In Moscow, after a long illness, at the age of 82, the Russian and Soviet theater and film actor, People's Artist, laureate of the USSR State Prize Oleg Tabakov died.
This was reported by the press service of the Moscow Art Theater. Chekhov, whose artistic director was the artist.
Tabakov’s hospitalization became known on November 27 - the artist was taken to the First City Hospital with a diagnosis of sepsis. Due to the infection, the actor’s many chronic diseases worsened.
Before the New Year, the media reported that doctors put Tabakov into an artificial coma to reduce the burden on the body weakened by the disease. Despite some stabilization, the artist’s health remained serious. It was later noted that the actor regained consciousness, but did not recognize anyone.
Tabakov was born in Saratov on August 17, 1935. In 1953 he entered the Moscow Art Theater School, where he was among the best students. Known as one of the founders of the Sovremennik Theater. The artist won the love of the audience, becoming famous for his many roles in theater and cinema. His images became famous in such films as “War and Peace”, “Seventeen Moments of Spring”, “The Twelve Chairs”. Tabakov also voiced the cat Matroskin in the cartoon “Three from Prostokvashino” and “Vacation in Prostokvashino.”
At the Moscow Art Theater. Chekhov was told that the tragic event happened on Monday afternoon. The theater staff, despite the fact that Oleg Pavlovich was in the hospital for more than three months, all believed in the strength of his body early on. Today's performances at the theater have been cancelled.
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Oleg Tabakov died. Favorite actor and director of “Snuffbox” - Oleg Tabakov died at the age of 83
MEANWHILE
Cause of death of Oleg Tabakov: the actor’s heart stopped, unable to cope with inflammation
Since November 27, Oleg Tabakov was in the First City Hospital. Information about his well-being came contradictory. Even his sons Anton and Pavel, fighting off journalists, said different things. One is that the father has pneumonia, the other is that he has problems with his teeth. Then a more clear explanation appeared: six months ago, Oleg Pavlovich received dental implants, which was risky at such a respectable age. But he had the operation performed by reliable, proven doctors. They say not in Moscow, but not abroad either, but in one of the Russian cities
CONDOLENCES
Ivan Krasko - about the death of Oleg Tabakov: His whole life was a feat
People's Artist of the USSR Oleg Tabakov died in Moscow at the age of 83. According to media reports, in Lately the director was in an induced coma. Doctors put him in this state to reduce the stress on his body. ()
Vladimir Menshov: I admired Oleg Tabakov from the first minute I saw him
People's Artist of Russia, actor, director, teacher and director of the Moscow Art Theater named after A.P. Chekhov" and "Snuffboxes" passed away at the age of 83. Oleg Tabakov was a real heavyweight in the art world. He was great at everything he was involved with. ()
Yuri Mamin: “Tabakov is one of the pinnacles of acting. And there are not many peaks"
The death of Oleg Tabakov, who died today after a long illness at the age of 83, was a blow. The St. Petersburg theater community is mourning. ()
Kadyrov on the death of Oleg Tabakov: He was known and loved by several generations Ramzan Kadyrov joined those mourning the death of the actor, director and artistic director of the Chekhov Moscow Art Theater, the great Oleg Tabakov. The huge loss saddened and touched the heart of the Chechen leader. He wrote about this on Telegram. - He was known and loved by several generations of citizens Soviet Union and Russia. Oleg Pavlovich was People's Artist USSR, winner of prestigious prizes and state awards. He raised a galaxy of talented actors
Oleg Grigoriev, Deputy Head of the Federal Agency for Press and Mass Communications:
“Sad and bitter. A man of boundless charm and talent. It’s like a piece of my soul has been torn out.”
Director Nikita Mikhalkov: Oleg Tabakov could turn any material into a work of art
A great artist has passed away. A man for whom the acting profession was an integral and major part of his life, a man with an incredible ability to turn any material into a work of art of the highest class. Whether it’s the boy from the film “Noisy Day” or Ilya Ilyich Oblomov in “A Few Days in the Life of I.I. Oblomov”, or Walter Schellenberg in “17 Moments of Spring”. Tabakov was one of those few people, when you see them, you immediately feel their amazing, unique individuality. But most importantly, he knew how not only to master what God gave him, but also to share and teach the skill to others. There are countless wonderful artists with a name and a huge track record in the domestic theater and cinema, the path for which was opened by Oleg Tabakov. They say: “No one is irreplaceable.” Maybe in some areas of life this is true, but in this particular case I cannot imagine who could occupy the niche that Oleg Pavlovich Tabakov occupied throughout his life in our art. An entire planet has gone, but I am sure that its light will illuminate the path for a long time to come for those who want to do the work to which Tabakov devoted his entire life.
Dupak Nikolai Lukyanovich, former director of the Taganka Theater:
Tabakov is gone! This can't be true. Boy! I am one hundred - he is eighty-two, he should live and live. I remember seeing him for the first time in 1960. A mischievous, charming boy asked to go to the Taganka Theater to watch a performance. Of course, I always let him in. How else? Who could resist his charm? Tabakov had many talents, but his main and unsurpassed quality was his charm. There was so much light and energy in it, as if the sun was shining from within, as if everything human principles merged in it.
I also remember how Sovremennik came to congratulate me on my birthday. “You are Dupaka for us, and we are Tabaka for you,” the actors said and took out the clothes box in which Tabakov was sitting.
He had everything and everything worked out for him. I was in his theater and was happy when they opened. But there was only one thing I didn't like. Why, when opening the Moscow Art Theater, did he remove the plaque with the name of the founders: Stanislavsky and Nemirovich-Danchenko. I wanted to turn to him and tell him everything. Oleg, well, you’re wrong... I didn’t have time. Didn't say.
For me and for Russia, for the world, he is an outstanding person. The last of the Mohicans, the last Soviet actor, director, leader. He was a professional in everything he undertook. May you rest in peace, boy, my bright man.
Voznesensky's widow: I was sure that he would be with me, at least while I was alive
A call from Komsomolskaya Pravda found Zoya Boguslavskaya, the widow of the poet Andrei Voznesensky, in the doctor’s office. The woman could not hold back her sobs.
I was sure that he would live. At least while I’m alive,” Boguslavskaya said.
They were connected with Tabakov not just by cooperation. Oleg Pavlovich was a family friend. At one time, Boguslavskaya dedicated one of her essays, “The King and the Clown,” to Tabakov. Tabakov loved and appreciated the poetry of Andrei Voznesensky, and after the poet’s death he helped Boguslavskaya in the work of the Andrei Voznesensky Foundation.
A few days ago, Konstantin Bogomolov consoled me. He said, you’ll see, Oleg Pavlovich will not only survive, but will also go on stage. I didn’t really believe that he would go on stage. But I hoped that he would live. I know we all hoped. Marina Zudina did not leave his side,” the woman admitted.
For the sake of her friend's funeral, which will take place on Thursday, she refused to travel abroad for treatment.
Some compare him to the cat Matroskin, others to Oblomov. This role in Mikhalkov’s film was an acting masterpiece, although in life Oleg Pavlovich was completely devoid of Oblomov’s features... He accomplished so much. He did so much... You see, Oleg Pavlovich believed that activity multiplies goodness. At least that was the case in his case. Sorry, I can't talk further. Hurt.
Lyudmila Petrushevskaya: For me, Tabakov will forever remain a sneezing Cook
A great actor, a wonderful director, and what a director he was - there are no others like him. Of course, in people's memory he will remain as Matroskin the Cat. Magnificent, magical intonation. And in my memory - all the roles in the young Sovremennik. I really can’t stand the theater, but I watched it, Tabakova. I remember his wordless role as the Cook in The Naked King. Good God, “The Naked King,” where only stars played, and he was very young, was not lost. I remember standing over a plate of pies and sneezing desperately. Yes, they told me that they come up with something new for every performance. It was lucky game. I am grateful to him for the fact that with him the play “He is in Argentina” was staged by director Dmitry Brusnikin. The wonderful Marina Golub played in this performance; she died a week after the premiere. Then this performance ran for four years, there were no tickets available, and the performance even received the Oleg Tabakov Award.
Every time we met him somewhere at a buffet table, Tabakov would say: let’s play the play. But nothing else worked out. Everything is my character. One time he started speaking to me on a first name basis. And I called him “Lelik” for this. I don't like it when people call me "on you". This is where our communication ended. Well, I have character. He has a habit... Oleg Pavlovich led a huge team, he had a huge number of matters in which he dominated, and then I reprimanded him...
That's what's strange. Literally the day before he left, I posted a poem on my Facebook. let it now be in memory of Oleg Tabakov.
In life then only
You understand everything
When there is already a lump in the throat.
It's so hard to find
You lose so quickly
That's the law
SEE PHOTO GALLERY
OPINION
Oleg Tabakov: the gift of endless charm
Denis KORSAKOV
It has long been known that Oleg Pavlovich is not feeling very well. In 2014, he came to Kinotavr - they showed “Star”, a film by Anna Melikyan, where his son Pavel played his first big film role. He appeared at the opening, lost weight, lost a lot of weight - and then almost never appeared in public: they said that he did not leave his room because he felt very bad in the stuffiness of Sochi. ()
At first he said that this was a routine dental examination. Later it became known that Tabakov was diagnosed with sepsis, an operation was performed, and the doctors assessed the condition of the 82-year-old actor as serious. In December, he was even put into an artificial coma - this was done to relieve the load on his organs, weakened by the fight against the disease; the theater, however, denied this message. Later Tabakov regained consciousness.
Subsequently, news about the artist’s condition was different - but he still remained in the hospital. The channel reported about Tabakov’s death; the same information was confirmed by the theater’s press service.
Viewers always imagine their favorite artists by their most recognizable roles. For Oleg Tabakov there were several such roles. Someone - most often children - know his voice and the image of the artist is mixed with the image of the drawn cat Matroskin from the famous animated series, some adults remember him from the epic “Seventeen Moments of Spring” by Lioznova, in which he played Schellenberg, others imagine Tabakov as a “blue thief” "Alhena from The Twelve Chairs. And for some, he is just a voice that read the fairy tale record “The Little Humpbacked Horse” or the noble Ali Baba from an audio fairy tale recorded with the poems of Tatyana and the joint efforts of artists from the Moscow Art Theater and Taganka.
Oleg Tabakov first appeared on stage in his native Saratov, where he played in the theater group of the local Palace of Pioneers and Schoolchildren; he came to Moscow after school to enroll in a theater university, managed to pass the entrance exams to two at once - the Moscow Art Theater School and GITIS - and ultimately chose the Moscow Art Theater School.
And already in his third year he was cast in the film “A Tight Knot” (1956, released as “Sasha Enters Life”).
“The first film turned out to be very lucky for me,” Tabakov recalled in the book “My real life" — Mikhail Schweitzer, being, in my opinion, one of the most significant directors of Soviet cinema, was a traditionalist in the sense of thoroughness, seriousness and fundamentality of preparation for filming. He managed to go through with me the entire line of Nikolai Rostov in the novel “War and Peace” in order for me to feel the scale of the artistic tasks that stood before me in mastering the role of Sasha Komelev, a boy from a collective farm village.”
Tabakov generally acted a lot and willingly.
Starting right away with leading role, he agreed to work in those films where his character only appeared in an episode. “The Motley Case”, “Probationary Period” (film adaptation of Pyotr Nilov’s story about the criminal investigation of the 1920s), “Clear Sky”. But it’s surprising that even Tabakov’s short stay on the screen could be remembered by the audience for a long time.
There were also big projects in his early film biography - like Nikolai Rostov in a large-scale film adaptation of the novel “War and Peace” or a Nazi intelligence officer in “Seventeen Moments...” (for which Andropov reprimanded him after the premiere - “Oleg, it’s immoral to play like that”). . Or the absolutely wonderful King Louis XIII in the film “D'Artagnan and the Three Musketeers”, Alchen in “The Twelve Chairs” by Mark Zakharov. Or Miss Euphemia Andrew in “Mary Poppins, Goodbye!” - one of the few female roles in Soviet cinema performed by a male actor.
In total, Oleg Tabakov’s filmography includes more than one and a half hundred played and voiced roles in films, television and cartoons.
Soviet animation, in principle, tried to take real images of voice actors - and it’s not just that Winnie the Pooh looks like, Piglet looks like, and Carlson, who lives on the roof, looks like. For Tabakov, this cartoon alter ego was Matroskin the Cat from the series about the inhabitants of the village of Prostokvashino. Well, what was said in a suggestive voice, “You’re wrong, Uncle Fyodor, you’re eating a sandwich...” has long and firmly gone down among the people, like other phrases - like “Whiskers, paws and tail - these are my documents!”
But cinema still remained for Tabakov no more than a hobby. He truly found himself in the theater - to work in which he studied at the Studio School.
He turned out to be an outstanding theater builder, and from a young age: in 1957 he became the youngest of the six founders of the Sovremennik Theater, where he came from the Studio of Young Actors, created by Oleg Efremov at the Moscow Art Theater School. The very appearance of this theater was a serious challenge in the then cultural and political environment. On its stage, Tabakov made his debut as a theater actor - in the role of student Misha in the famous play “Forever Alive” based on the play. In 1970, he left to head the Moscow Art Theater - and Tabakov was not afraid to become the director of Sovremennik, supporting him as artistic director. Veterans of the theater remember his tenure in this post only kindly - however, thirteen years later, he still left Sovremennik and moved to the Moscow Art Theater troupe as an artist.
In 1987, during the division of the Moscow Art Theater, Tabakov again supported Efremov, from whom he took over the leadership of the country’s main dramatic stage in 2000.
But before that there was also “Tabakerka” - a studio theater, which over the years of its life has become an indispensable and necessary element of Moscow theatrical life. Having left his directorial post at Sovremennik, in 1977 Tabakov took over a former coal warehouse on Chaplygina Street. Together with the Gitis acting course, of which he was a master, he cleaned and renovated the abandoned premises. The first premiere was the play “In the spring I will return to you” based on the play by a representative of the “young and angry” generation. The site was not given official status for a long time, but graduates of Tabakov’s course continued to gather in the “Tabakerka” at night; in fact, the site operated for a long time as an amateur studio in which real professionals played.
“Tabakerka” received official status in 1986 - it announced creation of three Moscow theater studios, one of which was the Oleg Tabakov Theater.
However, the last - and most significant - construction site for Tabakov was the Moscow Art Theater. The mere fact that having headed the theater in 2000, he returned it to its former name - given under Stanislavsky and Nemirovich-Danchenko - speaks volumes. Oleg Tabakov, in a matter of years, rebuilt the work of the decaying theatrical giant to a completely new way. In fact, Tabakov turned the Efremov Moscow Art Theater into a kind of theatrical supermarket. On the same evening one could watch here, for example, the hit comedy “Number 13” by Ray Cooney, “Playing the Victim” by the Presnyakov brothers, or experimental productions based on the plays of yesterday’s winners of the Lyubimovka competition.
He was in constant search...
came to see new artists at the small independent theater venues emerging in Moscow, and then lured them into the Moscow Art Theater troupe. I read new drama voraciously. He was openly interested in young directors - in the 2000s, he actually gave carte blanche to Kirill Serebrennikov to work. In the 2010s - Konstantin Bogolomov. Already aware of the master’s illness, Bogomolov staged the offering play “Jubilee of the Jeweler” last season.
Actor Alexander Yatsenko brings a long rag onto the stage. Scratching it on the floor - splashes like a fan. "What's this? - Polina Medvedeva tells him. - Boar? Where did you catch it? “Under the bridge,” he answers, and it is clear that he is a little boy, and the rag is a fish, almost as tall as a boy. Now he will go clean this fish, a little time will pass - and his mother will die, he will become mentally damaged and go with his father and brothers to bury his mother, Addie Bundren, in her homeland in Jefferson. On this long journey to the cemetery, Addie's body was drowning in the river, burning, stinking - so much so that the cart was accompanied by a flock of vultures; her youngest son, crazy with grief, drilled into the coffin so that his mother would have something to breathe, and along with the coffin, he drilled into his mother’s face; the eldest son, the one who put together this coffin with his own hands, broke his leg and rode all the way lying on the coffin. This almost anecdotal but painfully heavy road story forms the plot of Faulkner's 1930 novel, which followed The Sound and the Fury. Once upon a time, Sergei Zhenovach staged “The Sound and the Fury” at GITIS with the students of Pyotr Fomenko, where dark pauses storyboarded the play into episodes, each of which was a lesson in the skill of translating thick and viscous prose into the language of the theater. Lithuanian Mindaugas Karbauskis is also a student of Fomenko, but from a different generation, and it seems that he did not see those lessons, but other lessons from the workshop were enough for him, and optionally he also went through the school of his fellow countryman Nyakrosius. This was obvious when he staged “Old World Landowners” on the small stage of the Moscow Art Theater and a full-blooded, but gradually thinning life was woven out of nothing on an empty stage. This was when he produced “The Long Christmas Lunch” in the basement of Tabakov on Chaplygin, and he and the actors only needed a door and a table to express the feeling of time. Time, existence, but mainly death (he has, in Faulknerian words, “the love of death”) - philosophical categories, the definition of which smart people spend tons of letters, acquire a dense, tangible dimension in Karbauskis’s laconic performances. It is easy to describe how a fish is depicted, how an old grandfather clock is placed on the floor and a coffin is created. How a boy turns a funny mill, extracting from it the sound of a moving chaise and buffaloes stomping in the dust. But to describe how Karbauskis depicts the imaginary, the abstract, is a waste of letters and nothing to explain. Meanwhile, it is incredibly noticeable. Stooped, baggy Anse (Sergei Belyaev), stubbornly dragging the coffin to a cemetery far away because the deceased wanted it that way, there is no life in him. And in Evdokia Germanova, the deceased Addie, who is either a mooing cow that needs to be milked, or wandering around the stage with a coffin pillow tightly stuck to her cap, there is life in her; it is in it, which says, among other things, that “the meaning of life is to prepare to be dead.” And he also says that sin, love, fear are empty sounds with which people who have never sinned, who have never loved, who have never been afraid, mean something that they have never known. Karbauskis also prefers to the ringing word the rustle of straw in the pillow when the transparent Germanova is laid on it, the screech of a saw, the cotton of a wet man's shirt when Medvedeva shakes it, hanging it out to dry; and here he is more than eloquent. In my memory, this is the first time this has happened: a young guy emerges from the Gitis diapers not only knowing how to speak, but most importantly, having something to say.
Mindaugas Karbauskis is one of those directors with whom I have no clear relationship. He does not infuriate with defiant monotony and self-promotion of the name as a brand, like Serebrennikov, he does not demonstrate mastery of technology in the absence of mental work, like Fokin; but at the same time it does not evoke in me such unambiguous acceptance as Chusova, Aldonin or Butusov. In fact, a lot depends on the material with which Karbauskis works. That is, his handwriting is quite developed and his manner is recognizable: tough, dry, where the focus is on the compositional structure of the performance, and much more less strength is devoted to working on acting images, mise-en-scenes or conceptual development of dramaturgy. Therefore, Karbauskis’s successes are associated with modern Western plays that are so consistent with his director’s temperament: “Copenhagen” by Frayn at the Moscow Art Theater, “Synchron” by Hurliman and “The Actor” by Bernhard in “Snuffbox”. But he fails in exercises based on classical texts by Gogol and Chekhov, as well as Faulkner: they look mechanical and empty. Such is the play “When I Lay Dying” - the story of the death and burial of the mother of an average American familyist, told in turn by all the characters, including the deceased. In this well-oiled and well-moving mechanism, but containing no potential for self-development, there is only one living cell - Evdokia Germanova. She plays a dying woman, but her character is the most alive person in the play.
For the second time in a week I see Germanova on stage (on the 2nd I went to " The Cherry Orchard"Shapiro, where she plays Charlotte) and I am simply amazed at her genius. This is not the skill of the actress, it is much more: what she does cannot be taught and cannot be learned, it either exists or not. Only due to an unfortunate coincidence of circumstances (the crisis of the Russian film production in the 90s) did not allow Germanova to take her rightful place among the cult tragic clowns like her - Soviet (Liya Akhedzhakova) and post-Soviet (Renata Litvinova). If the film "Kix" were released today, it would be a louder bomb than "Goddess". But Germanova is still not lost, and she is seen from time to time in the cinema, and in the theater she works quite a lot as Faulkner’s heroine (and the role, apart from the big monologue at the beginning of the second act, is almost wordless and motionless, based only on facial expressions, which the actress masters). fantastic) Germanova plays in such a way that her “distant relatives” from Rasputin’s “The Last Term” or Aitmatov’s “Mother’s Field” are recognized. She plays not everyday life or a banal phantasmagoria, but a universal motif, which sounds especially poignant in a performance densely populated with characters and relatives. and friends of the deceased:
Man is alone in death. Just like in life.
Stunned by the death of Oleg Tabakov, the employees of the Moscow Art Theater are gradually coming to their senses. On March 16, performances will be performed here again, and on March 27, the premiere of the play “Game of Small Towns” will take place.
ON THIS TOPIC
Over the past three days, due to the mourning declared in the theater, ten performances have been canceled - “The Shining Path. 19.17”, “Helpline”, “The Karamazovs”, “The Siege”, “Malva”, “Husbands and Wives”, “My Dear Matilda” , "The Ideal Husband. Comedy", "Drunk", "V.Zh." Spectators need to return tickets to the box office and get their money back.
If we remember that the Main Stage seats 920 spectators, the Small Stage – 220, and the New Stage – 140, approximately three thousand tickets are subject to refund. Each of them costs from 400 to three thousand rubles, depending on the performance. In short, the losses are significant.
I wonder how Oleg Pavlovich, for whom even three stages were not enough, would have reacted to this... The artist began to build another theater building at the intersection of Andropov Avenue and Nagatinskaya Street - a seven-story building with a transformable hall for 647 seats and VIP boxes.
The Chekhov Moscow Art Theater is one of the richest and most successful theaters in the country. It is not for nothing that his artistic director, as reported by Transparency International, received a monthly salary increase in the amount of 645 thousand rubles for performing roles in the plays “The Year When I Was Not Born,” “The Seagull” and “Adventure.”
In 2017, the Ministry of Culture published information on the income, expenses and property of persons holding leadership positions in subordinate organizations. Among the highest paid figures was Tabakov, who earned 69 million rubles in a year.
So money for the theater is nonsense, it will still be earned, but the departure of Oleg Tabakov was an irreparable loss. Of course, they will find a new artistic director and theater director. However, no one can replace the master on stage and in cinema.