Pavel Wulf is Faina Ranevskaya's best friend. In the old and new theater

Vitaly Yakovlevich Wulf 1930–2011 Russian art critic Vitaly Wulf was born on May 23, 1930 in Baku. Wolf's father, Yakov Sergeevich, was a famous lawyer in Baku. Wulf's mother, Elena Lvovna Belenkaya, studied at Baku University with Vyacheslav Ivanov before his departure

VI.IV. Vitaly Vulf and his husband Vladislav Listyev invited Igor Ugolnikov to host the capital show “Field of Miracles”, which is only in the development stage, but he preferred the invitation of Anatoly Malkin - to make his own program on “ATV” (Funeral of Food was released in the fall). Listyev himself

Sage. Historian and art critic Vitaly Vulf They say that a television presenter’s life is very short: they show on TV - they remember, they stopped - they immediately forgot. Vitaly Vulf is an exception. He passed away in the spring of 2011, and the name of the author of “Silver Ball” is still unknown.

In 1918, in Rostov-on-Don, Faina Ranevskaya met Pavel Leontievna Wulf. It was a terrible year. Hunger, terror and devastation, Civil War and intervention... But on the other hand, Pavel Wulf, a wonderful actress whom Faina saw back in her childhood, toured in Rostov-on-Don.

Soon the theater left for Crimea, and Faina Ranevskaya went with him, whom Pavel Wulf invited to stay with her. Of course, Faina immediately happily agreed - she was already imbued with great love for Pavla Wulf and did not want to part with her. And why, when everything is so good?

In hungry, devastated Simferopol, Faina Ranevskaya and Pavel Wulf managed to survive largely thanks to Maximilian Voloshin. It was he who saved them from starvation. Ranevskaya recalled: “In the morning he appeared with a backpack on his back. In the backpack were wrapped in newspaper

Irina Wolf died in 1972. Soon Faina Ranevskaya wrote in her diary: “On May 9, 1972, Irina Wulf died. I can't come to my senses. And it’s as if I was left alone on the whole earth... When will my mortal loneliness end?” By that time, everyone whom she especially strongly had left had already left.

Marianna Elizarovna recalled that during meetings Ranevskaya more than once asked her to recite Sofia Parnok’s poem “I don’t know my ancestors - who are they?” She immediately read this wonderful poem to me from memory, falteringly. Later I found out that it was written in 1915, back when Faina lived in Taganrog:

I don’t know my ancestors - who are they?

Where did you go when you came out of the desert?

Only the heart beats more excitedly,

Let's talk a little about Madrid.

To these oatmeal and clover fields,

My great-grandfather, where did you come from?

All colors to my northern eyes

Black and yellow are more intoxicating.

My great-grandson, with our old blood,

Will you blush, pale-faced one,

How do you envy a singer with a guitar?

Or a woman with a red carnation?

Marianna Elizarovna continued: “She dreamed, if not to write, then at least to tell one of her “trusted” listeners about Sofia Parnok - after all, acquaintance with her led Ranevskaya to Marina Tsvetaeva, and, perhaps, to A. Akhmatova... I think that In her personal life, her acquaintance with Parnok played an important role. Parnok Sofia Yakovlevna wrote in one of her letters (to M.F. Gnesin - M.G.): “I have never, unfortunately, been in love with a man.” Sofia Yakovlevna was so in love with Marina Tsvetaeva that they both did not even find it necessary to hide it. Of course, Faina never told me about this, but conversations about Parnok, and not only about her, hovered all my life ... "

However, this is evidenced by Tsvetaeva’s own poems from the “Girlfriend” cycle dedicated to Sofia Parnok:

Can I not remember

That smell of White-Rose and tea,

And Sevres figurines

Above the glowing fireplace...

We were: me - in a fluffy dress

From a little golden faye,

You are wearing a knitted black jacket

With a winged collar...

And although the relationship between Tsvetaeva and Parnok caused undisguised condemnation from people who knew them (E. O. Kirienko-Voloshina, the poet’s mother, even addressed Parnok personally about this), for a long time it did not lead to anything. In one of Tsvetaeva’s letters to A. Efron it is written: “Sonya loves me very much, and I love her - and this is forever.”

Knowing that Ranevskaya knew both Tsvetaeva and Parnok, there is no doubt that the details of this novel were not a secret to Faina, although by the time they met (the mid-1910s) it had already become a thing of the past. We know nothing about her attitude to the personal life of the “Russian Sappho,” as Sofia Parnok was often called - Faina Georgievna never spoke publicly about such things. Her close, albeit short-lived, communication with Parnok, as well as many years of tender friendship with E.V. Geltser and P.L. Wulf, can (and already does) arouse in the public a certain kind of suspicion regarding Ranevskaya’s own commitment to same-sex love, to which, As you know, many creative people are prone to this. On this score, only one thing can be said: if Faina Georgievna herself considered it necessary not to make public the circumstances of her personal life, then getting to the bottom of them - especially in the complete absence of facts - is clearly unethical.

Having remembered Sofia Parnok, I want to add to the story about her talented brother Valentin Yakovlevich Parnakh - especially since I also heard a lot about him from Elizaveta Moiseevna. Valentin Parnakh graduated with honors from the Taganrog Gymnasium in 1909, and in 1912, despite all sorts of percentage standards, he was admitted to the Faculty of Law of St. Petersburg University. The all-round talent of this young man aroused the admiration of many: his musical studies were supervised by Mikhail Fabianovich Gnessin himself, his artistic talent was not only noticed, but also highly appreciated by Meyerhold, who in his magazine “Love for Three Oranges”, on the recommendation of Alexander Blok himself, published a selection of poems by Valentin Parnach .

Elizaveta Moiseevna told me that Ranevskaya quoted many of V. Parnakh’s poems from memory. And here is her story about the last meeting of two fellow countrymen: “I will never forget the cold winter of 1951. She and I attended the funeral of Valentin Parnakh at the Novodevichy cemetery. Ehrenburg, Gnessin, Utesov, and I think Shostakovich were present there. On the way home, Faina suddenly said: “God grant that we don’t envy Valentin!” Why did she say this? The doctors’ case has not yet begun, and Faina herself recently received another Stalin Prize.” Ranevskaya helped Parnach during his difficult years, placing his brilliant, but “ideologically dubious” translations of Spanish and Portuguese poets in various publishing houses.

Unfortunately, E.M. Tavrog could not tell anything about Ranevskaya’s years of study at the gymnasium. This gap is partly filled by the actress’s letter to her Taganrog friend L.N. Prozorovskaya, written in September 1974: “I studied at the Mariinsky Women’s Gymnasium in Taganrog... Very poorly... I stayed for the second year (by the way, Chekhov was also a repeater. - M.G.) ... I hated the gymnasium... the four rules of arithmetic were not given, I solved problems, sobbing, not understanding anything about them. In the problem book... merchants sold cloth at a higher price than they bought it for! It wasn't interesting. It is possible that my lack of interest in making money has made me forever very unscrupulous and pathologically impractical. I remember that I screamed: “Have mercy on the man, take me out of the gymnasium.” Mustachioed high school students began to come to me - these were tutors, followed by teachers from the gymnasium I had left. Subsequently, I taught myself the sciences that fascinated me, and perhaps I was somewhat literate, if not for my bad memory... I am writing to you as a good friend. I am very proud of my great compatriot Chekhov. She was on good terms with his widow. Olga Leonardovna asked me with excitement about Taganrog...”

This letter again brings us back to the topic of the connection between Ranevskaya and Chekhov. A rather unexpected aspect of this connection concerns not Faina Georgievna herself, but her father. Chekhov spent his youth in a stone house built by his father on the corner of Elisavetinskaya Street and Donskoy Lane. Before Anton left to study in Moscow, Pavel Yegorovich Chekhov, in need of money, mortgaged this house to the local rich man Selivanov for 600 rubles. But fate turned out to be such that Chekhov’s father, having gone bankrupt, left for Moscow without ever buying the house. Soon it was bought for five thousand rubles by a Jewish charitable society, whose chairman was Girsh Khaimovich Feldman. A Jewish almshouse was located in the house. Here is what the famous revolutionary, poet and scientist Vladimir Tan-Bogoraz, Chekhov’s schoolmate at the gymnasium, writes about this: “I visited this Chekhov’s house one dull autumn evening. The house was dark and dirty. Everywhere there were narrow beds, old, unkempt people with gray beards, but the rooms remained unchanged. The same old semi-basement entrance and next to it a wooden porch without railings, similar to an extension ladder, the same unexpected windows right at the ceiling.”

The friendship between Chekhov and Tan-Bogoraz lasted throughout their lives - Chekhov mentioned him more than once in his letters. Bogoraz also visited the house of Girsh Feldman. Faina Georgievna once jokingly told Marshak: “You are still very young, but as a child I saw Bogoraz himself talking with his father on biblical topics in Hebrew. Of course, I didn’t understand anything about this topic at the time. Already when I lived in Moscow, I read his wonderful poems.”

Chekhov, Bogoraz, Parnok - these names are organically connected with Ranevskaya and her hometown. And although Faina Georgievna did not often talk about her love for Taganrog, she still sometimes recalled with pride that there had never been representatives of the Union of the Russian People in her city. Bogoraz also wrote about this: “We have never had a Jewish pogrom.” This did not happen in many cities, but in the city of Chekhov, who created the masterpiece “Rothschild’s Violin,” it simply could not be otherwise. Remember this story? After his wife’s funeral, Moses, nicknamed Rothschild, came to the undertaker Yakov Matveyevich Ivanov and conveyed an invitation from the head of the ensemble, in which Yakov often played, to come to the wedding: “Yakov seemed disgusted that the Jew was out of breath, blinking and that he had so many red freckles. And it was disgusting to look at his green frock coat with dark patches and his entire fragile, delicate figure.

Childhood and youth

Pavel Leontievna was born in the city of Porkhov (Pskov province) into a family of hereditary nobles. Some sources claim that the parents are Russified Germans, but there are versions that they have French or Jewish roots.

A wealthy family had the opportunity to involve teachers from Moscow University in the education of their children. Pavel mastered the high school program at home, and then became a student at the St. Petersburg Institute of Noble Maidens.

The girl dreamed of becoming an actress since childhood and enjoyed trying on various roles in home performances. One day I was so fascinated by the performance of Vera Komissarzhevskaya, the famous Russian actress, founder of her own theater, that she decided at all costs to devote her life to acting.

Pavla wrote a letter to Vera Feodorovna, which, surprisingly, did not go unanswered. The actress recommended that the girl enroll in the Pollack Drama School. Afterwards, Wulf accepted into its ranks the Imperial Ballet School, opened at the Alexandrinsky Theater. The graduate wanted to get into the capital's Art Theater, but was refused. Pavla Leontyevna was destined to make a brilliant career as a provincial actress in the role of a lyrical heroine.

Theater

Pavla Wulf's appearance on the big stage happened back in her student years - she played Laura in the play “The Fight of the Butterflies,” written by the German playwright Hermann Sudermann. The certified actress first went on tour around Ukraine with her idol Komissarzhevskaya. On the stages of Nikolaev, Kharkov and Odessa, she got roles in a scattering of productions - she played Lisa in “The Magic Tale”, Polixena in the play “Truth is good, but happiness is better”, Nastya in “Fighters”. The young actress tried to copy her mentor in behavior and appearance.

In 1901, Wulf came to Nizhny Novgorod, where she spent a year working for the enterprise of Konstantin Nezlobin. Here, the creative biography was illuminated by the role of Edwige from Henrik Ibsen’s drama “The Wild Duck”. Then she served in the Riga City Theater, where women were also given bright images - she appeared as the Snow Maiden from the famous play by Alexander Ostrovsky, Juliet from the tragedy of William Shakespeare.

Pavla Leontyevna had to wander across the expanses of Russia and Ukraine. The actress was received by theaters in Kharkov, Kyiv, Irkutsk, and Moscow. And after the revolution, the woman settled in Rostov-on-Don. However, not for long. Three years later, residents of Simferopol enjoyed Wulf’s game. The collection of works was replenished with the roles of Lisa from “The Noble Nest”, Nina from “The Seagull” and Nastya from Maxim Gorky’s play “At the Lower Depths”.

Additional opportunities for career development have opened up in Simferopol. Pavla Wulf was invited to teach at a theater school. Later, in the early 30s, the actress and already director of theatrical productions led a movement class and staged a stage speech for members of the section of the Baku Working Youth Theater.

In 1931, Wulf again found herself in Moscow. She worked tirelessly, managed to combine the stage with teaching at the Chamber Theater school, then taught acting wisdom to young people at the drama school opened on the basis of the Red Army Theater.

One of the woman’s last works was the role of Agrafena in the play “Wolf”, created by Leonid Leonov. However, in 1938, Pavel Wulf suffered from a serious illness, due to which she had to say goodbye to the stage.

Pavla Wulf and Faina Ranevskaya

Wulf’s grandson, Alexey Shcheglov, eloquently wrote in his memoirs about Pavla Leontyevna’s acquaintance and friendship with Faina Ranevskaya. Faina Feldman was so impressed by the performance of the actress of the Rostov Theater in the production of “The Cherry Orchard” that the very next day she came to her home.

Wulf, suffering from a migraine that morning, at first did not want to accept the guest, but she turned out to be too persistent. Faina Georgievna begged to be taken into the troupe. To get rid of the girl, Pavel Leontyevna handed her a play she didn’t like based on the plot and told her to come back in a week with any role she had learned.

When the future Ranevskaya appeared in the image of an Italian actress, Wulf was delighted and realized that in front of her was a real diamond. Moreover, Faina prepared very thoroughly - she was not too lazy to find an Italian in the city, from whom she adopted facial expressions and gestures. Since then, Ranevskaya settled in the house of Pavla Leontyevna, who became a mentor and close friend for the young talent.

Personal life

Pavel Wulf did not live long with her first husband Sergei Anisimov. Then the woman met a gentleman of Tatar blood, the son of a military man, Konstantin Karateev, who died early. The actress did not have time to divorce her first husband and marry her second. Therefore, daughter Irina, born in 1906, received the surname and patronymic of her first husband.

Pavla Leontievna had a hard life, filled with travel and frequent changes of residence. They say that the actress called her wanderings “provincial hard labor.” This affected her daughter’s health - Ira became very ill.

The child was nursed by costume designer Natalya Ivanova, who in the Wulf household was simply called Tata. The girl took on all the worries about Irina, becoming her second mother. Pavel Leontyevna was immensely grateful to her assistant for giving her the opportunity to devote herself to acting.

In the future, Irina Sergeevna Wulf became a theater actress and director, playing in plays by Konstantin Stanislavsky and Yuri Zavadsky. The woman gave Pavel Leontyevna her grandson Alexei.

Death

For the last 20-odd years, Pavel Wulf has been seriously ill. The great theater actress died in early June 1961. Ranevskaya noted that her friend was dying in terrible agony. Until the end of her days, Faina Georgievna never came to terms with her loss. Pavel Leontyevna rests at the Donskoye Cemetery.

In the biographical series “Faina,” which airs on Channel One, Pavla Wulf is played by Maria Poroshina.

Performances

“The Snow Maiden”, Alexander Ostrovsky - the role of the Snow Maiden

"Romeo and Juliet", William Shakespeare - the role of Juliet

“The Noble Nest”, Ivan Turgenev - the role of Lisa

“The Seagull”, Anton Chekhov - the role of Nina Zarechnaya

“The Cherry Orchard”, Anton Chekhov - the role of Anya

“Ivanov”, Anton Chekhova - the role of Sasha

“Woe from Wit”, Alexander Griboyedov - the role of Sophia

"The Wild Duck", Henrik Ibsen - role of Edwige

Ranevskaya’s first platonic love was V.I. Kachalov. Faina Georgievna became an actress thanks to the patronage of Ekaterina Geltser, with whom she was friends until the last days of her life. Ranevskaya was in love with Grinevitskaya. Many men courted her, she was straight. One day, the actress, left alone with the beauty, allowed herself too much. Grinevitskaya jumped out of the room in horror.

Faina Feldman in a wealthy Jewish family with many children in the city of Taganrog. She was the fifth child, having three more brothers and a sister. Her father Girsh Feldman was an honorary member of the Department of Institutions of Empress Maria, owned a factory producing dry and oil paints, a building materials store, and the steamship “St. Nicholas”.

Faina Georgievna Ranevskaya (1896–1984) was born on August 15 and is recognized as one of the most famous and beloved actresses of Russian theater and cinema.

Fanya never had a single leading role, which did not prevent her from holding first place among Russian actresses for the second century, along with Marilyn Monroe in the USA.

Faina Georgievna has never been married. Back then it was not customary to talk about gay people, but she was always attracted to beautiful girls. When they asked why she was alone, they received the answer that she was ugly and had discrepancies in her feelings for men. Those who liked Faina were disgusted with her. Those who liked her did not notice the actress point-blank.

Ranevskaya’s first platonic love was V.I. Kachalov.

Faina Georgievna became an actress thanks to the patronage of Ekaterina Geltser, with whom she was friends until the last days of her life. Ranevskaya was in love with Grinevitskaya. Many men courted her, she was straight. One day, the actress, left alone with the beauty, allowed herself too much. Grinevitskaya jumped out of the room in horror. She never met with Ranevskaya again. Vitaly Wulf recalled that the artist lived with them for some time. Faina Georgievna and the writer’s mother Pavel had a very close relationship. One day Vitaly caught the women in a moment of intimacy. Ranevkaya found something to answer, saying they were doing exercises.

There is an opinion that her hobbies were: Vera Maretskaya, Lyudmila Tselikovskaya.

Gleb Skorokhodov, who wrote a book about Faina Ranevskaya, told his sister Inga:

As a young actress, she became disillusioned with love through one actor, who asked to visit her after another performance. Ranevskaya prepared for the meeting as best she could, but he did not come alone, and even asked her to go for a walk. And then this actor, without finding words, insulted Faina on stage after her awkward movement, which completely upset her idea of ​​men and the great actress swore never to get married.

Faina Ranevskaya hated the Soviet way of life and was embarrassed by it in front of her sister Isabella, who came to her on Kotelnicheskaya Embankment from Paris. Here is an excerpt from the story of film director Yakov Segel:

“When Ranevskaya took her into her small two-room apartment, her sister asked in surprise:
— Fainochka, why do you live in a workshop and not in a villa?
Resourceful Faina Georgievna explained:
— My villa is being renovated.
But this did not reassure the Parisian guest.
— Why is the workshop so small? How many “living” meters does it have?
“As many as twenty-seven,” Ranevskaya said proudly.
- But it’s cramped! - Isabella wailed. - This is poverty!

- This is not poverty! - Ranevskaya got angry, - This is considered good among us. This house is elite. The most famous people live here: artists, directors, writers. Ulanova herself lives here!
The name Ulanov had an effect: with a sigh, Isabella began to unpack her suitcases in the room provided to her. But she could not understand why this house was called elite: there was a cinema and a bread store downstairs, early in the morning the movers unloaded goods, shouted at each other, made noise, and gave all the residents a wake-up call. And in the evenings, at ten, eleven, twelve, the screenings ended and crowds of spectators poured out of the cinema hall, loudly discussing the film they had watched. “I live on “bread and circuses,” - Faina Georgievna tried to laugh it off, but this had no effect on her sister.
- Why were you sentenced to live in such a cell? »

How many caustic and witty phrases remain after her roles. They will never leave the tongue of any Russian person who has even an ounce of sense of humor:

I am Stanislavsky's miscarriage.

I visited the ear, throat and ass doctor today.

“My funeral belongings,” Faina Georgievna said about her awards

On an empty stomach, a Russian person does not want to do or think anything, but on a full stomach, he cannot.

We have been accustomed to single-cell words, scant thoughts, play Ostrovsky after this!

My God, how life has slipped by, I have never even heard nightingales sing.

God created women beautiful so that men could love them, and stupid so that they could love men.

You are still young and look great.
- I can’t give you the same compliment!
- And you, like me, would lie!

Doesn't it bother you that I smoke? - When the theater administrator saw her completely naked in the dressing room.

In my old head there are two, at most three, thoughts, but at times they create such a fuss that it seems like there are thousands of them.

They say that this performance is not successful with the audience? “Well, that’s putting it mildly,” Ranevskaya noted. - I called the box office yesterday and asked when the show started. - And what? - They answered me: “When will it be convenient for you?”

I've been swimming in the toilet butterfly style my whole life.

The pearls that I will wear in the first act must be real,” demands the capricious young actress. “Everything will be real,” Ranevskaya reassures her. - That's it: pearls in the first act, and poison in the last.

The money was eaten up, but the shame remained (about his work in cinema).

Think and say whatever you want about me. Where have you seen a cat that was interested in what mice had to say about it?

If the patient really wants to live, doctors are powerless.

Animals, which are few in number, are included in the Red Book, and those that are numerous are included in the Book of Tasty and Healthy Food.

If I, yielding to requests, began to write about myself, it would be a plaintive book - “Fate is a whore.”

If a woman walks with her head down, she has a lover! If a woman walks with her head held high, she has a lover! If a woman holds her head straight, she has a lover! And in general - if a woman has a head, then she has a lover!

The brain, the ass and the pill have a soul mate. And I was initially whole.

Memories are the riches of old age.

My favorite disease is scabies: I scratch it and want more. And the most hated thing is hemorrhoids: you can’t see it for yourself, you can’t show it to people.

You have to live in such a way that even the bastards remember you.

The bell doesn't work, when you arrive, knock your feet.
- Why with your feet?
- But you’re not going to come empty-handed!

It has always been a mystery to me how great actors could play with artists from whom there was nothing to catch, not even a runny nose. How can I explain it, mediocrity: no one will come to you, because there is nothing to take from you. Is my shallow thought clear?

There are people in whom God lives; there are people in whom the Devil lives; and there are people in whom only worms live.

I’m like an old palm tree at a train station - no one needs it, but it’s a shame to throw it away.

Life goes by without bowing like an angry neighbor.

You can eat whatever you want, whenever you want, but only naked and standing in front of a mirror.

Women, of course, are smarter. Have you ever heard of a woman who would lose her head just because a man has beautiful legs?

Loneliness is a state that you have no one to tell about.

How I envy the brainless!

He will die from the expansion of his fantasy.

The cinema is a tramp establishment.

Health is when you have pain in a different place every day.

And what nature does to man! And all this without anesthesia!

How is your life, Faina Georgievna?
- I told you last year that it’s shit. But then it was marzipan.

When I die, bury me and write on the monument: “Died of disgust.”

Optimism is a lack of information.

Who would know my loneliness? Damn him, this very talent that made me unhappy...

When a jumper's legs hurt, she jumps while sitting.

Darling, I’ll take “The Idiot” with me so I don’t get bored on the trolleybus! (film “Spring”, in the role of Margarita Lvovna, housekeeper)

When Faina Georgievna was asked which women, in her opinion, are prone to greater fidelity - brunettes or blondes, she answered without hesitation: “Grey-haired!”

Young man! I still remember decent people... God, how old I am!

When I don't get a role, I feel like a pianist whose hands were cut off.

It has always been unclear to me - people are ashamed of poverty and not ashamed of wealth.

I only have forty-five minutes to live. When will they finally give me an interesting role?

I lived with many theaters, but never enjoyed it.

My life is terribly sad. And you want me to stick a lilac bush in my ass and do a striptease in front of you.

I don't recognize the word "play". You can play cards, horse races, checkers. You need to live on stage.

Don’t have a hundred rubles, but have two breasts!

Nothing but despair from the inability to change anything in my destiny.

...Well, I come across faces, not faces, but a personal insult!

Well, this one, what’s her name... So broad-shouldered in the backside...

Spelling errors in a letter are like a bug on your shirtfront.

A real man is a man who remembers exactly a woman's birthday and never knows how old she is. A man who never remembers a woman's birthday, but knows exactly how old she is, is her husband.

Alone. Mortal melancholy. I’m 81 years old... I’m sitting in Moscow, it’s summer, I can’t leave my dog. They rented me a house outside the city with a toilet. And at my age there can be only one lover - the home closet.

Loneliness as a condition cannot be treated.

It's hard to be a genius among boogers.

I'm a provincial actress. Wherever I served! Only in the city of Vezdesransk she did not serve!

Oh, those obnoxious journalists! Half the lies they spread about me are not true.
“I’m very sorry, Faina Georgievna, that you weren’t at the premiere of my new play,” Victor Rozov boasted to Ranevskaya. - The people at the cash registers staged a complete massacre!
- And how? Did they manage to get the money back?

Why are all women such fools?

Damn nineteenth century, damned upbringing: I can’t stand when men are sitting.

Birds fight like actresses over roles. I saw how the sparrow clearly said barbs to another, tiny and weak one, and as a result poked him in the head with his beak. Everything is like people.

Let this be a small gossip that must disappear between us.

From the first grade of school, a child should be taught the science of loneliness.

Now, when a person is embarrassed to say that he does not want to die, he says this: he really wants to survive in order to see what happens next. As if, if not for this, he would immediately be ready to lie down in a coffin.

Family replaces everything. Therefore, before you get one, you should think about what is more important to you: everything or family.

The fairy tale is when he married a frog, and she turned out to be a princess. But reality is when it’s the other way around.

I now understand why condoms are white! They say white makes you look fat...

Starring in a bad movie is like spitting into eternity.

The union of a stupid man and a stupid woman gives birth to a heroine mother. The union of a stupid woman and a smart man gives birth to a single mother. The union of a smart woman and a stupid man gives rise to an ordinary family. The union of a smart man and a smart woman gives rise to light flirting.

The companion of glory is loneliness.

Growing old is boring, but it's the only way to live long.

Old age is a time when the candles on a birthday cake cost more than the cake itself, and half the urine goes for testing.

Old age is when it is not bad dreams that bother you, but bad reality.

It’s scary when you’re eighteen inside, when you admire beautiful music, poetry, painting, but it’s time for you, you haven’t managed to do anything, you’re just starting to live! (late 70s)

Talent is like a wart - either it is there or it is not.

Talent is self-doubt and painful dissatisfaction with oneself and one's shortcomings, which I have never encountered in mediocrity.

Tolstoy said that there is no death, but there is love and memory of the heart. The memory of the heart is so painful, it would be better if it did not exist... It would be better to kill the memory forever.

The blind man to whom you gave the coin is not covered, he really does not see. - Why did you decide that? - He told you: “Thank you, beauty!”

I was smart enough to live my life stupidly.

She doesn't have a face, but a hoof.
.
Having learned that her friends were going to the theater today to see her on stage, Ranevskaya tried to dissuade them: “You shouldn’t go: the play is boring and the production is weak... But since you’re going anyway, I advise you to leave after the second act.” - Why after the second? - After the first one there was a lot of pressure in the wardrobe.

Success is the only unforgivable sin towards your loved one.

What am I doing? I feign health.

This is the fourth time I’ve watched this film and I must tell you that today the actors played like never before.

To help us see how much we are overeating, our stomach is located on the same side as our eyes.

This lady can already choose who she wants to impress. (To the opinion expressed: “The Sistine Madonna does not impress me.”)

“I was at the theater yesterday,” Ranevskaya said. - The actors played so badly, especially Desdemona, that when Othello strangled her, the audience applauded for a very long time.

I, by virtue of the talent given to me, squeaked like a mosquito.

I hate you. Wherever I go, everyone looks around and says: “Look, it’s Mulya, don’t make me nervous, she’s coming” (From a conversation with Agnia Barto)

Yesterday I was visiting N. And I sang for them for two hours...
- Serves them right! I can't stand them either!

I spoke for a long time and unconvincingly, as if I was talking about the friendship of peoples.

Sclerosis cannot be cured, but it can be forgotten.

Pavel Leontievna Wulf(1878-1961) - Russian actress, Honored Artist of the Republic (1927).

Biography

From a noble family.

She decided to become an actress after she saw V.F. Komissarzhevskaya on stage. On the advice of Komissarzhevskaya, to whom she addressed a letter, she entered the Pollak drama school, and a year later she switched to drama courses at the Imperial Ballet School at the Alexandrinsky Theater.

She made her stage debut as a student in the role of Laura in G. Suderman’s play “The Fight of the Butterflies.”

Upon completion of her studies, on the advice of her teacher V. Danilin, she tried to enter the Moscow Art Theater, but was not accepted. Since 1901 she worked at the Nizhny Novgorod Theater in Nezlobin's enterprise.

In 1902-1904 actress of the Riga City Theater.

After the revolution she lived in Rostov-on-Don. There I met Faina Ranevskaya. She became her friend and teacher.

She left memoirs.

Recognition and awards

• "Honored Artist of the Republic" (1927)

Roles P. L. Wolf

• “The Noble Nest” by I. Turgenev - Lisa
• “The Seagull” by A.P. Chekhov - Nina Zarechnaya
• “The Cherry Orchard” by A. P. Chekhov - Anya
• “Ivanov” by A.P. Chekhov - Sasha
• "Tsar Feodor Ioannovich" - Irina
• “Woe from Wit” by A. S. Griboyedov - Sophia

***********************

Poetess Sofia Parnok(1885 - 1933) was the most outspoken lesbian figure Russian literature of the "Silver Age". As a lesbian, Parnok lived to the fullest, and her long romances with women, very different - in age, profession and character, entered the work of the poetess; she spoke the language of poetry on behalf of her many silent sisters.

The first poems were written Sofia Parnok at the age of six. Later, while studying at the Mariinsky Gymnasium in Taganrog, she would start her first poetry notebooks. It must be said that Sofia was very capable in her studies and in 1904 she completed her gymnasium education with a gold medal.

Seventeen-year-old Parnok, without hesitation, broke up with Taganrog and “ran” after some actress she liked on her first of three European trips. She attempts to enter the Geneva Conservatory, but gives up music and returns to St. Petersburg, where she takes law courses, which, however, she also does not complete.

Nadezhda Polyakova

Twenty-year-old Parnok is having an affair with Nadezhda Pavlovna Polyakova. Their relationship lasted more than five years. N.P.P. became the main recipient of poems in Parnok’s student notebooks.

Marina Tsvetaeva

In 1914, Sofya Parnok meets Marina Tsvetaeva...
Sofia Parnok was 29, she was 7 years older than Marina Tsvetaeva, who quickly fell in love with a confident and outwardly somewhat aggressive woman. Their relationship was on the verge of what was permitted: Marina completely submitted to her Sonechka, and she “pushed away, forced to beg, trampled underfoot...”, but - and Marina believed in this until the end of her days - “loved...”

Parnok for Tsvetaeva is her “femme fatale”. Rock will also be included in the poetics of Tsvetaeva’s texts addressed to Parnok. The main motive in them will be moderate submission and worship before the beloved, from whom you do not expect reciprocity, but whom you idolize. To a large extent, this novel, the emphasized coldness towards the “gray-eyed friend”, the feeling of power over the submissive girl who left her husband and family for Sonechka, transformed the inner feelings of Parnok herself. She accepted love for the first time, allowed herself to be loved and, as often happens, it was as if she was taking revenge for the fact that once in her youth she herself had become a victim of such blind love for Polyakova, who disappointed her ("... and this is what I have been doing for five years gave her life").

After Tsvetaeva, there were many women in Sofia’s life.

Lyudmila Erarskaya

A noticeable mark was left by a new love - theater actress Nezlobina Lyudmila Vladimirovna Erarskaya. Their affection for each other dates back to the dark revolutionary years. In the summer of 1917, when everyone was in a “murderous mood” and life had become “almost impossible,” the two of them went to Crimea, where they lived together.

Olga Tsuberbiller

In the early 1920s, Sofia Parnok met professor of mathematics Olga Nikolaevna Tsuberbiller, who became Parnok’s main support “in the most terrible” years. “Invaluable” and “blessed” friend Olga took Sofia, as she put it in one of her letters, “as her dependent.” Parnok finally settled in one of the Moscow communal apartments. Being under the peculiar everyday patronage of a friend, she does not give up trying to improve her literary life.

In Parnok’s personal life, at the end of 1929, a short passion for a singer suddenly flashed. Maria Maksakova, but she, however, will not understand the “strange” desires of the aging poetess.

Rejected and misunderstood by Maksakova, Parnok, who in literature could only hope for the work of a laborer-translator, is approaching the end of her life.

Nina Vedeneeva

Half of the penultimate year of life Sofia Parnok spent in the city of Kashin with my random friend, a physicist Nina Evgenievna Vedeneeva. Both were under 50...

Vedeneeva became Parnok’s last love - Sofia, before her death, seemed to have received a reward from God... By the way, born into a family that professed Judaism, Sofia consciously baptized, accepted Orthodoxy and Christian culture. On the verge of death, Parnok fully felt the power of love and regained creative freedom, which was breathed into her by feelings for the “gray-haired Muse” - Vedeneeva.

Oh, on this night, the last on earth,
While the heat has not yet cooled down in the ashes,
With a parched mouth, with all my thirst to fall to you,
My gray-haired, my fatal passion!

After staying in Kashin, a cycle of poems remained - the last from the poetess. The Kashin cycle is, by all accounts, the highest achievement of Parnok's lyrics.

The following summer, in the midst of her unusual late romance and bright creative rise, Parnok, “overwhelmed” by feelings, died in a small Russian village not far from Moscow.

Faina Ranevskaya

There is a photo of two compatriots, two women from Taganrog, in an embrace, Sofia Parnok And Faina Ranevskaya. Unlike her older friend, Faina was a monogamist. Throughout her life, a red, or rather pink, thread ran through her love for the actress. Pavle Wulff.

Faina spent her childhood in a large two-story family house in the center of Taganrog. From a very young age she felt a passion for the game. In the spring of 1911, on the stage of the Taganrog Theater, Faina saw Pavel Leontyevna Wulf for the first time... But another four years would pass before, after graduating from high school, Faina would give up everything and, against the wishes of her parents, go to Moscow, dreaming of becoming an actress.

Having spent her savings, having lost the money sent by her father, who was desperate to guide his daughter on the true path, shivering from the cold, Faina will stand helplessly in the colonnade of the Bolshoi Theater. Her pathetic appearance will attract the attention of the famous ballerina Ekaterina Vasilievna Geltser. She will bring the chilled girl to her house, then to the Moscow Art Theater; will take you to actors’ meetings and salons. There Faina will meet Marina Tsvetaeva, a little later, probably with Sofia Parnok. Marina called her her hairdresser: Faina cut her bangs...

In the spring of 1917, Ranevskaya learned that her family had fled to Turkey on their own steamship "St. Nicholas". She remained in the country alone - until the mid-1960s, when her sister Bela returned from emigration.

She saved Faina Ranevskaya from family loneliness Pavel Leontievna Wulf. A new meeting with her took place in Rostov-on-Don just in those days when the “St. Nicholas” landed on the Turkish coast. Almost forty years of life began Faina Ranevskaya next to, along with Pavloy Wulff.

It must be said that there are no direct indications of the lesbian nature of the relationship between Faina and Pavla, there are only indirect ones. Yes, they were close like best friends are close. Yes, the artistic crowd cannot remember a single romance between Ranevskaya and men, except that they can remember her incomprehensible short friendship with Tolbukhin, which ended with the death of the marshal in 1949.

Add here the sparkling humor of Faina Georgievna, who loved to joke about her lesbianism. She often told a story about how, in her youth, she experienced a terrible insult inflicted on her by a man:
“One day a young man came to me - I carefully prepared for his visit: I cleaned the apartment, set up a table from meager funds - and said: “I want to ask you, please give me your room for today, I have nowhere to meet a girl". This story, writes art critic Olga Zhuk in the book "Russian Amazons...", Ranevskaya usually concluded with the words "since then I became a lesbian..."

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