VARLAMOV Konstantin

Son of composer AE. Varlamov. Born in 1848, at a time when his father brought back from the dead guests, his mother was struck nerve palsy. Varlamov was a sickly child, but then his body stronger. Childhood Varlamov "was full of hardship, famine and poverty veiled bows". A mother feeds her embroidery, which sold for a pittance; pension after his father was a very small, not more than 18 rubles per month. Family Varlamov was close family actress Struyskoy, hence there was an early passion for the theater Varlamov. Reaching age 17, Varlamov asked п?.п?. Chita, which took him to his troupe in Kronstadt at 25 rubles per month. The young actor kept the only 15 rubles, and was happy in his own merry and was full of admiration, that (he) actor. He stayed in the province for eight years. On tour in the Lower Varlamov made friends with N.F. Sazonov. Once the case has forced Varlamov replaced suddenly ill actor. At present enjoyed the spectacle while more weight actor AA. Nile, which Varlamov liked. Thanks Nile and Sazonov, in 1875. Varlamov made his debut at the Imperial Alexandrina scene and was soon admitted to the troupe. The first time (cm. chronicle of the Wolf) Varlamov had to act pustenkih operettas and vaudeville, he played all that was horrible, with his unfailing cheerfulness, often falling in the cartoon ". In 1900, Mr.. he already had in its repertoire of 800 roles. "I've never climbed in the premiere - writes of himself Varlamov - has played everything, and my motto is: an actor called to the scene, not in order to play a role, but in order to play the play". Staying in a conspicuous position a first-class high-grade comic scenes Varlamov loving brought together the best representatives of the arts and literature. In the theater world, he soon became a general favorite. In his autobiography, Varlamov notes that almost half of the company "was his family - his godson, planted his sons, daughters, and t. d. Created Varlamov images are highly varied, the range of his talent is very wide and covers the human characters from the purely comic prior to the performance of deep concealed drama. The list of his major roles in the "Yearbook of the Imperial Theaters" (1900, p.. 278 - 286) includes 640 rooms. Brilliant Varlamov comic roles in Shakespeare's plays. But the true masterpieces of theatrical creativity Varlamov made in Ostrovsky's plays, his favorite writer, the love for which, in his own words Varlamov, borders between him and worship. In a rare piece Ostrovsky Varlamov did not create the main image or episodic. It can be called representative of pure, unclouded, transparent fun, spokesman for purely national humor. How Gorbunov and T. Assumption noticed and recorded tag it simple Russian man, so Varlamov grabbed his habits, his appearance to look and gesture - caught because the Russian soul felt its psychology. The naivete of humor and his spontaneity - a significant and fascinating feature of the talent Varlamov. With comic, which is itself, not giving any training, no drill front of the mirror, the viewer falls almost hypnotic actor's creativity Varlamov. It seems that it was impossible to say the words differently, to make a move, other than Varlamov said or did in this case. Like all great comic talents - for example, Martynov - Varlamov from his purely comic gift interwoven with the rare ability to play the drama of life. What a great talent, Varlamov takes a life, and that generates laughter, and that makes cry. Shaking with tears, huge, powerful Varlamov just pitiful and terrifying, as is sometimes funny. That is it in the "Case", "Tinsel," our friend Neklyuzheve "," Tatyana Repin ". Not every critic to notice that, by virtue of its strong individuality, Varlamov sometimes imposes on the role too sharp features of his personality. This can not argue, but that bulge that Varlamov said at this role, it redeems wilfulness talent. Another criticism that has been placed once Varlamov - his tendency to caricature, over time, completely lost its force; introspection and artistic discipline has long been released Varlamov from this tendency. In their theoretical convictions Varlamov is a supporter of Old Testament literature and theater. It recognizes neither the modernist innovation, nor the director's tricks. A. Izmailov.