov feels like a fish in water. The role of the regana, one of the best in her repertoire, went to the actress, one might say, “in the load”: she rehearsed a goneril for a month - the role that Shakespeare from her wrote, - when suddenly Butusov, breaking any predestination, took her away from the actress, proposing to try the regan.

The middle sister, who always reaches for the elder and will never be loved, like the youngest, always led, fallen on evil from a lack of love, intoxicated by someone else's blood - the illusion of his own right to power. One of the most memorable scenes of the performance is the dance of a distraught regane with a limp mannequin instead of a murdered husband is another thread that connects Yuri Butusov’s performances in one impressive megapostanovka: many studies were born with this mannequin that did not enter Macbett.

The crown of their joint work was the role of Nina Zarechny in the "Seagull", who became the anthem of the theater - the monster, devouring people, their souls and the possibility of happiness, giving in return the knowledge that no one knows. Shining with happiness, she goes to eat this monster, not noticing anything around, even the mental death of Treplev.

Not a single Zarechny, it seems, had not yet passed such a merciless sentence to the theater as the heroine of Stewlova - aged, frowned, with a fanatical luster in her eyes, tearing under her cross. From the Satyricon artistic director, she got roles that are much closer to the psychological theater, which, it seems, is increasingly paying tribute, no matter how vivid forms he takes.Ermolova, Theater on Malaya Bronnaya, Theater of Nations, in the Entreprise and television projects from participating in the Fort Boyard program to the host of the program “Scenigram” - she did not deny herself anything in the profession and abroad.

Her and the Satyricon Theater cannot be imagined without each other. Today, the actress can only be seen in two roles: Mrs. Higgins in London Show Konstantin Raikin and Elvira in Don Zhuan Yegor Peregudov, a former nun and wife for a day, who, as she understands, were the main ones in her life. Just a few scenes, where she gets a bright eccentric and high poetry. She is the “gold”, which, according to the apt definition of Konstantin Raikin, he “washes”, passing many young people through this scene.

This season we will see Agrippina Steklov in a new performance by Konstantin Raikin “Four Tirana” based on the play of the fateful for Satyricon and for Agrippina herself Carlo Goldoni, where she will play the role of the chistemudar of the Italian Kumushka, in whose hands are all the threads of intrigues and fate. Publisher: Theater Poster of the capital, February Author: Olga Fuchs