Alexander Nikiforov Biography

Chekhova is a player in Bridge, “further - silence” V. Delmar is a guest in the house of Clausen, “Before sunset” G. Gauptmann - Mishka, “Examiner” by N. Gogol - Pavlin Savelich, “Wolves and Sheep” by A. Ostrovsky - the judicial doctor, “Physics” by F. Dürrenmatt - Gruzeppe, “Buratino” A. Tolstoy Petrushka, “Dead Souls” by N. Gogol - Yusha, “Marriage of Balzaminov” by A. Ostrovsky - Gripsoleil, “The Marriage of Figaro” by P.

Bomarshe - Pestrukhin, “Dog heart” by M. Bulgakov - Ivan Ignatiich, “Captain's daughter” by A. Moliere - Ferapont, “Three Sisters” by A. Chekhov, the director of Lensky, the director. A. Dubrovsky Alexander Nikolayevich Nikiforov, artist of drama, was born on May 15 in G. served as an actor in Volgograd and Noginsk, Vilnius Russian Drama Theater, Drama Theater. Among the roles played by him is the “Love under the Knings” by Yu.

Vasiliev, Jack “All in the Garden” by E. Olby, the Bessed “In a Boyforted Place” by A. Okudzhava, the Forester’s father, “Drama on the Hunt” by A. Chekhov and others. He staged the performances “Don’t joke with love”, “Madame Bova” G. Flaubert, “Kinatka” by A. Tolstoy, “Frantic Money” by A. Ostrovsky and others. Alexander Nikolaevich moved to the troupe of the Maly Theater.

To date, the artist’s creative baggage has more than ten works, different in scale and genres. Nikiforov is a strong professional who is able to play a noticeable role on a small dramatic material, he is distinguished by stage charm, organica and a bright folk texture. Gogol, intimidated by his wife and son, Mr. Prostakov “Undergrowth” by D. Fonvizin, the thorough Pavlin Savelich “Wolves and Sheep” by A.

Ostrovsky, a lawsuit, cynical due to the profession and cowardly, due to the circumstances of “Physics” by F. Durrenmatt, the carpenter of Giuseppe, who found the speaking log of “Buratino” A. Tolstoy, the servant. Petrushka, traveling around Russia along with the host, Chichikov, “The Dead Souls” by N. Gogol, “The Theater Man” Trifon, helping the talented actress to break through the stage “Leo Gurych Sinichkin, or the provincial debutant” D.

Lensky and others. The role in “The captain’s daughter” A. was important creative achievement of Nikiforov. The actor played Ivan Ignatich - a touching and honest old officer, in the face of the death of a faithful oath. Alexander Nikiforov began to act in the years, debuting in the social drama the “reserve airfield”. Among the most popular films and TV shows with the participation of the actor - “Petrovka, 38”, “The abduction of the century”, “Ivan Pavlov.

Search for truth ”,“ National Security Agent-4 ”,“ Lawyer-1 ”,“ Felight ”,“ Death of the Empire ”,“ My Beautiful Nanny ”,“ Multiplying Sorrow ”,“ I am flying ”,“ Lyudmila ”,“ Catherine. Take -off ”,“ Tobol ”,“ Hero on the Call ”and other Roles in the Maly Theater: - Guest at the ball,“ Cherry Orchard ”A. Natalya Staroselskaya,“ Passionate Boulevard, 10 ”Vaudeville, by vocabulary,“ Light, joking comedy, in which dialogs are alternating with the singing of vests and dancing.

” The genre, it seems, has long no longer responding to the needs of theatrical fashion, partly replacing it with a musical or turned into a stage. He, as they say, “went out of use” either due to the fact that lightness, grace in combination with a certain share of edification is no longer so in demand, or for the reason that theaters want to correspond to the time more and more often: choose sharp life situations in which it is far from always possible to get to the ground, buried in the very depths under the cover not always intelligent clarifications.

Or maybe the dramatuses stopped writing, because the theaters have forgotten how to put and play them over time? The premiere of the famous vaudeville “Leo Gurych Sinichkin, or the provincial debutant” of Dmitry Lensky on the historical stage of the Maly Theater, which became the present, but to some extent, and to some extent, not only for faithful fans of the oldest theater, but also for those who, perhaps more, rather than in their own experience, got used to the idea of ​​traditions as something like something like something like something like something like something like something as a thing outdated, little of interest to a modern viewer.

But everything turned out to be different: not modernized, but very elegantly, with taste and bright humor, the stage version of Sergei Plotov, supplemented by the beautiful music of Alexander Tchaikovsky; Easy, grace, exquisite beauty of the scenography of Maxim Pravrekov, Olga Polikarpova’s costumes, Ivan Vinogradov’s light score, choreography Andrei Glushchenko-Molchanov Modernly, with a complete humor, irony and love for the theater directing Alexei Dubrovsky, the excellent ensemble of the Maly Theater and Students of the BTU named after M.

Shchepkina - as if with a different light, evicted the meaning of this forgotten genre. And not only the meaning, but also the need for its revival.

This was accurately noted in one of the pre -premiere interviews by Alexei Dubrovsky: “It is unlikely that he can say that he left the Russian stage, if he left, this is a big mistake, just vaudeville is a real Russian genre, despite the French roots.Unlike the musical, dramatic scenes are of great importance in vaudeville, in the musical they are secondary in relation to the musical component, and in vaudevil are in an equal balance.

” The content of “Leo Gurych Sinichkina” is well known to retell it, according to many performances of different theaters at different times, according to film adaptations, so it is much more appropriate to talk about the happy acquisitions of the audience of the Maly Theater. I would like to call this performance “multi -layer” in the original meaning of the word, since a lot came together in it: this is not a long -standing renewal, which today it was impossible to imagine the tradition of the old Russian theater, when a drama or tragedy was played one evening, and after it vaudeville was played.

So, having set the “little tragedies” by A. The director, original, original, noted the double anniversary - the flight of the Small Theater precisely on this historical, stage and flight since the leading artists of the theater, Dmitry Lensky, was processed by the French vaudeville, which later won many stage of our country. Of course, the performances are not one evening, but the “transformation” by the director of a long-standing tradition suggests itself ...

surprisingly from the stage, the director’s sincere, noble love for this great Theater-Dom shims from the stage to the auditorium, which is not only felt, but also fills each viewer with the joy of contact with genuine art. And this is almost the most important thing today ... The hall reacts to absolutely naturally perceived quotes with enthusiasm, applause, otherwise it cannot be.

Sergei Plotov organically and wittily mounted textbook phrases, not only familiar to the school years, but also directly related to the small theater, in which the performances from the plays, from where they are borrowed, went or go. One of the first in this series - at the mention that Sinichkin played on the stage of the Kharkov Theater, Victor Nizova, brilliantly playing the role of Lev Gurych, rolling his eyes, dreamily says: “As I was accepted in Kharkov!

Almost the most violent reaction is caused by three: when Lisa Sinichkina Ekaterina Grevtseva, going behind the cululis, says with pathos: “Do not get me to anyone! Shchepkina: “Theater for the actor Temple. Treat with respect to this temple and make him respect his others. Sacrifice or get out ”; And when Sinichkin pretends that Anastasia Dubrovskaya Surmilov’s star is strangled by the provincial scene, he, clutching her throat, ordinaryly says: “Hands remember ...” And, of course, it is very important that all participants in the performance are perfectly singing, dancing, moving along the stage, and everyone’s speech sounds distinctly, not just intelligently that it has long become a rarity!

In her first main role, Ekaterina Grevtseva was shown not only by obedient charm, but also by a vivid individual coloring of character: before us is by no means a timid daughter of a provincial, not quite successful artist, torn on stage not so much of his own free will. Almost for the first time I saw in her a girl, obsessed with a genuine passion for the stage, for the game, ready for any insidiousness in relation to the opponent, just to achieve a debut.

And this was played convincingly and with a share of bright humor. For the first time I saw on the theater scene the well -known and loved by Kinematographer Andrei Chernyshov in the role of Prince Vetrinsky, I least expected how much new in it would open: the artist not only perfectly beats every plot situation, but also sings perfectly, dances. The same can be said of Valeria Afanasyeva Count Zfirov, whose stage experience is known for several Moscow theaters and quite widely by cinema.

But perhaps the tendency of this artist to the humor almost on the verge of cheerful hooliganism was fully used before this performance by Valery Belyakovich in the theater in the southwest. Here, Alexei Dubrovsky supported this line of Afanasyev, having come up with his servant of William Alexander Naumov, who also probably secretly dreams of the stage and depicting Hamlet.

With the deafening sound of the steps of the ghost, he enters the chambers of the count, begins to speak English, apologizes, goes into Russian and in the skull of poor Yorik gives the owner a note. Only a few appearance of the character-and for the audience the character of the count is complemented by the images of the noblemen-enlomanians familiar in classical literature ...

The performance begins with the choir about the province-this is very indicative for our time, which is all the main thing, in particular, in the field of art, in Moscow and St. Petersburg, and the concept of “province” never existed, and partly also because for the main one for the main The playwright of this theater, Alexander Nikolayevich Ostrovsky, was very important precisely the provincial artists with their not all noticeable virtues, all known “vices”.The price of patrons, patrons, intrigues, calculations of benefits, trips to fairs, etc.

The fragile happiness, which could smash at any time. And the metropolitan theaters were not free from all these moments, but still to a much lesser extent: they did not have such an urgent need to roam "from Kerch to Vologda." In Lev Gurych Sinichichkina, Alexei Dubrovsky does not divide the theaters into metropolitan and provincial, except that it is better to be on exits in the capital than on the main roles on “middle scenes”.

But in this phrase - not only understanding, but also annoyance in relation to those whom this day entails to the capital. Young and far from young artists seeking glory. Therefore, he perceives a provincial theater with subtle understanding and respect for its creators. Here is the star of the provincial theater Raisa Surmilova Anastasia Dubrovskaya. How good the actress is in love with her merits, and in building intrigues, and in the barely hiding fear of rivalry with the young actress, and in carefully thought out behavior, and performed by the pathos Aria about love and insidiousness!

And how perfectly the director was invented for the sake of the debut of Lisa Sinichkina: the swing is carried away by Raisa Surmilov high under the grates, and the Count of Vetrinsky is lowered under the stage ... Literally each of the artists shines in their role. In addition to the already listed, it is necessary to call the director of the theater Pustoslavsky, Alexander Vershinin, the leading actor Povykin, Mikhail Fomenko, the director of the burbilon, the nervous playwright of Borzikov, Alexander Nikiforova, the majestic, but ready for intrigues, the assistant to the director of Trifon, should be called.

The amazing purity of the genre in compliance with the role, filled with excellent music, the beauty of scenography and costumes, the ingenuity of the creators of this joy for artists and spectators without any fashionable additions and embellishment - everything has come together for a long time after the performance, returning thoughts and feelings to it. The old Russian vaudeville seemed to be born again, attracting generations of young spectators and - I want to believe!