Vertinskaya Anastasiya

Vertinskaya Anastasiya

In the course of the show, Tartuffe decided to embrace Elmira. She was surprised, and kind of shrunk away. This happened in the middle of the stage, far from all the doors. Vertinskaya glanced back, searching for an exit. Everyone, of course, remembers the beautiful prompter’s booth at the “sister MXAT" (now the Theatre of Nations). They were beautifully antiquated things, those winding lines of that stage and that booth. So there, Vertinskaya and Lyubshin played the scene, standing by the prompter’s booth. And when Vertinskaya glanced to the sides, as a joke I yelled, “Climb into the prompter’s booth!”
 
With lighting speed, without shortening the scene, she yelled back, “There's dirt and nails in there!”, but right there, having delicately slipped out of Tartuffe’s embrace, she slipped into the prompter’s booth, and Lyubshin, of course, instantly darted in after her. Only their heads could be seen, but they continued their dialog as though nothing had happened. You have to have that kind of plasticity, organicness, and actorly nature in order to accomplish the impossible, even ridiculous out of the blue. There’s nothing better than such an apparently carefree rehearsal, from which useful “somethings” can be extracted. And there’s nothing worse than “profundity,” from which exactly nothing can be extracted. It was not for nothing that Natalya Petrovna, from “A Month in the Country,” said to Rakitin: “…what good is the mind, when it can’t amuse itself…”  

In Theatre

Tartuffe 1981, Gorky Moscow Art Academic Theatre

Echo

Ulyanov Mikhail
Volkov Nikolay
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