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A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Natalia GREBIONKIN

( Actress)

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Biography Natalia GREBIONKIN
photo Natalia GREBIONKIN
Actress Theater on Pokrovka

. Her appearance at the Teatro in Pokrovka was catchy, . striking: jubilant "Tarantella" Gavrilina, . intoxicated dance, . sly, . a child's smile charming seventeen pupils, . and unsuspecting, . What sad events filled recreated Turgenev's Month in the Country,
. It may be too accustomed to perceive her as a heroine of Vera's character's second plan, only shielding dramatic story of Natalia Petrovna, the audience did not immediately comprehend that the performance with. Artsibashev main artistic move directly correlated exactly with the first. Her fate, just a moment ago, promising a response to the most romantic dreams, turns trivial, but no less painfully injuring the history of failed dreams.

. For a few moments of playful, carefree child grows older, opening as mercy, as infinitely sad world
. This transformation, this innermost Turgenev theme Natalia Grebenkina passed without a hint of affectation. Low external expression, even in the scene when she first opened, how far can bring jealousy that, before whom she worshiped, and that her own sense of unanswered. But what went impulsiveness and ease, and where they are, those shining eyes? Chained movement extinct opinion, in which are hidden so much - neprimerennost, frustration, resentment. In fact, a whole life is played for half an hour, that is comedy.

They say the first performances of this feeling did not arise. So, for a few seasons in the troupe Artsibashev young actress greatly added. Noticed it immediately, when, after the Ekaterinburg school, she began to play on Pokrovka. Marked talent, but the future was evaluated carefully. They were waiting for work that would judge its potential with certainty. Now, when Natalia played Irina in Three Sisters, "and already this season Ophelia. Her artistic identity was determined, causing quite a clear association. And determined its theme, which in a different arrangement of sounds from the play in performance.

As for associations, for me the most stable - Tsvetaeva Sonia. In "Captive spirit", the performance of poetry, prose and letters to Tsvetaeva, Natalia Grebenkina appears in the guise of one who has devoted young Antokolsky "Doll of the Infanta" and of whom Tsvetaeva, ranging the same metaphor, says that "she was crying in Mozart ". That is a striking way to keep natural grace and nevydumannost, child nezatumanennost experiences, although located in the heart of hypocrisy: the theater "<...>

"Very talented, but, you know, the actress only in their roles ... Do not play at all: simply live.

After Ophelia and Irene talk in the same spirit did not cease, although they become less. Apparently, due to the fact that the leitmotif of creativity Natalia Grebenkina in these two roles tread too clearly and sounded with such a piercing when you realize the echo comes by itself. This leitmotif is best, perhaps, to say verses from "The Story of Sonia": "Toy - talk - flower - an anachronism - aimless spring - whose name - Romanticism". Both the most profound image, created by Natalia Grebenkina, romantic is in this sense. With an indispensable presence of something a toy, a fragile, ephemeral in the face of such neromanticheskoy life.


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  • nikita for Natalia GREBIONKIN
  • Very interested in the biography of the actress, help OWL, thanks
  • Galina Martinov for Natalia GREBIONKIN
  • Natasha! What are you, a wonderful actress! I came home after "Woe from Wit" and I can not calm down, such a wonderful impression of your Sophia. Quit looking for you feedback on the Internet. About you wonderfully written, but your site, I did not find. Poprosla Tarasov call you! "You know, dear, I always remember about you on Marcel, what a touching you there was. And today, after the play is very pozhelela that only today, looked you in spektale. You should check your repertoire. Whether, happy, Natasha! You are unusually talented!
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