Leah Akhedzhakova Medzhidovna

Leah Medzhidovna Akhedzhakova born July 9, 1938 in Dnepropetrovsk. Parents Leah Medzhidovny were actors: his mother, Julia, - leading actress, and father, Majid Salehovich Ahedzhakov (in 1940. graduated GITIS, and then the Advanced Directing Courses in Leningrad) - chief director of the Adygeya Regional Drama Theater named after Pushkin.

Parents did not want her daughter is the same as theirs, the fate. They dreamed for her for something reliable, thorough - a doctor, engineer, biologist. Postwar Maikop theater - a topic for separate discussion. We had to plow the entire Krasnodar region, recalls Lia Medzhidovna not to starve to feed the entire troupe.

My mother was often ill. Lia Akhedzhakova remembers waking up in cold sweat ', listening, breathing a mother. Since childhood pursuing this fear - my mother will not.
In this awkward girl, but soon manifested his inner strength. Persistence, or rather, self-confidence helped her to become an actress. When in 17 years, she avoided many of Moscow studio with the question, do not feel they need an actress, she was advised to think of another profession. In the admissions committee of one of the theater universities felt sorry for her: you are a talented girl, but do not spoil your life, an actress, you will never. But she knew that would be. Received incidental institutions involved in the initiative, more and more convinced that without the theater she does not live. And it all happened.

She entered the studio Adegeiskaya GITIS (rate Stamp. Chistyakov).
Among its remarkable qualities - courage, charisma, 'boyish' determination to go to the end, despite all. Many of her heroines are engaging in dialogue with life in the language of ultimatum. Akhedzhakova able to achieve his aim: 'through peaceful negotiations'. And this, despite the fear, requires not only courage but also of wisdom: One of the great said: become a professional, when you get used to the fear. Akhedzhakova not only overcame their fear, as 'tamed' him. It was the same 'tamer of fear', as Bugrimova became tamer tiger. After GITIS Lia Akhedzhakova in 1960-1977 she worked in the Moscow TYuZe. Her seemingly inconspicuous appearance piled in front of her, . seemed, . insurmountable obstacles: clumsy, . awkward, . impractical, . but stubborn: In addition to all, . striving always and everywhere be the first (gold medal!), . solely on their own terms,
. Arriving in Moscow, she knew, perhaps, not much - the right to place under the sun would have to win. This, like many others, had to learn from scratch.

Lia Akhedzhakova started as an actress travesty. Among her best roles tyuzovskogo period: Taraska Bobunov ( 'Be ready, Your Highness! "On L. Kassil), Eeyore ( 'Winnie the Pooh and his friends' on a. Milne), grandmother ( 'I, my grandmother, Iliko and Hilarion' on H. Dumbadze), Zhenya ( 'My brother plays the clarinet' A. Alexina), Denis Korablev ( 'Fire in the pampas, or exploit in the ice' on in. Dragoons), Pippi ( 'Pippi Longstocking' on A. Lindgren), etc..

The years spent in TYuZe, where she played boys, girls, pigs, roosters, and even absurd ironing, Akhedzhakova for many years considered 'lost' for a time. Today, she is sure: the fate should be taken with humility. And when it came time to part with TYuZom, left the theater and all the time. In 1977, the actress went to the theater troupe "Contemporary", the director Galina Volchek, realizing that all have to start from scratch - from roles to relationships with new team. She and 'Contemporary' sat long without a job, seeing himself as a useless. But, strangely enough, self-doubt, pain and despair at times even useful for the creative person. Nobody knows of any 'rubbish' or 'surah' grew best 'flowers' Leah Medzhidovny.

His favorite director, she believes AV. Efros, but worked with him once. Efros, in its view, - a thin psychoanalyst: he knew how to find 'key' to everyone with whom he worked. Lessons Efros Leah Medzhidovna considers invaluable to himself, remembers his stunning performances, rehearsals and his "master class" with the young actors of Moscow.

In Soviet times, when the actress was just beginning, there was a stamp of 'positive hero'. In the canon of 'positivity' Akhedzhakova does not fit. Her heroines are very similar to her very. 'But I can not say to himself - in the heat of the moment exclaims Leah Medzhidovna - I'm a positive or negative! I'm a. I cry. I bolno.Smeyus and do irreparable mistakes. "

Leah Medzhidovna belongs to the actors, discredited heroic stamp, who discovered the identity of individuals not only unremarkable, but as if living on the "margins" of women.
Ahedzhakovskie heroine - 'girl-old woman' - at no one similarity - they are the unique. They, . if torn at random from the queue, . a trolleybus stop, . nothing in common with pathos social heroines, . - For example, . Mayor Elizabeth Uvarova, . which in 'Mr. Speaker' brilliantly played by Inna Churikova, . nor with 'lyrics' end of the 1970, . nor with the charming village broads Nonna Mordyukova,
. Following Ahedzhakova, together with Akhedzhakova on stage and screen came new, unusual heroine - are the same and in disguise, who tried not 'give lot', and even reverse the fate ...

Home specificity Akhedzhakova as an actress - the ability to be 'locator' private, personal, deviating from the prescribed 'norms' - the ability to not pretend not to play, and vzapravdu be stung 'aliens', 'murmuring a bunch of words'.
Akhedzhakova not just a comic or tragicomic actress, she, by and large, tragic actress, and this, as is the case with great Faina Ranevskaya determines the peculiarity of its fate (afraid to pursue a parallel, but M. Turovskaya wrote about Ranevskaya that she becomes the more modern, less able to play it:).

. In the film actress started acting in 1973, and already her debut role in the film "Seeking a man" was awarded prizes of international film festivals in Varna and Locarno
. The actress flashed on the screen for some 3-4 minutes. But for those who saw the picture, these moments are unforgettable

. Leah Akhedzhakova starred in many prominent directors, its a game, even in the episodes has always attracted the attention of the audience - is enough to mention the role of Alexis Herman in the movie "Twenty Days Without War" and the melodrama of Vladimir Menshov "Moscow does not believe in tears"
. In her unnamed woman from the '20 days without war 'Alexis Herman sounds theme is not the female, and human dignity, pain, hope. Subject uniqueness and exclusivity of the human person.

Most vividly her talent Distinguishing actress, prone to grotesque and tragicomic roles, appeared in films directed by Eldar Ryazanov, with whom she first met in 1975 on the set of "Irony of Fate".

In any very small episode she is able to hook the viewer actually unfolding life.
Yet in the minds of viewers Akhedzhakova was and remains an actress, a sharp sense of humor who are able to 'laugh' as if by accident - easily and elegantly. After all, plus everything else, yet Akhedzhakova brilliant clown. Choosing this actress for the role, the director, as the sniper 'earns points'. Because Akhedzhakova - a win-win 'strategic weapon'. Although even her comedy - not typical, followed by the naked eye to read a sad irony Leah Medzhidovny.

Everyone remembers the secretary Vera from the movie "Office Romance". That role - one of the brightest screen sketches actress. It would seem, only a kind of secretary of a dull statistical agency. But the role of a specially constructed Ryazanov 'under Akhedzhakova'.
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. In ahedzhakovskoy Vera is 'raisin' - she is a gem, . ducky, . seems to be quite typical of the secretary (perhaps the most recognizable among the characters), and still in it - the unexpected, . paradox, . how to reveal the real life, . but rarely broke through the screen.,
.
. Secretary Vera
. Here it is resorting to work. A thin, foldable, dressed in the 'Piscu', 'train' in a confident. She knew all the latest trends - life, fashion, and t. d. In this statistical office, she does not feel 'pawn' or 'cog', rather - the chief scientific adviser in the newest trends in life. The image of Vera-secretary highlighted the important verge actress Akhedzhakova. 'Block', the model becomes her unexpected, moving like quicksilver, ready to turn his seamy side. Hilarious, funny in a heroine - not simply a healthy reaction to the 'absurdity' of life. Comedy image derives from a dialectical understanding of the thin actress deep layers of the existential. After all, 'human, only human' itself and funny and sad. Vera recruited audience hearts of its natural charm, the fact that it is all 'in full view'

. At a time when almost everything in our life was in accounting 'documented', I think she's one can be happy and enjoy life, and this generously shares his talent with others.

. For the role of secretary Vera she, among other founders of this remarkable painting, was awarded the State Prize of the RSFSR behalf of the Vasilyev brothers
. According to the testimony of the Eldar Ryazanov, the role of Helena Malaevoy in the Garage, they, along with Emil Braginsky wrote specifically "under" Akhedzhakova. For his role in a tragicomedy Ryazanova "Heaven Promised recognized film of the year, she, in a survey of the magazine" Soviet Screen "was named best actress in 1991.

Akhedzhakova - it is always the voice of naked souls, who believe immediately and unconditionally. Yes, her heroine a bit absurd and ridiculous. Leah Medzhidovna and in everyday life 'other', not what we were prepared to see it.

Recall Akhedzhakova even marching in a column in zechek 'Steep route' E. Ginsburg. Even in the ranks, in a column she gets out of the total weight! Because in the prisoner's robe it - 'course' and 'red line': And so in every performance!
.
. Talent Akhedzhakova highly democratic, understandable to any audience, and yet intelligent and subtle
. She - 'our delegate', she seemed to speak for all of us, it is retentive folk memory, wise folk wisdom. Besides, this is a highly disciplined and collected Actress. Original, anyone not like: Her comic characters are wider and deeper than what was specified in the script or play any of it played comedic roles. But the real, great success comes to an actress when she becomes a sponsor role. This was in the 'Persian Lilac' N. Kolyada (director Milgram), or in his own 'We Are Going, going, going' (directed Volcheck).

Heroines Akhedzhakova - poor guy falling from one trouble to another. But we love them for what they are - clumsy, ugly, unhappy. In fact, our enthusiasm is the fact that at such and such qualities, with such incompetence and unsuitability of a sudden, they wait in line, survive and who would have thought, in spite of all win!
.
. Her faith Semenikhina of 'East Stand' (directed by L
. Heifetz) - Maximalist and prozhekterka, heard a distant 'music', at the same time is solid, moonlight nurse on the 'Emergency', t. e. not head in the empyrean. When external unassuming Faith - resistant 'Tin Soldier' life, fine original philosopher. Broken-slaughtered life, she remains her knight with a very intelligible code of honor, and that she had no one to rob.

Appearance travesty and comedy natural gift only strengthened the desire to become an actress heroine. This gave birth to 'ridiculous' clown eccentric. In the play 'The Wall' (1987) Margaret Bridge, a provincial pop diva, a clumsy, awkward and funny, feels almost: Edith Piaf. Of course, it's cartoons, caricature, parody. Directed P. Viktyuk brought to the circus 'condition', to trick the accuracy of the ability to convert Akhedzhakova incredible, impossible - in a reliable and fantastic to do, as it were diffused in the air, T. e. For all the absurdity of this, how easily you can 'reach with his hands'.
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. One of the most remarkable ahedzhakovskih roles - Pulcheria Ivanovna of 'old-love' - lace, jewelry work - that's where 'punctures and truancy' pulsing, living, breathing
.

In Pulkheria, well, just like in Shakespeare's Juliet, reckless sacrifice and efficiency; it until his dying day cares not about himself but about him, about his expensive narrowed. For external awkwardness and 'house-proud', for almost 'only everyday' - the talent and wisdom of humanity, warmth of the soul and heart, live, breathe.

Akhedzhakova like sensitive radar, detects subtle currents of life around. She is one of those rare actresses who brought to the stage and screen for a new type of art for our heroine chaplinovskogo wing, who their 'marginal people' brought to the fore. What simple-mindedness and incompetence, angularity and oddness of their Verochek, Tanechek, Rose, Juliet (Juliet Ashotovna from the film and. TOUMANYAN 'When I become a giant'), Phim, Lublin, Pulkheria made attractive, making her the heroine, at least in the minds of viewers, remain important and 'principal'. Thanks Akhedzhakova 'face of the crowd' acquired centripetal force and persuasiveness.

All four of her heroines 'Flats Columbine' L. Petrushevskaya (setting P. Viktyuka) Have the 'invincible' levels of internal strength. Each (Light, Ay, Galya, Columbine) was an ascetic of extraordinary vitality, each was a gambler kabirievsky momentum, made him forget about their birth, genetic fragility

. In the final, 'Andante' Ou scalded her room monologue, . consisting of an infinitely long sentence, . spoken in one fell swoop, . one breath, . punctuation, . without caesura, the heroine in the heat of donated all the, . What nedodala her life: 'Perfume France, . Book Toulouse-Lautrec, . all Impressionists, . Graphics Picasso, . album erotica, . Chagall, . Kuznetsovsky china, . House on the Embankment, . trip to the water!.,
. And his son, son, son! ".. ' The last three words Akhedzhakova, just slow down, saw a 'magic' in italics. It was a moment of shock when the actor's greatest triumph, the moment of this poetry. Because these words hit like 'a knife in the heart'

. What a charm, a spiritual strength needed to have that 'peripheral' and 'episodic' turn in 'solo' and independent heroines!

. The real breakthrough in the biography Akhedzhakova after 'Flats Columbine' roles were in plays Williams 'warning to small ships' (1997) and 'Sunflowers' (2002) - Leon Dawson and Claire - the role of, . which every modern actress can only dream, . the role of a truly profound and tragic,
.

Leon, and Claire - all survived and managed to almost anything to give. Both, 'without taking off the mask', were the only ones of their kind, were higher than normal everyday victories, pains and injuries.

They say: from the sublime to the ridiculous one step. Akhedzhakova, like Chaplin, proves the opposite: from the ridiculous to the great distance even shorter. How many great Litsedei to her, she instinctively undermines the hierarchy of genres: not playing any 'clean' comedy, or 'clean' tragedy. Because he loves all the 'Move', half-hearted, mobile.
Akhedzhakova - master of spontaneous improvisation, and sometimes a 'black', thoroughly absurdist humor, which she brilliantly confirmed in a television drama based on the play and. Ionesco's 'Brad Couple' (a duet with Mr.. Khazanov).

E. Ryazanov 20 years ago understood: the charm of this actress is that a mandate to play a negative role, you risk turning the play. Akhedzhakova in minutes can 'converts' the sympathy of the audience, make sure that they willingly stand up to the side of any of its negative characters.

In 1970, LM. Akhedzhakova conferred the title of Honored Artist of the RSFSR, in 1994 - People's Artist of Russia. Leah Medzhidovna - USSR State Prize Laureate (1973), the State Prize of the RSFSR (1979), the National cinema award 'Nick' (1991, 1992, 2007), 'Best Actress in 1991' in a poll of the journal 'Soviet screen'. She was awarded the Order of Merit to the Fatherland 'IV degree (2006).

'I have too little time to spend it on mediocre projects and searchlights' - favorite proverb Leah Medzhidovny. She reluctantly spoke about their own failures on the directors 'other blood groups', facing her destiny, everything superficial, superficial, casual in their lives. And a drop of hubris and arrogance, no shortcuts, and 'birochek', inseparable from the consciousness of its own exceptionalism. If the word 'scruples' does not exist in nature, it should have been invented specifically for Akhedzhakova. In any living space it takes up too little space! And one more fact, in the actor's world is almost unbelievable, incredible, uncanny: it is neither of whom does not speak ill. And if something and think about it out loud still nothing to say, even if someone's nasty 'muzzle prudent style' (D. Harms) will cause it a keen sense of rejection.

Her witty remarks, jokes, charged with a laugh, like gunpowder - irresistible.
Lia Akhedzhakova not afraid to be (or seem) like a caricature, a funny, sometimes ugly. It does not matter much in her role or a small. Even if this "actress-sparrow 'every 2 hours on stage to sit,' to stand on his head 'or do nothing, we are still with great interest will be watching it. Because it is - special.

. Actor's work:

. Seeking a man [1973]
. Tanya [1974]
. Irony of Fate, or Enjoy Your Bath! [1975]
. Ivan da Marya [1975]
. Looking for my destiny [1975]
. Besschastnaya Matryona [1975]
. Twenty Days Without War [1976]
. Office Romance [1977]
. Pie in the sky [1977]
. Present black magician [1978]
. When I become a giant [1978]
. Handsome man [1978]
. Moscow does not believe in tears [1979]
. Garage [1979]
. Speak my language [1979]
. On poor hussar Put in the word [1980]
. Eighth wonder of the world (sports fantasy) [1981]
. Where disappeared Fomenko? [1981]
. Leave at his own expense [1981]
. Somewhere in the provincial garden [Some of the provincial life] [1983]
. Talisman [1983]
. Small favor [1984]
. Copper Angel [1984]
. Autumn gift fairies [1984]
. Wingspan [1986]
. Sinner [1988]
. Vagrant bus [1989]
. Sofya Petrovna [1989]
. Doping for Angels [1990]
. Mordashka [1990]
. Sons of bitches [1990]
. Heaven is the promised [1991]
. Forty-seven [1992]
. I wanted to see the angels [1992]
. Abyss, the seventh circle [1994]
. Tren-Bren [1994]
. Brad Couple [1995]
. Moscow Holidays [1995]
. Dandelion Wine [1997]
. Old nag [2000]
. Fifth Angel [2002]
. Narrow Bridge [2004]
. Kazaroza [2005]
. Playing the Victim [2006]
. Andersen
. Life without love [2006]
Branch of lilac [2007]
Potapov, to the board! [2007]
Four ages of Love [2008]

Source: http://ahedzhakova.narod.ru