Sofya Evgenievna Gollidei Biography

Erofim Sysoev Historical Essay Video Program under the same name is easy to find in Yu-Tube this material was prepared and selected for a long time, for several years, until finally all described events appeared in their chronological and semantic communication. This text is an abbreviated version of the journal publication called "Sonya" without Tsvetaeva. This is not very successful, but it is fully true.

It would be strange to judge the forty years of the life of an extraordinary person for two months of his communication with another, and communication is very superficial, as it will be clear in the future. The cycle of poems “To the Sonya” and a few “specially” roles written for her in poetic paintings - all this “did not shoot”, in the end, not to the Sonechka, but to the descendants, to all of us.

And only the posthumous “Tale of Sonya” forced the reader to “recall” the author together about the bright and original studio of the Moscow Art Theater, about her joys and sorrows of the beginning of the harsh year. In Russia, the "Tale" came out only in the year, partially printed in the "New World". Fans appeared, even researchers, flowers in the columbaria cell with the ashes of Sophia Gollidei in the new Donskoy cemetery in Moscow appeared again.

Such - purely lyrical - the situation remained up to a year when the monograph by Galina Brodskaya “Sonya Gollidei. Life and acting fate ”finally shed light on many facts and facts of Gollidei's biography. Brodskaya’s book hundreds of people studied “From Crimea to Crust”. The result of this work was dozens of publications-refrats and, most importantly, individual attempts by reconstruction-investigations.

This essay is also an attempt to reconstruct, the analysis of the ratio of power and vectors acting in the fate. Tsvetaeva, many of them, due to the brevity and superficiality of acquaintance with Gollidei, were simply unknown.

Brodskaya was done a huge archival work, to which something is unlikely to be added. Brodskaya also touched the “Vakhtangovites”, when she wrote her version of “Tale of Sonya” [Galina Yuryevna was a workshop person, the workers of the workshops always cause delight and respect - it doesn’t matter what, demonstrating the most loyalty and fidelity to the common cause. ” Now it’s clear: Sofya Gollidei for Brodskaya, accustomed to operating with “high categories” - just a daring renegade that exchanged “ministry of Melpomena” for brigade commander and provincial engagements.

However, we do not belong to the “workshop”, we were worried and excited by “simple” human fates, human emotions, especially if they appear against the backdrop of violent historical events. Formally, for a serious study about Gollidei, the material is lacking. Galina Brodskaya’s book - if you take into account the texts related to Gollidei - out of five hundred -part, it turns into a half pages, a third of which are occupied by fragments of Sonychkin’s letters: the material is certainly invaluable, but factologically not too rich.

So we will try to recreate the image in few details, to convey the atmosphere, to feel how it was: the art Theater, on the backdrop of the decorations of which is revolution, hunger, war and devastation, and then many years of provincial heavy routine, awkward attempts to return to Moscow time, tears, longing and illness. Is it possible to talk about people like that?

Who is she, this Sonechka, whose speech Tsvetaeva condescendingly calls “flattering”, and Stanislavsky, representing her in the 2nd studio, remarks: “She is a very gifted person”? Sonya, whom Vladimir Yakhontov calls the "amazing actress Gollidei", which theatrical critics are glorified by Sonya Lepeta?! She is the daughter of a concert pianist, an Englishman by blood, a student of A.

Mother S. Golliday comes from the merchants of Ritzoni, in the clan of which an artistic line was released early. Sofia’s grandfathers were academicians of the Moscow St. Petersburg Academy of Arts and its “laureates”, as they would put it today: with medals for certain picturesque work and with grants for long internships abroad. However, Sophia did not have the present, in our usual understanding of the “Academicians of Ritzoni,” in our usual understanding of our usual understanding, can be considered closed.

Academicians of painting Ritzoni and professor of art Tsvetaev are more likely - both in terms of status and in various origin. Sophia’s mother, Vera Pavlovna Ritzsoni, teaches piano at the Pavlovsk Institute, her conservative diploma was also signed by Rubinstein. Marina Tsvetaeva, Maria Alexandrovna Maine, is a home pianist, although she studied with Anastasia Tsvetaeva, according to Muromtseva, a beloved student of Nikolai Rubinstein, and Klodt’s beloved student.

In general, with some stretch and here Marina and Sonya - equal. At the time of the meeting of Tsvetaeva and Gollidei in the year in Moscow, Marina is twenty -seven, and Sofia - twenty -five years. You can endlessly apply about individual differences in relation to autodidactics, but Marina Ivanovna Tsvetaeva does not have a “real” education. Instead, a childishly energetic entry into an “adult” life.Rashel Khin-Goldovskaya, in his diaries, describes the “Wrap” on the Sivtsev Battery in Moscow, whose bohemian inhabitants, led by Max Voloshin, completely, in her opinion, discarded all the conventions, order and discipline.

Sergey [Efron] at the age of 16 married a summer poetess Marina Tsvetaeva a very beautiful person, with decisive, daring to the impudence by manners; The sister of this Marina Summer gymnasium student married the summer gymnasium student this marital "kindergarten" acquired offspring - Marina has a girl, asi - I don’t know who. " The age of the sisters of Tsvetaev and their young spouses, a close friend of M.

Voloshin, underestimated, but otherwise - everything is true. All this is Marinina “prehistory”, expressed in the language of Galina Brodskaya: to Mchedelov, Antokolsky, Zavadsky and Sonya, before reading the “snowstorm” in Mansurovsky Lane, to a short -term service in the Soviet drug addict, to the death of Irina's youngest daughter. Now let's see how the situation is with the “social competence” of Sofya Gollidei, which “everything”, according to Tsvetaeva, is called “Sonya”.

In a ten -year -old Sophia, they give to the foundry in which she graduated from the sixth grade in November. Mother gives a petition to determine her daughter to the Pavlovsk Institute of Noble Maidens. In August, S. Gollidei withstands reception exams, Sonya 12 years old. The institute prepared domestic mentors. Pupils were taught calligraphy, mathematics, geography, natural science, history, and knowledge of languages ​​- Russian, French and German, as well as drawing, music, singing, dancing and needlework.

What happened to Summer Sophia in May - will forever remain a mystery. Tsvetaeva in Sonyochkin suggests a hussar, a fall given to the child’s shelter. It is strange, however, that in none of the very exalted letters of Gollidei from the province there are no references to the “baby” or his death. Not in Sonychkin this manner: to give birth, to hand over the child to the shelter - and forget about it forever.

Be that as it may, her mother takes her from the Pavlovsk Institute, and Sonya soon becomes the freestyle of the verbal department of the additional pedagogical class of the Mariinsky gymnasium. Here they teach, in addition to Russian, French and German, Russian and Western European literature, law, anatomy, physiology and pedagogy. After graduating, the graduate receive a certificate.

In the certificate of S. Gollidei “with excellent behavior”, one cannot help but smile here, remembering the constant skirmishes of Sonya with the director of Mchedelov in the 2nd studio of the Moscow Art Theater are entirely good and excellent assessments: the highest points 12 according to the law of God, according to the methodology of primary education in the Russian language and on the history of Russian and universal literature.

Eleven points in pedagogy, didactics, French and German, ten points of the “four” - in anatomy and physiology of man. The certificate was issued by Sofya Gollidei on May 15 of the year. Sonya is nineteen years old, and in her hands she has a “specialty”, the right to legal earnings: tutrandism and mentoring in “good houses”. So why is she a diminutive "Sonya"? And this is at Sonya's "babble"?

With her twelve of twelve points on the history of Russian and universal literature? Next - a three -year -old non -filled gap. Sonya, telling Marina about these three household years of her life, mentions some entrepreneur, performances on a provincial stage, love. Sofya Evgenievna, read to us the story of Nastya from Dostoevsky's White Nights. ” The first documentary certificate of the appearance of Sonya in theater Moscow, near Stanislavsky, is connected with the name of the St.

Petersburg drama actress Inna Aleksandrovna Apololonskaya, nee and according to the stage of Stravinskaya, a familiar Gollideev from the end of the 19th century. ” A copy of the book by Apollo's "Christian theater" with a gift author on the title sheet of the book - Sonya, with parting words, ended up in the directorial library of Stanislavsky. Most likely, Sonya showed the book to Stanislavsky and left it with him.

The gift inscription of Apollonian was dated November 17. In M, three actors of the Art Theater - Massalitin, Aleksandrov and Podgorni - opened a private theater school. She was called the "school of three Nikolaev." How is it possible? Unless in the mass of Brodskaya: “In the fall of the year, when Sonya Gollidei joined in the rehearsal of the Green Ring in the second studio of the Art Theater, she was 21 years old.

She was just beginning. Stakhovich was 60 by the fall. " There was no need to teach Sonya Sonya to “manners and landing”. Marina Tsvetaeva thinks in the “Tale” about how great it would be if Sonya in life “supported” Stakhovich. A lot of good even high is said about him in the "Tale" and in the journalistic prose of Tsvetaeva. This is from the letter of Stakhovich Nemirovich-Danchenko on May 6 of the year.

In the spring of the year, Stakhovich again decided to change his lifestyle and moved from the Moscow Passionate Boulevard to his Petrogradskaya Street, about to engage in adult children, grandchildren and in the summer - a pale, family estate. Bulgakov in the Theater Roman, retelling the intra -Khatov gossip about Stakhovic, gives an occasion to suggest a different reason for such a quick return of the latter back to Moscow.

On the telegram, the emperor marked for the office: "So that his spirit would not be in St. Petersburg." It is not known how long -term the long -term could be, but it is clear that his abolition required a special order, now from the Nikolaev office. Gollidei, th. Boksha, personal secretary V. Nemirovich-Danchenko, persons, of course, with a special admission to the Moscow Art Theater.

And Marina Tsvetaeva saw this person, the sixty -year -old old man, constantly suffering from “Barriers”, Marina Tsvetaeva as a support for Sonya?! Since the year, he worked at the Art Theater - at first an employee and assistant director, then the director, in taught at the TRILE Nikolaev school along with Litovtseva, Muratova and Luzhsky. We know neither about his youth, nor about theatrical experiments before the Moscow Art Theater.

His memoirs are stored in the theater museum in Tbilisi and, obviously, are not yet available to the general public. The Martyls in the spring of the year, having secured Stanislavsky’s support, invited Stakhovich to the role of Uncle Miki in the Green Ring in the fall of the “Green Ring” rehearsal, planned to open the studio. They also joined the Sonya Gollidei, who received the role of Zoe's “gymnasium player in love”.

It should be noted that no “Zoe” in the text of the play of Z.