Nikolai Nikolaevich Gubenko is a Soviet and Russian actor and theatre director, founder of the Community of Taganka Actors theatre. His movie Wounded Game was entered into the 1977 Cannes Film Festival, he was named People's Artist of the RSFSR in 1985. Gubenko has been active in politics, he served as the last Minister of Culture of the USSR and as the Russian State Duma deputy between 1995 and 2003. From 2005 on he acts as the Moscow City Duma deputy. Nikolai Gubenko was born in the Odessa Catacombs during the Defence of Odessa, the youngest of five children, his mother was his father -- a native Ukrainian. His father joined the Soviet Air Forces before Nikolai was born and was killed in action near Voroshilovgrad, his mother, a chief designer at one of the local plants, was interrogated during the Nazi-Romanian occupation of Odessa and killed after she refused to collaborate. All of Gubenko's siblings were adopted, while he was left with his grandparents who sent him to the Odessa orphanage after the war.
He joined a special boarding school with a focus on English language. Upon graduation he was supposed to enter the Military Institute of Foreign Languages, but it was closed in 1955 following Nikita Khrushchev's war reform. After that he joined the Odessa Young Spectator's Theatre to work as an extra. Around 1960 Gubenko arrived to Moscow and passed the entering exams for the acting department of VGIK, the course led by Sergei Gerasimov and Tamara Makarova which he finished in 1964. During the studies he met an actress Zhanna Bolotova; as a student he performed in one of the leading roles in the cult Soviet movie I Am Twenty directed by Marlen Khutsiev. It had a long, troubled production history. Finished in 1962, it was screened at the Moscow Kremlin and angered Nikita Khrushchev who compared it to an ideological diversion and criticized for "ideas and norms of public and private life that are unacceptable and alien to Soviet people"; the final cut was released only in 1965, when Gubenko had graduated.
He played Adolf Hitler in his diploma play based on Bertolt Brecht's The Resistible Rise of Arturo Ui. As Gubenko recalled, he invested all his hate towards the man responsible for the deaths of his parents into the role, his performance turned so powerful that Yuri Lyubimov who visited the play offered him to join the Taganka Theatre though Gubenko studied for a film actor. He served there from 1964 till the end of the 1960s when he decided to dedicate himself to cinema and entered director's courses at VGIK which he finished in 1970. Between 1971 and 1988 Gubenko directed six movies; the first, A Soldier Returns from the Front, was awarded the Vasilyev Brothers State Prize of the RSFSR. His 1976 Wounded Game was based on his own original screenplay; the story covered the lives of orphans in the post-war Odessa. According to Gubenko, it included many personal details. Fifteen leading roles were performed by real orphans — he had watched thousands of children from orphanages and boarding schools all over the country.
The film was entered into the 1977 Cannes Film Festival. It was awarded the bronze Hugo prize at the 1977 Chicago International Film Festival. In 1987 Gubenko returned to the Taganka Theatre following the death of Anatoly Efros, he headed it, started resurrecting old plays and at the same time used all his influence to help Yuri Lyubimov return to the USSR. As soon as Lyubimov's citizenship was restored, he left the director's chair, but remained in the theatre as an actor, he was offered the seat of the Minister of Culture of the USSR, becoming the first Soviet arts professional to hold a similar post since Anatoly Lunacharsky in 1917. He served from 1989 to 1991 when the dissolution of the Soviet Union occurred becoming the last Soviet Minister of Culture. In 1992 a split happened at Taganka following Lyubimov's contract sent to the Moscow mayor Gavrill Popov for signature where he suggested to privatize the theatre by attracting "foreign colleagues" and move to the contract system which would've allowed him to hire or fire actors at any time, while all the inner conflicts were meant to be resolved at the International Court.
Lyubimov himself refused to talk with the actors. At one point he attended a meeting and got into an argument with Gubenko who took the side of the protesters and was fired, yet he continued acting in the play Vladimir Vysotsky based around Vladimir Vysotsky's songs. Lyubimov seek the help from OMON to ban him from entering and canceled the play. After that Gubenko left along with 35 other actors and founded his own non-state theatre – the Community of Taganka Actors which he manages up to this day, taking part as an actor, stage director and playwright. In 2008 it received a state status. Nikolai Gubenko. Theatre of the Absurd. Plays on the Political Scene. — Moscow: Algorythm, 256 pages ISBN 978-5-4438-0696-9 Evgeny Gromov. Nikolai Gubenko. Director and Actor. — Moscow: Algorythm, 288 pages ISBN 5-9265-0067-2 Nikolai Gubenko on IMDb Two Soviet Cultural Paths Cross in Washington article at The New York Times, 6 December 1990 Monologue in 4 Parts. Nikolai Gubenko documentary by 2018 Nikolai Gubenko.
I accept the fight documentary by TV Centre, 2011
Taganka Square or Taganskaya Square is a city square at the south-eastern corner of the Garden Ring in central Moscow, formed in 1963 by merging two historic squares, Upper Taganka and Lower Taganka. In 1813 the district of Taganka was reconstructed by Joseph Bové; the most conspicuous landmarks are the lofty St Nicholas Church on Bolvanovka and the Taganka Theatre. There is a subway station, called Taganskaya. Tagansky, Taganka
L'Humanité, is a French daily newspaper. It was an organ of the French Communist Party, maintains links to the party, its slogan is "In an ideal world, L'Humanité would not exist." L'Humanité was founded in 1904 by Jean Jaurès, a leader of the French Section of the Workers' International. Jaurès edited the paper until his assassination on 31 July 1914; when the Socialists split at the 1920 Tours Congress, the Communists took control of L'Humanité. Therefore, it became a communist paper despite its socialist origin; the PCF has published it since. The PCF owns 40 per cent of the paper with the remaining shares held by staff, readers and "friends" of the paper; the paper is sustained by the annual Fête de l'Humanité, held in the working class suburbs of Paris, at Le Bourget, near Aubervilliers, to a lesser extent elsewhere in the country. The fortunes of L'Humanité have fluctuated with those of the PCF. During the 1920s, when the PCF was politically isolated, it was kept in existence only by donations from Party members.
Louis Aragon started to write for L'Humanité in the "news in brief" section. He led Les Lettres françaises, the paper's weekly literary supplement. With the formation of the Popular Front in 1936, L'Humanité's circulation and status increased, many leading French intellectuals wrote for it. L'Humanité was banned during World War II but published clandestinely until liberation of Paris from German occupation; the paper's status was highest in the years after World War II, when the PCF was the dominant party of the French left and L'Humanité enjoyed a large circulation. Since the 1980s, the PCF has been in decline due to the rise of the Socialist Party, which took over large sections of PCF support, circulation and economic viability of L'Humanité have declined as well; until 1990 the PCF and L'Humanité received regular subsidies from the Soviet Union. According to the French authors Victor Loupan and Pierre Lorrain, L'Humanité received free newsprint from Soviet sources; the fall of the Soviet Union and the continued decline of the PCF's electoral base produced a crisis for L'Humanité.
Its circulation, more than 500,000 after the war, slumped to under 70,000. In 2001, after a decade of financial decline, the PCF sold 20 per cent of the paper to a group of private investors led by the TV channel TF1 and including Hachette. TF1 said its motive was "maintenance of media diversity." Despite the irony of a communist newspaper being rescued by private capital, some of which supported right-wing politics, L'Humanité director Patrick Le Hyaric described the sale as "a matter of life or death." There has been speculation since 2001. But in contrast to most French newspapers, its publication increased to about 75,000. In 2006, the paper created L'Humanité Dimanche; the same year L'Humanité had a circulation of 52,800 copies. In 2008, it sold its headquarters due to financial problems and called for donations. More than €2 million had been donated by the end of 2008; the newspaper organises the annual Fête de l'Humanité festival as a fundraising event. History of French journalism Fête de l'Humanité: A weekend of politics and Rock'n'Roll – Radio France Internationale L'Humanité L'Humanité in English L'Humanité на русском языке L'Humanité en Español Regular French Press Review – Radio France International L'Humanité's digital archives from 1904 to 1944 – Gallica, the digital library of the BnF Underground edition of L'Humanité from 1939 to 1944 online in Gallica.
Underground edition of L'Huma online in Gallica. Underground edition of L'Humanité. Organe central du Parti communiste S. F. I. C. Ed. spéciale féminine. Online in Gallica. "Our Goal", translation of Jean Jaurès' editorial of the first issue Victor Loupan and Pierre Lorrain: L'Argent de Moscou. L'histoire la plus secrete du PCF, Paris, 1994
Irina Victorovna Apeksimova is a Russian stage and screen actress. Director of the Taganka Theater. Apeksimova was the child of classical musicians, Victor Nikolaevich Apeksimov and Svetlana Yakivna Apeksimova. Irina was the second child in the family; because her parents worked in the theater and music, Apeksimova was surrounded by talented and creative people. She stayed backstage at the musical theater, where the child actors did their homework and played. Apeksimova's parents divorced when she was in the eighth grade, she moved with her mother to Odessa, where she studied acting. After high school Apeksimova went to Moscow to enter the Moscow Art Theater School, but was rejected because of her Odessa accent. Back in Odessa, she danced for a year in the corps de ballet, she applied again to the Moscow Art Theater School but was again rejected. After this setback, Irina returned to Volgograd and joined the Theater of Musical Comedy, in the corps de ballet. After living in Volgograd for a year, Apeksimova had shed much of her Odessa accent, applied for a third time to the Moscow Art Theater School.
She was admitted in 1986 into Oleg Tabakov's class. At the school, Apeksimova became friends with fellow student Valery Nikolaev, married him, her class, which included Vladimir Mashkov and Yevgeny Mironov, was considered brilliant. Apeksimova was graduated in 1990 and joined the studio at the Moscow Art Theatre, where she stayed until 2000. In 1994, she won the Best Actress Award at the Paris Film Festival for her role in the film October. Apeksimova has a daughter, Dasha. Skylark. Director: Oleg Tabakov. Role: Agnes. Crazy Jourdain. Director: Oleg Tabakov. Role: Dorimena Zatovarennaya's Barrels. Director: Eugene Kamenkovich. Armchair; the Taming of the Shrew. Director: Brian Cox. Role: Katherina. Richard III. Director: Brian Cox. Role: Lady M. Uncle Vanya. Director: Oleg Efremov. Role: Helena. Boris Godunov. Director: Oleg Efremov. Role: Marina Mniszech. Woe from Wit. Director: Oleg Efremov. Role: Sofia. Hoffman. Director: Nikolai Skorik. Role: Julia. Masquerade. Director: Roman Kozak. Role: Baroness Shtral. Beautiful Life.
Director: Lanskoy. Tragedians and Comedians. Director: Nikolai Skorik. Role: Lisa; the Milk Train Doesn't Stop Here Anymore. Director: Dolgachev. Role: Blackie. Little Tragedies. Director: Roman Kozak. Role: Laura. Thunderstorm. Director: Dmitri Brusnikin. Role: crazy lady. A Midsummer Night's Dream. Director: N. Sheiko. Role: Titania. Ondine. Director: Nikolai Skorik. Role: Countess Bertha Archaeology. Director: Kochetkov. Dancing to the Sound of Rain. Director: Nikolai Skorik. Role: muse. Unexpected Joy. Director: Kolesnikov. Pearl Zinaida. Director: Oleg Efremov. Role: a foreigner. Blessed Island. Director: N. Sheiko; the Most Important Thing. Director: Roman Kozak. Seylemskie Witch. Director: Brian Cox. Dangerous Liaisons. Director: Sergei Vinogradov. Role: Marquise. Www.london.ru. Director: Stein. Dinner with a Fool. Director: V. Trushkin. Role: Marlene; the Cherry Orchard. Director: E. Nekrosius. Role: Charlotte. In addition to her many roles in Russian films, Apeksimova played in the 1997 Hollywood Val Kilmer vehicle The Saint.
She starred in the 1999 film The Book of Masters, the first Russian film by an arm of The Walt Disney Company. 1992 Melochi zhizni 1995 What a Mess! 1997 The Saint 2000 Empire under Attack 2003 Red Serpent 2005 Yesenin 2009 The Book of Masters Irina Apeksimova on IMDb Brief biography at Film-Theater Brief biography at Ruskino
Veniamin Borisovich Smekhov is a Soviet and Russian actor of stage and screen, a director of the stage and documentary film. He was the winner of the Petropol' Award as well as the Tsarskoselsky Artistic Prize, he refused the title of People's Artist of Russia, offered to him on his 70th birthday. Smekhov has long worked in the Moscow Taganka Theatre where his roles included Woland in a stage adaptation of Mikhail Bulgakov's The Master and Margarita, his portrayal of the main antagonist of the story is considered to be the best of any adaption of the novel. In film, he is best known and loved for the role of Athos in a Russian version of The Three Musketeers and its sequels, he has written children's poetry, scripts and comedic materials. Father: Boris Moiseevich Smekhov (January 10, 1912, Belarus - October 8, 2010, Germany - professor, doctor of economics. Grandfather - Moisey Yakovlevich Smekhov - accountant. Mother: Maria L'vovna Schwartzburg - doctor, head of her department in a Moscow clinic.
Grandfather - Lev Aronovich Schwartzburg, born in the town of Shpola in Kiev Province, moved to Odessa. He was a shoemaker. Uncle - famous book illustrator Lev Moiseevich Smekhov, he was the father of Zinoviy L'vvovich Smekhov. Veniamin's other uncle, Efim Moiseevich Smekhov, was the head artist for the publication Meditsina. Alla Alexandrovna Smekhova, a radio editor, was Veniamin's first wife and the mother of his daughters, Elena, a writer, his grandchildren include Elena's son, Leonid Smekhov, Alika's sons, Artem Smekhov and Makar Smekhov. Veniamin has been married to Galina Aksenova, Candidate of Art, professor at the Moscow Art Theatre School and film and theatre scholar, since 1980. Veniamin Smekhov spent his childhood in Moscow on Second Meshchansky Street, he saw his father only after he returned from the war in 1945. From 1947 to 1957 he was a student at School № 235 on Pal'chikov Lane where he was a part of the Palace of Pioneers drama club. V. E. Struchkova led Rolan Biykov worked with the students.
In 1957 Veniamin was accepted into the B. V. Shchukin Theatre School, the conservatory of the E. Vakhtangov Theatre, he studied in the class of V. A. Etush, it was Lev Smekhov, who encouraged him to study at the school. In 1959 he began the second year of study as an auditor; this was a probationary measure. In April of 1959 he regained his student status, his graduation performances included Moliere's Le Bourgeois Gentilhomme in which he played Covielle, Ostrovsky's Warm Heart in which he played Narkis. In 1961 Veniamin graduated from acting school and was sent to the Kuybiyshevsky Drama Theatre where he worked for one year. Upon his return to Moscow in 1962, director A. K. Plotnikov accepted him into the Moscow Theatre of Comedy. In 1964 Yuri Lyubimov became head director of the theatre. Lyubimov reorganized the theatre and it became the Taganka Theatre. From 1985 to 1987 Veniamin worked in the Sovremennik Theatre where he, along with Leonid Filatov and Vitaly Shapovalov, fled after Lyubimov's expulsion from the Soviet Union.
Veniamin returned to the Taganka Theatre in 1987 and worked there until 1998. Veniamin began acting in films in 1968, but he gained widespread popularity after playing the role of Athos in the famous made-for-television film d'Artagnan' and the Three Musketeers,filmed at the Odessa Film Studio in 1978, he played Athos in all of the followup films as well. In 1967 he began working as a freelance television director at Gostelradio USSR, the main producer of literary-drama programs, his first work was the teleplay Mayakovsky's Day. It was aired as a part of the Poetic Theatre series. In 1990 he began directing theatre performances and made-for-television films in Russia and abroad, he taught acting for several years in American universities. During this time he continued to act at the Taganka Theatre. In America Veniamin released a series of compact disks, The Library of Russian Classics, in 1998, he has made around 20 solo audio books as well as a large collection of audio book compilations. In 2011 Veniamin returned to the Taganka Theatre as director.
He reprised the role of Woland in Master and Margarita on two occasions that included a dedication performance in memory of actor Vsevolod Sobolev and the 50th anniversary of the Taganka Theatre. He performs as an actor in two poetic performances No Years and The Spine of the Flute, he lives in Moscow and frequently tours with his performances and evenings of poetry. Veniamin makes poetic programs and documentary films for television, he is the author of several books of both poetry and prose, memoirs. He has called himself an actor, director and traveler. Veniamin has participated in theatrical online readings of the works of Anton Chekhov, Leo Tolstoy and Mikhail Bulgakov, including Chekhov Is Alive and Peace. We Read a Google-Reading of Master and Margarita. I Was There. Shchukin Theatre School 1957-1961 * Cruelty - author Nilin, * Man With A Gun - Chibisov, * Ward № 6 - Ivan Dmitrich, * The Minor - Adam Adamiych Vral'man * Warm Heart - Narkis, * Le Bourgeois Gentilhomme -
Boris Shchukin Theatre Institute
The Boris Shchukin Theatre Institute is a Russian drama college in Moscow, formed in 1914 as part of the Vakhtangov Theatre. In 2002 it was granted the Academy status; the history of the Shchukin Institute goes back to November 1913, when a group of Moscow art students formed their own studio and invited actor and director Evgeny Vakhtangov to become their leader. October 23, 1914, when the latter held his first class with the group, is celebrated as the Vakhtangov Academy's official birthday. In the spring of 1917 the Studio was named the Moscow Evgeny Vakhtangov Drama School, in 1920 it became the Moscow Art Theatre’s Third Studio and in 1926 it became part of the newly formed Vakhtangov Theatre, with Boris Zakhava at the helm. In 1932 the Studio got the status of a secondary school in 1939 it was given the name of Boris Shchukin, Vakhtangov's best-loved student. In 1945 it received the status of a higher education institution and has been known since as the Shchukin Theatre College of Higher education.
In 1986 the College's director became Vladimir Etush. In 2002 the institute was granted the Academy status. In 2003 professor Evgeny Knyazev became its head. Official site
Yevgeny Bagrationovich Vakhtangov was a Russian-Armenian actor and theatre director who founded the Vakhtangov Theatre. He was a mentor of Michael Chekhov. Vakhtangov was born to a Russian mother in Vladikavkaz, Northern Ossetia, he was educated at Moscow State University for a short time and joined the Moscow Art Theatre in 1911 and rose in the ranks, so that by 1920 he was in charge of his own theatre studio. Four years after his death, the studio was named Vakhtangov Theatre in his honor. Vakhtangov was influenced both by the theatrical experiments of Vsevolod Meyerhold and the more psychological techniques of his teachers, Konstantin Stanislavski and Leopold Sulerzhitsky, the co-founder of the MAT Vladimir Nemirovich-Danchenko, his productions incorporated masks, dance, abstract costume, avant-garde sets as well as a detailed analysis of the texts of plays and the psychological motivations of its characters. His most notable production was Turandot by Carlo Gozzi, which has played at the Vakhtangov Theatre since 1922.
Another famous production directed by Vakhtangov in the same year was S. Ansky's The Dybbuk with the Habimah theater troupe. On the Actors Studio webpage, Lee Strasberg is quoted as saying: "If you examine the work of the Stanislavski System as made use of by Stanislavski, you see one result. If you examine it in the work of one of his great pupils, Vakhtangov — who influenced our thinking and activity — you will see a different result. Vakhtangov's work was skillfully done, his use of the Method more brilliant and more imaginative than Stanislavski’s, yet Vakhtangov achieved different results." The German theatre practitioner Bertolt Brecht argued that Vakhtangov's approach was "the Stanislavski-Meyerhold complex before the split rather than its reconciliation". Brecht outlined the main aspects of Vakhtangov's work as: Theatre is theatre; the how, not the what. More composition. Greater inventiveness and imagination, he identifies a commonality with his own'demonstrating' element in acting, but argues that Vakhtangov's method lacks the social insight and pedagogical function of Brecht's own Gestic form: "when Vakhtangov's actor says'I'm not laughing, I'm demonstrating laughter', one still doesn't learn anything from his demonstration".
Vakhtangov died of cancer. The part of his career took place at a high point of Russian theatre, amidst the Bolshevik Revolution and Civil War. Евгений Вахтангов. Документы и свидетельства: В 2 т. / Ред.-сост В.В. Иванов. М.В. Львова, М.В. Хализева. М.: Индрик, 2011. Т. 1 – 519 с. илл.. Евгений Вахтангов в театральной критике / Ред.-сост. В.В. Иванов. М.: Театралис, 2016. – 703 с.. Official site of the Vakhtangov Theatre Yevgeny Vakhtangov's grave Yevgeny Vakhtangov at Find a Grave