Durov Lev

Durov Lev

My other favorite was Lev Durov. Yakovleva and him – two of “my" very good actors. But what, then, is a “very good” actor? Only the ones that don’t get called good "artists!" Would that my eyes had never seen very good “artists.” But Durov? Of course, it would be impudent to compare him, as the staff-captain Snegirev, with Moskvin. But in this case I only remember Moskvin in the sense that there are some artists who lack any separation: “this, this is my blood, and the blood of whoever I’m playing." And then there are artists who get enjoyment out of playing. For them, it’s joyful.
 
In “Three Sisters” I always wait for Durov in the wings. It would be shameful to be far from the stage after Durov – Chebutykhin danced out his dance of despair. We were scolded for our hysterics, but nobody could reproach Durov for pure technical skill. Durov entered into the role with his own being. His physically-fit body expressed the essence of the moment. His delivery of the role seemed to have no limits. You could tell him that Snegirev, in “Brother Alyosha,” falls on the mountain and smashes himself on the ground. You could say that, for the beauty of the "directorly" word. But Durov would know how to do it.
 

And in “Don Juan," you can let slip, fantasizing irresponsibly, that on Commodore Sganarelle’s appearance, "they say" you could climb up a sheer wall. And Durov would climb! He does it with unforced ease, because his internal assessment was just as rapid and impetuous as in the external depiction of the role. His energy throughout the length of the show untangles and unwinds. And as though from a lit match, even his dullest partners begin to glow a little… 

In Theatre

Good Luck! 1954, Central Children’s Theatre
104 Pages about Love 1964, Lenin’s Komsomol Theatre
Everyone Gets What He Deserves 1965, Lenin’s Komsomol Theatre
Brother Alyosha 1972, Moscow Dramatic Theatre on Malaya Bronnaya Street
Don Juan 1973, Moscow Dramatic Theatre on Malaya Bronnaya Street

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