Joseph Raikhelgauz. My theatrical novel. Goncharenko and Reichelgauz: shame of Odessa What you need to know

A very informative episode occurred on evening show Vladimir Solovyov dated February 21. Director Joseph Raikhelgauz, protesting against the obvious, decided to prove to political scientist Dmitry Kulikov on his fists that Odessa Alexey Goncharenko, affectionately called Lyoshik Skotobaza, - worthy man and never a corpse eater.

Goncharenko and Raikhelgauz: shame of Odessa

Despite the fact that millions of people carefully watched the video filmed by Bandera’s gopota, immediately, in the wake of the massacre of the “Kulikovites”, in the Odessa House of Trade Unions. Among the group of killers in balaclavas was a big-lipped steam a niche with a point-and-shoot camera, joyfully photographing burnt bodies while listening to his own enthusiastic chatter. In this little-lipped ghoul, any dog ​​was able to identify the former “burp” Goncharenko, who a couple of months ago caught a fofan under a video camera at the very peak of the Crimean Spring on a Simferopol street.

And so, director Raikhelgauz from the blue screen convinces you not to believe your eyes. In Solovyov’s studio, Donetsk political scientist Vladimir Kornilov and his Russian colleague Dmitry Kulikov. The conversation went something like this: Goncharenko is a murderer or an accomplice!

Y'all!.. This is fake!

It's a lie! He wasn't there!

Yes, but Goncharenko filmed the stream in the House of Trade Unions... Vyvsevretii!..

He got there later!

But there is a video where he says “we burned the separatists”...

Lies! I don't believe a single word! We have all the moves recorded!

Y'all! You lie here every Sunday! You are propagandists!

Right now I'll punch you in the face!

During the entire debate, director Raikhelgauz filled himself with black blood, then splashed boiling saliva into the studio, and at the very end of the verbal sparring, jumping out of his underpants in a rage, ran out from behind the counter with a distorted face and began spewing curses, waving his fist over the head of the person who stood up to him on Solovyov’s path, to the ironic smiles of his opponents.

There are no other liberals for you, dear citizens. The time of Herzen and Chernyshevsky is gone forever.

Now this is the only thing in use.

Why would the Russian director have such love for the corrupt creature and neo-Nazi collaborator Skotobaz Goncharenko?

It's a long time ago. As the Internet resource “Dumskaya.net” suggests, in September 2012, Joseph Raikhelgauz came to Odessa to personally convey to the young “rygianal” and deputy chairman of the Odessa regional council Goncharenko certificate of honor from the Union theatrical figures Russia, signed by Alexander Kalyagin, also known as “Auntie Charlie from Brazil.”

“Dumskaya” cites interesting speeches delivered during the presentation of the diploma, from which bright tears of tenderness welled up in our eyes: Goncharenko: “I am convinced: the main thing that we must do today is to interact more closely with our fraternal Russian people, and the cultural sphere is the main thing for this. Because all those relationship problems that may arise must be solved through culture.”

The Ukrayinska Pravda resource reports something even more stunning: Goncharenko: “Odessa was not a Ukrainian city.

Odessa was created as the center of New Russia, in which there were Russians, Greeks, Ukrainians, Jews, Bulgarians and others. The Russian language has always been in Odessa, it was not brought there from somewhere.”

Hey, right-wingers! Would you like to give your share of fofans to the unscrupulous creature?

Truly, “to betray in time is not to betray, but to foresee!”, as one haberdashery character from Ryazanov’s film “Garage” used to say, since the apogee of the miserable life of the opportunist Goncharenko was self-PR on charred corpses while muttering - “We went to the separatist camp on Kulikovo Field, we took it, the camp was destroyed." We recommend:

It would seem, what does Raikhelgauz have to do with it?

Yes, despite the fact that his “Theater modern play"- a pitiful and unprofitable establishment.

And if you quarrel with Goncharenko, then the tap of the meager trickle of pennies the theater receives from seasonal travel in Odessa, or other cities and villages of Ukraine, can be turned off at any time.

In Ukraine, they don’t know that the audience does not go to Reichelgauz’s performances, but is guided by the fact that “here is a director from Odessa, he runs a theater in Moscow - we must go!”...

And you can also get on the “cotton” list - and this is a complete waste for a director with a persistent, crazy worldview: “Oh, forgive us Bandera, ISIS and that’s all!” Once upon a time, in the most democratic state of the Federal Republic of Germany, in which a crowd of yesterday's Nazis found themselves in power, the government adopted the provision of “Berufsverbot” - a ban on the profession.

And for dessert, a little about what kind of genius this most Bandera-loving director Joseph Raikhelgauz is, whose masterpieces are unlikely to be remembered even by an amateur theatergoer without the help of Google.

As Wikipedia tells us with reference to the Lyceum newspaper, “Joseph Raikhelgauz was born and raised in Odessa. In 1962–1964 he worked as an electric and gas welder at a motor depot. In 1964 he entered the Kharkov University Theatre Institute to the directing department, but a week later he was expelled with the wording: “Professional unsuitability.” In 1965, Raikhelgauz became an artist in the supporting cast of the Odessa Youth Theater.

In 1966 he came to Leningrad and entered the directing department of LGITMiK. And again, in the same year, he was expelled for incompetence. In 1965–1966 he was a stagehand at the Leningrad Bolshoi Drama Theater named after. Gorky. In 1966 he entered the Faculty of Journalism of Leningradsky state university, where he was finally able to take up directing: he became the head of the student theater of Leningrad State University. In 1968, Joseph Raikhelgauz left the university and entered the directing department of GITIS, the workshop of M.O. Knebel and A.A. Popova.

At the same time, he worked as a director in the famous student theater of Moscow State University, and in 1970 he led concert student teams to serve the builders of Siberian hydroelectric power stations. In 1971, he underwent directing practice at the Central Theater Soviet army, but the play “And He Didn’t Say a Single Word” based on the story by G. Böll was not allowed to be shown. He staged his pre-graduation performance, “My Poor Marat” based on the play by A. Arbuzov, in his native Odessa in 1972.”

Hug and cry. Corypheus was twice kicked out of theater universities, and, for the first time, from a provincial place.

But Melpomene did not let me go back to the electric and gas welders.

He went into amateur performances, hitting William, you know, ours, Shakespeare.

As a result of amateur performances, I grew some serious calluses on my buttocks and starved out GITIS.

But he didn’t give up amateur activities - he worked in the north, among harsh and well-earning people who yearned for culture, even in the form of amateur cultural education - this is sacred.

Actor's Christmas trees whole year fed, yes!

The very first performance at CTSA was rejected.

I was able to get out with my hack work only in my native Odessa.

Until 1993, he was widely known in narrow circles.

He became a laureate and luminary only under Yolkin, when the titles of honored and national were given out for a party card burned in front of witnesses.

In short, a typical representative of the society “Down with routine from the opera stage!”

Is it any wonder that the Pinocchios from his theater are ready to work for food?

Alexander Rostovtsev

Joseph Leonidovich Raikhelgauz (born June 12, 1947, Odessa) - Soviet and Russian theater director, teacher; National artist Russian Federation(1999), professor at the Russian Institute theatrical arts(GITIS), founder and artistic director of the Moscow theater "School of Modern Play". Member Public Council Russian Jewish Congress.

Biography

Joseph Raikhelgauz was born and raised in Odessa. In 1962-1964 he worked as an electric and gas welder at a motor depot. In 1964, he entered the Kharkov Theater Institute at the directing department, but a week later he was expelled with the wording: “Professional unsuitability.”

In 1965, Raikhelgauz became an artist in the supporting cast of the Odessa Youth Theater. In 1966 he came to Leningrad and entered the directing department of LGITMiK. And again, in the same year, he was expelled for incompetence. In 1965-1966 he was a stagehand at the Leningrad Bolshoi Drama Theater named after. Gorky. In 1966, he entered the Faculty of Journalism at Leningrad State University, where he was finally able to take up directing: he became the head of the student theater of Leningrad State University.

In 1968, Joseph Raikhelgauz left the university and entered the directing department of GITIS, in the workshop of M. O. Knebel and A. A. Popov. At the same time, he worked as a director in the famous student theater of Moscow State University, and in 1970 he led concert student teams to serve the builders of Siberian hydroelectric power stations. In 1971, he underwent directing practice at the Central Theater of the Soviet Army, but the play “And He Didn’t Say a Single Word,” based on the story by G. Böll, was not allowed to be shown. He staged his pre-graduation performance, “My Poor Marat” based on the play by A. Arbuzov, in his native Odessa in 1972.

After graduating from GITIS in 1973, Raikhelgauz was hired as a production director at Sovremennik. The first success was the production of the play “Weather for Tomorrow”, for which Joseph Raikhelgauz was awarded the “Moscow Theater Spring” prize; Among the performances staged in the theater are “From Lopatin’s Notes” by K. Simonov, “And in the Morning They Woke Up...” by V. Shukshina, “1945” (the author of the play is I. Raikhelgauz), “Ghosts” by G. Ibsen. Since 1974, he taught acting in the first studio of Oleg Tabakov.

Since 1975, Raikhelgauz, together with Anatoly Vasiliev, directed the Theater on Mytnaya; in 1977 he was accepted as a production director at the Theater. Stanislavsky, was a member of the theater’s director’s board, produced the play “Self-Portrait,” and began rehearsing “ Adult daughter young man", but in 1978 he was relieved of his position due to lack of Moscow registration.

Since 1979 - director of the Moscow Theater. A. S. Pushkin; since 1980 he also worked at the Moscow Miniature Theater (now the Hermitage Theater). During 1980-1982 he staged performances in different cities: Lipetsk, Omsk, Minsk, Khabarovsk, etc. In 1983-1985, he was a production director at the Taganka Drama and Comedy Theater, and staged the play “Scenes at the Fountain.” In 1985 he returned to Sovremennik, where he worked until 1989.

"School of Modern Drama"

In 1988, Joseph Raikhelgauz initiated the creation of the Moscow Theater "School of Modern Play", which opened on March 27, 1989 with his play "A Man Came to a Woman" based on the play by Semyon Zlotnikov. Since 1989, he has been the artistic director of the theater, where he has staged more than 20 performances.

At the same time, Raikhelgauz staged performances in other theaters, including abroad: in the theaters “Koruzh” (Switzerland), “Kenter” (Turkey), “La Mama” (USA), national theater"Habima" (Israel); He works a lot on television, where he directed, in particular, “Echelon” by M. Roshchin and “The Picture” by V. Slavkin.

In 1993, the director was awarded the title of “Honored Artist of the Russian Federation”, and in 1999 - People’s Artist of Russia.

Pedagogical activity

Since 1976, Joseph Raikhelgauz taught acting at GITIS. Lunacharsky, in the 90s he taught at the Moscow Theater Arts and Technical School (MTHTU), and since 2003 he has been heading the directing and acting workshop at the directing department at GITIS. Since 2004 - professor.

Public position

He was a member of the Union of Right Forces party. In 2012, he signed an open letter calling for the release of members of the group Pussy Riot.

Performances

1977 — “Self-portrait” by A. Remiz (Stanislavsky Theater)

1984 - “Scenes at the Fountain” (Moscow Taganka Drama and Comedy Theater)

"Contemporary"

1973 - “Weather for Tomorrow” by M. Shatrov (together with G. Volchek and V. Fokin)

1975 — “From Lopatin’s Notes” by Konstantin Simonov

1977 - “And in the morning they woke up” by Vasily Shukshin

1985 - “1945”, composition by Raikhelgauz

1986 — “Amateurs”

1986 — “Two Plots for Men” by Viktor Slavkin based on F. Dürrenmatt

"School of Modern Drama"

1989 — “A man came to a woman” by Semyon Zlotnikov

1990 - “Everything will be fine, as you wanted” Semyon Zlotnikov

1992 - “Whose tailcoat are you wearing?” Sergei Nikitin, Dmitry Sukharev based on the “Proposal” to A.P. Chekhov

1994 - “The old man left the old woman” by Semyon Zlotnikov

1994 - “Without Mirrors” by Nikolai Klimontovich

1996 - “About the promised oil” based on the songs of Sergei Nikitin

1997 - “...Greetings, Don Quixote!”, composition for the stage by Victor Korkiya, Alexander Lavrin, Joseph Raikhelgauz, Valery Berezin

1998 - “Anton Chekhov. Gull"

1998 — “Karlovna’s Love” by Olga Mukhina

1999 — “Notes of a Russian Traveler” by Evgeny Grishkovets

2001 - “A wonderful cure for melancholy” by Semyon Zlotnikov

2001 - “Boris Akunin. Gull"

2002 — “City” by Evgeny Grishkovets

2004 — “The Seagull. A real operetta" by Vadim Zhuk, Alexander Zhurbin after A.P. Chekhov

2006 — “In Your Own Words” improvisation performance

2007 — “Russian Jam” by Lyudmila Ulitskaya

2008 — “A man came to a woman. A new version» Semyon Zlotnikov

, Odessa) - Soviet and Russian theater director, teacher; People's Artist of Russia (), professor at the Russian University of Theater Arts (GITIS), creator and artistic director of the Moscow theater "School of Modern Play". Member of the Public Council of the Russian Jewish Congress.

Biography

Joseph Raikhelgauz was born and raised in Odessa. In 1962-1964 he worked as an electric and gas welder at a motor depot. In 1964, he entered the Kharkov Theater Institute at the directing department, but a week later he was expelled with the wording: “Professional unsuitability.”

In 1965, Raikhelgauz became an artist in the supporting cast of the Odessa Youth Theater. In 1966 he came to Leningrad and entered the directing department of LGITMiK. And again, in the same year, he was expelled for incompetence. In 1965-1966 he was a stagehand at the Leningrad Bolshoi Drama Theater named after. Gorky. In 1966, he entered the Faculty of Journalism at Leningrad State University, where he was finally able to take up directing: he became the head of the student theater of Leningrad State University.

In Moscow

Since 1975, Raikhelgauz, together with Anatoly Vasiliev, directed the Theater on Mytnaya; in 1977 he was accepted as a production director at the Theater. Stanislavsky, was a member of the theater's director's board, produced the play "Self-Portrait", began rehearsing "The Adult Daughter of a Young Man", but in 1978 he was relieved of his position due to the lack of Moscow registration.

At the same time, Reichelgauz staged performances in other theaters, including abroad: in the theaters "Koruzh" (Switzerland), "Kenter" (Turkey), "La Mama" (USA), the national theater "Habima" (Israel); He works a lot on television, where he directed, in particular, “Echelon” by M. Roshchin and “The Picture” by V. Slavkin.

Public position

Performances

• - “Self-Portrait” by A. Remiz (Stanislavsky Theatre)
• - “Scenes at the Fountain” (Moscow Taganka Drama and Comedy Theater)

• - “Weather for tomorrow” by M. Shatrov (together with G. Volchek and V. Fokin)
• - “From Lopatin’s Notes” by K. Simonov
• - “And in the morning they woke up” by V. Shukshin
• - “1945”, composition by Raikhelgauz
• - "Amateurs"
• - “Two Plots for Men” by V. Slavkin after F. Dürrenmatt

• - “A man came to a woman” by Semyon Zlotnikov
• - “Everything will be fine, as you wanted” S. Zlotnikov
• - “Are you wearing a tailcoat? » according to A.P. Chekhov
• - “The old man left the old woman” by S. Zlotnikov
• - “Without Mirrors” by N. Klimontovich
• - “About the promised oil” based on the songs of Sergei Nikitin
• - “...Greetings, Don Quixote!”, composition for the stage by Victor Korkiya, Alexander Lavrin, Joseph Raikhelgauz, Valery Berezin
• - "Anton Chekhov. Gull"
• - “Karlovna’s Love” by O. Mukhina
• - “Notes of a Russian Traveler” by E. Grishkovets
• - “A wonderful cure for melancholy” by S. Zlotnikov
• - “Boris Akunin. Gull"
• - “City” by E. Grishkovets
• - “Seagull.” A real operetta" based on the play by A. P. Chekhov
• - “In your own words”
• - “Russian jam” by L. Ulitskaya
• - “A man came to a woman. New version" by S. Zlotnikov
• - “House” by E. Grishkovets
• - « Star fever»
• - « Russian grief"Based on the comedy by A. S. Griboedov "Woe from Wit"
• - “Bear” by Dmitry Bykov
• 2012 - “Overheard, spied, unrecorded” by E. Grishkovets, I. Raikhelgauz
• 2013 - “Save the chamber cadet Pushkin” by M. Heifetz
• - “The Last Aztec” by V. Shenderovich
• - “WEEK END” by E. Grishkovets, A. Matison
• - “A man came to a woman”

Awards and prizes

• 1975 - Moscow Komsomol Prize for the play “From Lopatin’s Notes” (“Contemporary”)
• 1973 - Moscow Theater Spring Award for the play “Weather for Tomorrow” (“Contemporary”)

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Notes

Links

• . Magazine "Theatrical New News THEATER" (teatral-online.ru) (July 1, 2008). Retrieved January 1, 2013. .

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An excerpt characterizing Raikhelgauz, Joseph Leonidovich

From the end of 1811, increased armament and concentration of forces began Western Europe, and in 1812 these forces - millions of people (counting those who transported and fed the army) moved from West to East, to the borders of Russia, to which, in the same way, since 1811, Russian forces were drawn together. On June 12, the forces of Western Europe crossed the borders of Russia, and war began, that is, an event contrary to human reason and all human nature took place. Millions of people committed each other, against each other, such countless atrocities, deceptions, betrayals, thefts, forgeries and the issuance of false banknotes, robberies, arson and murders, which for centuries will not be collected by the chronicle of all the courts of the world and for which, during this period of time, people those who committed them did not look at them as crimes.
What caused this extraordinary event? What were the reasons for it? Historians say with naive confidence that the reasons for this event were the insult inflicted on the Duke of Oldenburg, non-compliance with the continental system, Napoleon's lust for power, Alexander's firmness, diplomatic mistakes, etc.
Consequently, it was only necessary for Metternich, Rumyantsev or Talleyrand, between the exit and the reception, to try hard and write a more skillful piece of paper, or for Napoleon to write to Alexander: Monsieur mon frere, je consens a rendre le duche au duc d "Oldenbourg, [My lord brother, I agree return the duchy to the Duke of Oldenburg.] - and there would be no war.
It is clear that this was how the matter seemed to contemporaries. It is clear that Napoleon thought that the cause of the war was the intrigues of England (as he said this on the island of St. Helena); It is clear that it seemed to the members of the English House that the cause of the war was Napoleon’s lust for power; that it seemed to the Prince of Oldenburg that the cause of the war was the violence committed against him; that it seemed to the merchants that the cause of the war was the continental system that was ruining Europe, that it seemed to the old soldiers and generals that main reason there was a need to use them in action; legitimists of that time that it was necessary to restore les bons principes [ good principles], and to the diplomats of that time that everything happened because the alliance of Russia with Austria in 1809 was not skillfully hidden from Napoleon and that memorandum No. 178 was awkwardly written. It is clear that these and countless, infinite number of reasons, the number of which depends on the countless differences in points of view, it seemed to contemporaries; but for us, our descendants, who contemplate the enormity of the event in its entirety and delve into its simple and terrible meaning, these reasons seem insufficient. It is incomprehensible to us that millions of Christian people killed and tortured each other, because Napoleon was power-hungry, Alexander was firm, the politics of England was cunning and the Duke of Oldenburg was offended. It is impossible to understand what connection these circumstances have with the very fact of murder and violence; why, due to the fact that the duke was offended, thousands of people from the other side of Europe killed and ruined the people of the Smolensk and Moscow provinces and were killed by them.
For us, descendants - not historians, not carried away by the process of research and therefore with an unobscured common sense contemplating an event, its causes appear in innumerable quantities. The more we delve into the search for reasons, the more of them are revealed to us, and every single reason or whole line reasons seem to us equally fair in themselves, and equally false in their insignificance in comparison with the enormity of the event, and equally false in their invalidity (without the participation of all other coinciding causes) to produce the event that took place. The same reason as Napoleon’s refusal to withdraw his troops beyond the Vistula and give back the Duchy of Oldenburg seems to us to be the desire or reluctance of the first French corporal to enter secondary service: for, if he did not want to go to service, and the other would not, and the third , and the thousandth corporal and soldier, there would have been so many fewer people in Napoleon’s army, and there could have been no war.
If Napoleon had not been offended by the demand to retreat beyond the Vistula and had not ordered the troops to advance, there would have been no war; but if all the sergeants had not wished to enter secondary service, there could not have been a war. There also could not have been a war if there had not been the intrigues of England, and there had not been the Prince of Oldenburg and the feeling of insult in Alexander, and there would have been no autocratic power in Russia, and there would have been no French Revolution and the subsequent dictatorship and empire, and all that what produced French revolution, and so on. Without one of these reasons nothing could happen. Therefore, all these reasons - billions of reasons - coincided in order to produce what was. And, therefore, nothing was the exclusive cause of the event, and the event had to happen only because it had to happen. Millions of people, having renounced their human feelings and their reason, had to go to the East from the West and kill their own kind, just as several centuries ago crowds of people went from East to West, killing their own kind.
The actions of Napoleon and Alexander, on whose words it seemed that an event would happen or not happen, depended as little as arbitrary as the action of each soldier who went on a campaign by lot or recruitment. This could not be otherwise because in order for the will of Napoleon and Alexander (those people on whom the event seemed to depend) to be fulfilled, the coincidence of countless circumstances was necessary, without one of which the event could not have happened. It was necessary that millions of people, in whose hands there was real power, soldiers who fired, carried provisions and guns, it was necessary that they agree to fulfill this will of the individual and weak people and were brought to this by countless complex, varied reasons.
Fatalism in history is inevitable to explain irrational phenomena (that is, those whose rationality we do not understand). The more we try to rationally explain these phenomena in history, the more unreasonable and incomprehensible they become for us.
Each person lives for himself, enjoys freedom to achieve his personal goals and feels with his whole being that he can now do or not do such and such an action; but as soon as he does it, this action, performed at a certain moment in time, becomes irreversible and becomes the property of history, in which it has not a free, but a predetermined meaning.
There are two sides of life in every person: personal life, which is the more free the more abstract its interests are, and spontaneous, swarm life, where a person inevitably fulfills the laws prescribed to him.
Man consciously lives for himself, but serves as an unconscious tool for achieving historical, universal goals. A committed act is irrevocable, and its action, coinciding in time with millions of actions of other people, receives historical meaning. The higher a person stands on the social ladder, than with big people he is bound, the more power he has over other people, the more obvious is the predetermination and inevitability of his every action.
“The heart of a king is in the hand of God.”
The king is a slave of history.
History, that is, unconscious, general, swarm life of humanity, uses every minute of the life of the kings as an instrument for his own purposes.
Napoleon, despite the fact that more than ever, now, in 1812, it seemed to him that the verser or not verser le sang de ses peuples [to shed or not to shed the blood of his people] depended on him (as in last letter Alexander wrote to him), never more than now was he subject to those inevitable laws that forced him (acting in relation to himself, as it seemed to him, at his own discretion) to do for the common cause, for history, what had to happen.
Westerners moved to the East to kill each other. And according to the law of coincidence of causes, thousands of small reasons for this movement and for the war coincided with this event: reproaches for non-compliance with the continental system, and the Duke of Oldenburg, and the movement of troops to Prussia, undertaken (as it seemed to Napoleon) only to to achieve armed peace, and the love and habit of the French emperor for war, which coincided with the disposition of his people, the fascination with the grandeur of the preparations, and the expenses of preparation, and the need to acquire such benefits that would repay these expenses, and the stupefying honors in Dresden, and diplomatic negotiations, which, according to contemporaries, were carried out with sincere desire achievements of the world and which only hurt the pride of both sides, and millions of millions of other reasons that were counterfeited by the event that was about to take place and coincided with it.

Odessa is not a nationality, not a profession, it is a lifestyle, a diagnosis, if you like. And since you were born and raised in Odessa, you certainly know a lot about a good joke, cooking and real art. In his childhood, our hero ran to play as an extra at the Odessa Youth Theater, but even then he knew that he would be not just a director, but a famous director, or rather, a very famous director.

Joseph Raikhelgauz is a world-famous director, creator and permanent director of the School of Modern Play theater.

For twenty years now, the most outstanding actors have been playing on the stage of his theater: Tatyana Vasilyeva, Sergei Yursky, Irina Alferova, Albert Filozov. Bulat Okudzhva performed on this stage; Maria Vladimirovna Mironova and Mikhail Andreevich Gluzsky played in the legendary play “The Old Man Left the Old Woman.” Joseph Leonidovich stages plays only modern authors- Zlotnikov, Grishkovets, Akunin, and he conceived his theater in such a way that it would play plays that had just been written and had not yet been performed anywhere.

But, in addition to the theater, the famous director also has a reliable rear - his family: his wife, the leading actress of Sovremennik, Marina Khazova, and children. Eldest daughter Masha debuted as theater artist in the play “Notes of a Russian Traveler”. Now Masha Tregubova is the main artist of Dmitry Krymov’s Laboratory and is responsible for the design premiere performance“Opus No. 7” was awarded the “ Golden mask" Masha has already grown up and got married, but still, as before, the family loves to get together in a country house and have leisurely conversations in the evenings over long tea parties. From time to time, Bill the Labrador and Mika the cat “interject” into the conversation as family members; they constantly need affection, a scratch behind the ear, or a tummy rub.

Mikino's happiness

Mika really enjoys being a mistress big house. She likes to go down silently from the second floor early in the morning and walk through all the rooms below, as if checking if everything is in order. And then he loves to lie on the parapet of the balcony between the first and second floors and from above look arrogantly at all the inhabitants of the house, waving the tip of his fluffy tail.

But not so long ago, Mika’s fate was not at all enviable. Mika was born in the basement. But this was not a simple basement, but a Museum fine arts named after Pushkin. One kind woman, the caretaker of the Egyptian hall of the museum, fed her mother, the most ordinary street cat, and when she gave birth to kittens, she decided to take part in their future fate. Once, Joseph Leonidovich’s son-in-law, artist Alexei Tregubov, was working in one of the museum’s halls, copying paintings, and started talking with the caretaker about cats, saying that his wife Masha dreams of a British breed kitten. Word for word, and at the end of the working day, in some incomprehensible way a box with a tiny red squeaking lump ended up next to Alexey. How a real man, he could not leave the defenseless creature to the mercy of fate and brought him home.

Masha saw her adopted son in the evening and was very upset. The kitten was so ugly, so thin and pitiful that it could not even remotely resemble a Briton. He was nothing at all. The tail is skinny, the neck is thin, the fur is sparse. Then Masha didn’t even pay attention to the unusual bright red color of the kitten. What should I do? They took it - we need to raise it, not carry it back...

Mika quickly gained weight, and soon turned into a fluffy, round, charming little ball with greenish-yellow eyes, and by the time she was a year old she became an absolute beauty.

While Mika was growing up, she was timid and cautious; it was evident, at the genetic level, that her ancestors had never lived in a family. But by nature she was always affectionate and not at all mischievous. She didn’t spoil the furniture, didn’t shit anywhere, as often happens with yard cats taken into the house, didn’t steal from the table, didn’t pull the curtains on the windows, there were no problems with her at all.

Once Masha and Lesha were leaving for a festival, and I had to take Mika to Vacation home to Masha's parents. So Mika turned out to be the full-fledged mistress of the house and heart of Joseph Raikhelgauz.

Lessons from nature

– Joseph Leonidovich, Armen Dzhigarkhanyan says that he learned naturalness from his legendary cat Phil, as if taking lessons acting. How do you think you can really learn something from a cat?
- This is a well-known truth. Konstantin Sergeevich Stanislavsky also taught his artists: “Look, if a person is lying on the sand and a cat is nearby, then what will remain from the person is a shapeless hole, and from the cat there will be an absolute drawing of its body. And why? Because the cat is relaxed, she is natural and natural, she is resting on the sand.” It seems to me that people who have cats and dogs at home also become, under their influence, closer to the natural, to the natural.

“They say we can’t fully understand cats.” Do you agree with this?
– Yes, because we are constantly trying to impose on them our perverted psychology, some of our tricks, second plans. And the cat is literal. If she wants to eat, she eats. If he wants to sleep, he sleeps, and if he doesn’t want to play with you, he will turn and leave. Fortunately, she has no rules of behavior or ideas about what is decent or indecent in society. And, rather, the cat trains its owner, and not vice versa.

– How did it happen that Mika changed her place of residence?
“She wasn’t very comfortable in the tiny city apartment.” And as soon as she was brought to our dacha, she immediately showed with all her appearance that she was better off here. Of course, she really misses Masha and Lesha, because she considers him her real owner, since he brought her home. It’s interesting to watch how Mika patiently watches in the morning when Masha wakes up. And as soon as he senses that she is about to open her eyes, he immediately jumps onto the bed and, wrapping his paws around her neck, lies down on her chest.
“And you have to pet her and scratch her behind the ear for half an hour,” Masha confirms with a smile.

– And the cat wasn’t even embarrassed by the presence of Labrador Bill?
“At first, Bill attacked her and forbade her to walk around the house. He was used to being the master, but Mika managed to establish a relationship with him. a good relationship. She sat on the stairs that lead to the second floor (and Bill is not allowed to go there), and looked at him from above for a long time. Then she went down one step and again looked at him for a long time and carefully. She accustomed him to herself. And so she went lower and lower. And now they lie next to each other and sleep. We never thought that a cat could tame Bill - he is wild, ill-mannered. But he is so attached to Mika that if she is taken to Moscow, he misses her and waits for her return.

– How does Mika like to spend his time?
– Mika is indifferent to toys. What didn’t Masha buy her: teasers, mice, and balls - it’s not interesting. But stealing someone's socks and carrying them around in your teeth like prey, growling and purring - this is the most favorite hobby. True, now Mika has no time for games, now children occupy all her time. She, you see, got married successfully...
Mika recently gave birth to kittens. Neighbors on Bolshoi Karetny Lane, where Masha and Alexei lived, once asked if they wanted to marry their cat to their cat, since the cat had a great desire to have a girlfriend.
“At first it even scared me,” says Masha, “and I answered: “What are you talking about, she’s still young and doesn’t want to get married.” But when we saw the cat, an intelligent Briton, we couldn’t resist.
“Masha and I somewhat disagree about the origin of the kittens,” adds Joseph Leonidovich with a sly smile. – Masha took Mika twice on a “date” with a British man, and thinks that the kittens are from him. But a ginger cat from a neighboring dacha came to visit us. And I have a feeling that these are his children. They turned out to be very red.

– Does the redhead keep coming?
- Regularly.

– Distracts the mother from the children?
– Mika is a devoted mother. After feeding the kittens, she does not try to run away about her business, but licks them for a long time, purring. When she good mood, loves to lie on his side and move his paws to the beat of his purring.
“It’s like playing the harp,” Masha laughs. – And when she feeds the kittens, she also moves her paws with pleasure, and we joke that she plays with them classical music so that the kittens grow up cultured.
The newborn kittens were placed in a large box, but Mika didn’t like it there, and she secretly moved the litter to the closet in Mash’s bedroom. They didn't bother her. And while the kittens were blind, she lived with them in the closet.

“Everything is fine, life has a plot”

– Joseph Leonidovich, someone once noted that men are more attached to cats than to dogs, is this true?
– I love both of them equally. But here’s what’s curious: it seems to me that Mika is waiting for me in the evenings. Although they say about cats that they are unpredictable, they walk on their own, Mika invariably meets me when I return from the theater late in the evening. Everyone is already asleep, everyone except Mika, who is waiting and always keeps me company over a cup of tea. She loves to sit next to her, caress her, and purr. You relax with her. A cat is more of a domestic animal than a dog.

– Judging by how skillfully you get along with Mika, this is not the first cat in your life?
– We have always had cats all our lives. When I still lived in Odessa, we had a huge amazing cat. My grandfather was the chairman of a collective farm, a Hero Socialist Labor, famous person. Last years life he lived with us in Odessa. And the cat was especially attached to him. When my grandfather died - he was over 90 years old - the cat left home and we never saw him again. And here, in Moscow, at this dacha we had a stunning black cat with a white collar. He loved my father very much, the hero of the Great Patriotic War. And when dad passed away, the same story repeated itself: the cat disappeared...

Of course, you can talk for a long time with such interesting person about the theater, about actors, about creative plans, about success, since it seems that Joseph Leonidovich was always a famous director. However, Joseph Raikhelgauz prefaces his book of memoirs “I Don’t Believe” with these words: “After I became the youngest production director in Moscow at the age of twenty, I produced a couple of sensational performances at Sovremennik, filmed on television, taught at GITIS and I received from this, as they said then, “deep satisfaction”; life almost threw me overboard. One fine day, fired from everywhere, deprived of registration, without any prospect of returning to normal Moscow life, I was lying on the sofa and looking out the window... I was thinking only about one thing: who is better to be - a taxi driver or a loader? Since then, Joseph Leonidovich has lived by the motto: “Everything is fine, life has a plot!”

REFERENCE:

Joseph Raikhelgauz. Artistic director and chief director of the School of Modern Play theater was born in Odessa in 1947. After graduating from GITIS, directing department, he staged plays in the best theaters countries, in Moscow and abroad. For more than twenty years he has been running his own theater, where an exclusive repertoire is performed. Winner of many prestigious awards.

Maria Tregubova. His daughter. Born in Moscow. Main artist Dmitry Krymov's laboratories and the actress. For the play “OPUS No. 7” she was awarded the Nika theater prize.

Albert also passed away just recently... This is who had the qualities of an ideal artist! He was always responsible for himself, did not look for those to blame, did not make comments to his partners, and did not put the director in the position of being examined. A bad artist turns his face to the director, stands and demands: tell me how to play. Filozov stood almost with his back turned and figured it all out on his own. Whatever tasks were set before him, he was convinced that they must be completed at the highest level. I said: here it would be necessary to play the flute, here the trumpet, and here the piano. And Albert mastered these instruments brilliantly.

Filozov was very cultured person, knew a lot, read, listened to music. But he didn’t push this culture forward, but put it into his work. We arrive on tour in America, everyone runs to the ocean to swim. Where's Albert? In a temple, in a museum, at some exhibition known only to him, which he found out about. I remember, on tour in Perm, I spent the whole day in the museum of wooden sculpture. I asked:

What were you doing there? From ten in the morning to five in the evening!

And he replied:

Enjoyed it! How many people have put their soul, energy, and talent into sculptures!

We were neighbors in the dacha, where Albert Leonidovich’s wife came very rarely. Why discuss it? Filozov felt good with her, which means his choice must be respected. He was completely uneconomical. Complained:

I have a dry branch here, should I saw it off or not?

Better to cut it off!

Maybe you can saw it off?

I came with a tool, sawed, he watched with interest. Once in Yalta we came to the Chekhov House-Museum. There was a hurricane the day before. The employees were upset:

Dear ones, we can’t let you in because the trees that Anton Pavlovich looked after were broken. We don't know what to do!

I speak:

Like what? Now we’ll saw everything off correctly and cover it with varnish.

And they rushed with Filozov to help. He was happy and shocked that we were able to put Anton Pavlovich’s garden in order. Although he never tidied up his garden and, unfortunately, never will...

Albert loved his daughters very much. When Nastya wanted to sing, he took her to Gnesinka. The girl did not have a strong voice, but Filozov nevertheless tried to get her into concerts in which he himself participated. I used to read some stories and poems to him at the dacha. He asked: “Can I stop at this place? I’ll call the girls, they should listen.” The father was touching.

I’m happy that I won’t have to film the performances in which Filozov shone. Wonderful artists agreed to play his roles Alexey Petrenko, Vasily Bochkarev, Alexander Shirvindt . Petrenko had not appeared on stage for twenty years; at the rehearsal of “House” he constantly asked: “What was Alik doing here?” His wife Azima sat in the hall and learned the part together with her husband, reassuring me: “Don’t worry, we’ll repeat everything in the evening.” And Alexey Vasilyevich’s previous wife Galina Kozhukhova demanded that we write Petrenko on the “Frak” poster in capital letters, and Filozova and Polishchuk - petty: “Don’t you understand what kind of artist you’re dealing with?”

There's nothing you can do: actors and directors are difficult people. And you won’t envy their loved ones. The profession is such that it often provokes in a person not best manifestations- envy, self-interest, redneckness. When, in my youth, I theoretically thought about getting married, I immediately pulled myself together: not to an artist! But fate decreed otherwise. Marina Khazova is from the very first intake of our students. She graduated with honors music school at the conservatory, she was predicted to become a pianist, and she still plays beautifully. Moreover, for our own youth she was comprehensively educated and drew wonderfully. Marina sings great, she even released records.