(1864 - 1910), daughter of singer F.P. Kommissarzhevskaya. In 1883 Kommissarzhevskaya married artist Earl V.L. Murav'eva, but in 1885 left him. She made her debut on stage in St. Petersburg Maritime Board. In 1892 in Moscow in amateur theatricals Kommissarzhevskaya played in the "Fruits of Enlightenment". He who has seen her Kiselevsky gave her an invitation to the company of NN. Sinel'nikova in Novocherkassk, then she played in Ozerki, near Petrograd, and in Vilna. In 1896, debuted at the Alexandrinsky Theater in Petrograd in the role of Rosie ( "Battle of the Butterflies") and played on this stage, with constantly increasing success, until 1902. Seasons 1902 - 1904 period Kommissarzhevskaya devoted to travel to Russia, then opened his own theater in Petrograd (in the Arcade). In 1905 - 1906, the political events distracted the audience from the theater, but Kommissarzhevskaya resume its work in the theater at the Officers'. Here it is given to the struggle for new ways and forms for the new theater and the arts. In October 1909 she made another trip to Russia. February 10, 1910, in Tashkent, Kommissarzhevskaya died of smallpox. In the foyer of the theater Aleksandrinsky put her bronze bust. Creativity Kommissarzhevskaya noted directness and sincerity. It was alien poses, manernichanya, routine. Its realism was far from naturalism, from the photographic image of reality, it was combined with an amazing tenderness, gentleness and grace. Feeling measures helped Kommissarzhevskaya happily overcome all the obstacles presented by the requirements of realism. She did the same close to the viewer as the images of reality and the images taken from the world of poetic imagination: not only Rosie, Klerhen ( "Death of Sodom"), Larissa ( "Bride"), Magda ( "Homeland") and Nora, but Snow Maiden and sister Beatrice. Kommissarzhevskaya not depicted, and could not depict the negative types. Giving of her was lyrical, it is not so much to transform a person depicted as brought in each image and the features of its own soul. In content, and partly for style, creativity Kommissarzhevskaya divided into three phases. In the first period of his artistic activities, until the spring of 1902, Kommissarzhevskaya was predominantly female artist uncomplaining suffering, universal human suffering remained outside her art. New notes sounded when played Kommissarzhevskaya Marikku (Ivanova Night Lights "), protesting against the absurdities of life, tending to break the chain of vulgarity. This protest in Marge and Nora is the main note of a new period of creativity Kommissarzhevskaya; it is not less touches, but more concerned and draws. In the last period Kommissarzhevskaya comes face to face with global challenges, with the higher mysteries of life. But funds for the old theater that not suitable. Kommissarzhevskaya looking for new tools, new forms. So taking symbolism and stylization of Meyerhold, . then, . disappointing them, . Kommissarzhevskaya sought to "simplify" the theater, . to reduce the role of scenery and climate, . hoping to "liberate" the actor and put the viewer in direct communication with the soul of the actor,
. Her work paled, . and if occasionally flared up again onetime flame ( "Sister Beatrice", . "Peleas et Melisande", . "Francesca"), . this happened not because of new forms of theater, . but in spite of, . when talent artist, . upsetting the director's wall, . back to the old realism of tone and lyrical emotions,
. Shortly before his death appeared Kommissarzhevskaya her "Denial" - a letter to his comrades, in which she announces her intention to leave the stage. "I'm leaving - she wrote - because the theater in the form in which it exists now, I no longer seem to fit, and the way that I was in the quest for new forms, no longer seem to me true". - See. Turkin "Kommissarzhevskaya in life and on stage" (Moscow, 1910), "Collected Memory
Vera Feodorovna Kommissarzhevskaya (St. Petersburg, 1911). V. Ochs.
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