Pavel Wulf and Ranevskaya. My dear Pavla Loentyevna Wulf

The brilliant actress Pavla Wulf played on the stages of provincial theaters, occasionally visiting the capital of Russia. The woman tried on roles in productions around the world famous plays and made acquaintances with famous directors and actors. She became the first theater teacher and close friend.

Childhood and youth

Pavel Leontievna was born in the city of Porkhov (Pskov province) into a family of hereditary nobles. Some sources claim that the parents are Russified Germans, but there are versions that they have French or Jewish roots.

A wealthy family had the opportunity to involve teachers from Moscow University in the education of their children. program high school Pavla settled down at home, and then became a student at the St. Petersburg Institute of Noble Maidens.

The girl dreamed of becoming an actress since childhood and enjoyed trying on various roles in home performances. Once I was so fascinated by the performance of Vera Komissarzhevskaya, the famous Russian actress, the founder of her own theater, that she decided at all costs to also devote her life to acting.

Pavla wrote a letter to Vera Feodorovna, which, surprisingly, did not go unanswered. The artist recommended the girl to enroll in drama school Pollak. Afterwards, Wulf accepted into its ranks the Imperial Ballet School, opened at the Alexandrinsky Theater. The graduate wanted to get into the capital Art Theater, but was refused. Pavla Leontyevna was destined to do brilliant career provincial actress in the role of a lyrical heroine.

Theater

Exit to big stage Pavly Wulf happened back in student years- played Laura in the play “The Fight of the Butterflies”, written by the German playwright Hermann Sudermann. The certified actress first went on tour around Ukraine with her idol Komissarzhevskaya. On the stages of Nikolaev, Kharkov and Odessa, she got roles in a scattering of productions - she played Lisa in “ A fairy tale", Polixena in the play "Truth is good, but happiness is better", Nastya in "Fighters". Young actress in behavior and appearance I tried to copy my mentor.

In 1901, Woolf came to Nizhny Novgorod, where she gave a year to the enterprise of Konstantin Nezlobin. Here creative biography illuminated by the role of Edwige from the drama " Wild duck" Then she served in the Riga City Theater, where the woman was also given vivid images - she appeared from a famous play, from a tragedy.

Pavla Leontyevna had to wander across the expanses of Russia and Ukraine. The actress was received by theaters in Kharkov, Kyiv, Irkutsk, and Moscow. And after the revolution, the woman settled in Rostov-on-Don. However, not for long. Three years later, residents of Simferopol enjoyed Wulf’s game. The collection of works has been replenished with the roles of Lisa from “ Noble nest", Nina from "The Seagull" and Nastya from the play "At the Depths".

Additional opportunities for career development have opened up in Simferopol. Pavla Wulf was invited to teach at theater school. Later, in the early 30s, an actress and already a director theatrical productions led a movement class and staged a stage speech for members of the section of the Baku Theater of Working Youth.

In 1931, Wulf again found herself in Moscow. She worked tirelessly, managed to combine the stage with teaching at school Chamber Theater, then she taught acting wisdom to young people at a drama school opened on the basis of the Red Army Theater.

One of latest works women became the role of Agrafena in the play “Wolf”, created by Leonid Leonov. However, in 1938, Pavel Wulf suffered from a serious illness, due to which she had to say goodbye to the stage.

Wulf’s grandson, Alexey Shcheglov, eloquently wrote in his memoirs about Pavla Leontyevna’s acquaintance and friendship with Faina Ranevskaya. Faina Feldman remained under this strong impression from playing an actress at the Rostov Theater in the production of “The Cherry Orchard,” which came to her home the very next day.

Wulf, suffering from a migraine that morning, at first did not want to accept the guest, but she turned out to be too persistent. Faina Georgievna begged to be taken into the troupe. To get rid of the girl, Pavel Leontyevna handed her a play she didn’t like based on the plot and told her to come back in a week with any role she had learned.

When the future Ranevskaya appeared in the form Italian actress, Wulf was delighted and realized that in front of her was a real diamond. Moreover, Faina prepared very thoroughly - she was not too lazy to find an Italian in the city, from whom she adopted facial expressions and gestures. Since then, Ranevskaya settled in the house of Pavla Leontyevna, who became a mentor and close friend for the young talent.

Personal life

Pavel Wulf did not live long with her first husband Sergei Anisimov. Then the woman met a gentleman of Tatar blood, the son of a military man, Konstantin Karateev, who died early. The actress did not have time to divorce her first husband and marry her second. Therefore, daughter Irina, born in 1906, received the surname and patronymic of her first husband.

Pavla Leontievna had a hard life, filled with travel and frequent changes of residence. They say that the actress called her wanderings “provincial hard labor.” This affected her daughter’s health - Ira became very ill.

The child was nursed by costume designer Natalya Ivanova, who in the Wulf household was simply called Tata. The girl took on all the worries about Irina, becoming her second mother. Pavel Leontievna was immensely grateful to her assistant for giving her the opportunity to devote herself to acting.

In the future, Irina Sergeevna Wulf became a theater actress and director, and played Yuri Zavadsky in plays. The woman gave Pavel Leontyevna her grandson Alexei.

Death

For the last 20-odd years, Pavel Wulf has been seriously ill. The great theater actress died in early June 1961. Ranevskaya noted that her friend was dying in terrible torment. Until the end of her days, Faina Georgievna never came to terms with her loss. Pavel Leontyevna rests in the Donskoye Cemetery.

In the biographical series “Faina”, which airs on Channel One, Pavla Wulf plays.

Performances

• “The Snow Maiden”, Alexander Ostrovsky - the role of the Snow Maiden
• "Romeo and Juliet", William Shakespeare - the role of Juliet
• “The Noble Nest” - the role of Lisa
• “The Seagull” - the role of Nina Zarechnaya
• “The Cherry Orchard”, Anton Chekhov - the role of Anya
• “Ivanov”, Anton Chekhova - the role of Sasha
• “Woe from Wit” - the role of Sophia
• "The Wild Duck", Henrik Ibsen - role of Edwige

Pavel Leontievna Wulf(1878-1961) - Russian actress, Honored Artist of the Republic (1927).

Biography

From a noble family.

She decided to become an actress after she saw V.F. Komissarzhevskaya on stage. On the advice of Komissarzhevskaya, to whom she addressed a letter, she entered the Pollak drama school, and a year later she switched to drama courses at the Imperial Ballet School at the Alexandrinsky Theater.

She made her stage debut as a student in the role of Laura in G. Suderman’s play “The Fight of the Butterflies.”

Upon completion of her studies, on the advice of her teacher V. Danilin, she tried to enter the Moscow Art Theater, but was not accepted. Since 1901 she worked at the Nizhny Novgorod Theater in Nezlobin's enterprise.

In 1902-1904 actress of the Riga City Theater.

After the revolution she lived in Rostov-on-Don. There I met Faina Ranevskaya. She became her friend and teacher.

She left memoirs.

Recognition and awards

• "Honored Artist of the Republic" (1927)

Roles P. L. Wolf

• “The Noble Nest” by I. Turgenev - Lisa
• “The Seagull” by A.P. Chekhov - Nina Zarechnaya
• « The Cherry Orchard"A.P. Chekhov - Anya
• “Ivanov” by A.P. Chekhov - Sasha
• "Tsar Feodor Ioannovich" - Irina
• “Woe from Wit” by A. S. Griboyedov - Sophia

***********************

Poetess Sofia Parnok(1885 - 1933) was the most outspoken lesbian figure Russian literature" silver age". As a lesbian, Parnok lived to the fullest, and her long novels with women very different - in age, profession and character - entered the work of the poetess, she spoke the language of poetry on behalf of her many silent sisters.

The first poems were written Sofia Parnok at the age of six. Later, while studying at the Mariinsky Gymnasium in Taganrog, she would start her first poetry notebooks. It must be said that Sofia was very capable in her studies and in 1904 she completed her gymnasium education with a gold medal.

Seventeen-year-old Parnok, without hesitation, broke up with Taganrog and “ran” after some actress she liked on her first of three European trips. She attempts to enter the Geneva Conservatory, but gives up music and returns to St. Petersburg, where she takes law courses, which, however, she also does not complete.

Nadezhda Polyakova

Twenty-year-old Parnok is having an affair with Nadezhda Pavlovna Polyakova. Their relationship lasted more than five years. N.P.P. became the main recipient of poems in Parnok’s student notebooks.

Marina Tsvetaeva

In 1914, Sofya Parnok meets Marina Tsvetaeva...
Sofia Parnok was 29, she was 7 years older than Marina Tsvetaeva, who quickly fell in love with a confident and outwardly somewhat aggressive woman. Their relationship was on the verge of what was permitted: Marina completely submitted to her Sonechka, and she “pushed away, forced to beg, trampled underfoot...”, but - and Marina believed in this until the end of her days - “loved...”

Parnok for Tsvetaeva is her “femme fatale”. Rock will also be included in the poetics of Tsvetaeva’s texts addressed to Parnok. The main motive in them will be moderate humility and worship before the beloved, from whom you do not expect reciprocity, but whom you idolize. To a large extent, this novel, the emphasized coldness towards the “gray-eyed friend”, the feeling of power over the submissive girl who left her husband and family for Sonechka, transformed the inner feelings of Parnok herself. She accepted love for the first time, allowed herself to be loved and, as often happens, it was as if she was taking revenge for the fact that once in her youth she herself had become a victim of such blind love for Polyakova, who disappointed her ("... and this is what I have been doing for five years gave her life").

After Tsvetaeva, there were many women in Sofia’s life.

Lyudmila Erarskaya

Left a noticeable mark new love- theater actress Nezlobina Lyudmila Vladimirovna Erarskaya. Their affection for each other falls on black revolutionary years. In the summer of 1917, when everyone was in a “murderous mood” and life had become “almost impossible,” the two of them went to Crimea, where they lived together.

Olga Tsuberbiller

In the early 1920s, Sofia Parnok met professor of mathematics Olga Nikolaevna Tsuberbiller, who became Parnok’s main support “in the most terrible” years. “Invaluable” and “blessed” friend Olga took Sofia, as she put it in one of her letters, “as her dependent.” Parnok finally settled in one of the Moscow communal apartments. Being under the peculiar everyday patronage of a friend, she does not give up trying to improve her literary life.

In Parnok's personal life, at the end of 1929, a short passion for a singer suddenly appeared. Maria Maksakova, but she, however, will not understand the “strange” desires of the aging poetess.

Rejected and misunderstood by Maksakova, Parnok, who in literature could only hope for the work of a laborer-translator, is approaching the end of her life.

Nina Vedeneeva

Half of the penultimate year of life Sofia Parnok spent in the city of Kashin with my random friend, a physicist Nina Evgenievna Vedeneeva. Both were under 50...

Vedeneeva became last love Parnok - Before her death, Sofia seemed to have received a reward from God... By the way, born into a family that professed Judaism, Sofia consciously baptized, accepted Orthodoxy and Christian culture. On the verge of death, Parnok fully felt the power of love and regained creative freedom, which was breathed into her by feelings for the “gray-haired Muse” - Vedeneeva.

Oh, on this night, the last on earth,
While the heat has not yet cooled down in the ashes,
With a parched mouth, with all my thirst to fall to you,
My gray-haired, my fatal passion!

After staying in Kashin, a cycle of poems remained - the last from the poetess. Kashin cycle - by all accounts, highest achievement lyrics by Parnok.

The following summer, in the midst of her unusual late romance and bright creative rise, Parnok, “overwhelmed” by feelings, died in a small Russian village not far from Moscow.

Faina Ranevskaya

There is a photo of two compatriots, two women from Taganrog, in an embrace, Sofia Parnok And Faina Ranevskaya. Unlike her older friend, Faina was a monogamist. Throughout her life, a red, or rather pink, thread ran through her love for the actress. Pavle Wulff.

Faina spent her childhood in a large two-story family house in the center of Taganrog. From a very young age she felt a passion for the game. In the spring of 1911, on the stage of the Taganrog Theater, Faina saw Pavel Leontievna Wulf for the first time... But it will still pass four years before, after graduating from high school, Faina gives up everything and, against the wishes of her parents, leaves for Moscow, dreaming of becoming an actress.

Having spent their savings, having lost the money sent by the father, who was desperate to send his daughter to true path, chilled from the frost, Faina will stand helplessly in the colonnade Bolshoi Theater. Her pitiful appearance will attract attention famous ballerina Ekaterina Vasilievna Geltser. She will bring the chilled girl to her house, then to the Moscow Art Theater; will take you to actors' meetings and salons. There Faina will meet Marina Tsvetaeva, a little later, probably with Sofia Parnok. Marina called her her hairdresser: Faina cut her bangs...

In the spring of 1917, Ranevskaya learned that her family had fled to Turkey on their own steamship "St. Nicholas". She remained in the country alone - until the mid-1960s, when her sister Bela returned from emigration.

She saved Faina Ranevskaya from family loneliness Pavel Leontievna Wulf. New meeting happened to her in Rostov-on-Don just in those days when the “St. Nicholas” landed on the Turkish coast. Almost forty years of life began Faina Ranevskaya next to, along with Pavloy Wulff.

It must be said that there are no direct indications of the lesbian nature of the relationship between Faina and Pavla, there are only indirect ones. Yes, they were close like best friends are close. Yes, the artistic crowd cannot remember a single romance between Ranevskaya and men, except that they can remember her incomprehensible short friendship with Tolbukhin, which ended with the death of the marshal in 1949.

Add here the sparkling humor of Faina Georgievna, who loved to joke about her lesbianism. She often told a story about how, in her youth, she experienced a terrible insult inflicted on her by a man:
“One day a young man came to me - I carefully prepared for his visit: I cleaned the apartment, set up a table from meager funds - and said: “I want to ask you, please give me your room for today, I have nowhere to meet a girl". This story, writes art critic Olga Zhuk in the book "Russian Amazons...", Ranevskaya usually concluded with the words "since then I became a lesbian..."

http://skif-tag.livejournal.com/

In his declining years, 1980s

Late 1960s

1929, 33 years old

Stamp of Russia, 2001

"...I never found out what was what." Faina Ranevskaya

In his declining years, 1980s

Late 1960s

1929, 33 years old

Stamp of Russia, 2001

My dear Pavel Loentyevna Wulf

Even if I didn’t write a word about everyone else, I need to write about Pavel Leontyevna.

Without her, I wouldn’t exist, not just the actress Faina Ranevskaya, but I, Fani Feldman, wouldn’t exist either.

Having left my parents' house, where I was alone, at the most difficult time - the beginning of the Civil War - I found myself in Rostov-on-Don without any means of subsistence; I can't count my income as an extra in a circus, which will be closed today or tomorrow.

It was fate that I saw Pavel Leontyevna in the role of Lisa Kalitina in the local theater. I’ve already seen her in this role, but then I was still a foolish girl, and now I’ve tried to play it myself...

You see, in the midst of devastation, devastation not yet physical, but already moral, when no one knew what would happen tomorrow, how to live further, I suddenly saw real art, the real Lisa Kalitina. The point is not that she reminded me of a well-fed pre-war quiet life, no, she reminded me that not everything in this world is lost, that there is something that will stand. There is truth of feelings, truth of art.

Without this meeting, I would simply have ended up on the street. No one was going to take me to the theater; in the south of Russia, even without me, there were enough restless actors with experience and well-established roles.

But the main thing is that I would not have met a woman who would replace my mother for the rest of my life!

I understand that Irina was always jealous of me, for good reason, but Pavel Leontyevna and I spent too much time together on stage and behind the scenes, and then rehearsed too much at home so that I would not become her named daughter.

Pavel Leontievna was a noblewoman by birth and to the core. It is enough to look at her amazing face to understand that she absorbed nobility with her mother’s milk, but, most importantly, she did not lose it. And as for the potholes life path there was not just enough, there was an abundance of them.

At eighteen on stage Alexandrinsky Theater Pavel Leontyevna saw Vera Komissarzhevskaya. This decided everything in her fate.

Returning to her Pskov, she could no longer think about anything. She wrote a letter to Komissarzhevskaya, begging her to help her become an actress.

How similar and unlike me!

I, too, was ready to do anything for the sake of the theater, but if Pavla Leontyevna’s parents did not object to her aspirations, then mine...

Komissarzhevskaya invited the enthusiastic girl to study and advised her to enroll in drama school, and then go to drama courses with Davydov.

Vera Fedorovna Komissarzhevskaya was ready to help Pavla Wulf, and she helped me. But I’m not like that, I would never have the strength and patience to bother with someone, if they write to me: “Help me become an actress,” I answer: “God will help.”

They say that talents need to be helped, mediocrity will break through on its own. Perhaps, but why shouldn’t talent make its way?

Davydov saw in Wulf a repetition of Komissarzhevskaya, and therefore advised her to go to Moscow to Stanislavsky to enter the Art Theater. They didn’t accept why, Pavel Leontyevna never told me, something didn’t work out there.

She went to Nizhny Novgorod to work in provincial theaters.

Sometimes I thought what would have happened if Pavel Leontievna with her rare gift had ended up in Kazan, how did Kachalov end up? How much depends on the first directors and entrepreneurs! The second Mikhail Matveevich Boroday, who noticed and raised Kachalov high, did not meet her on the way. So high that they saw it in Moscow.

Pavel Leontievna was unlucky, but I was lucky.

Fate threw her to a variety of cities Russian Empire, Wulf became famous as the “Komissarzhevskaya province,” which is worth a lot.

Pavel Leontyevna herself spoke with horror about the work of provincial theaters, recalling almost daily premieres, the lack of rehearsals, playing at the prompter’s prompt and general hackwork that bloomed in full bloom on many provincial stages.

Of course, there were also very worthy troupes, actors and directors, but all of them, at the slightest opportunity, strove to get out to Moscow or St. Petersburg.

It is unclear why the talented Pavla Leontyevna did not find a place in the capital. But in 1918, she ended up in the same Rostov-on-Don where the red-haired big girl Faina Feldman worked as a circus extra. Actually rootless, restless, homeless and penniless, but passionately wanting to become a real actress.

Only there was no grace, although there was flexibility; in the circus you can’t even be an extra without it. Long-armed, clumsy, stuttering with excitement. A complete set of all sorts of “don’ts.”

What did Wolf see in me, besides a passionate desire to play? I don’t know, but I suggested making an excerpt from Shelton’s “Novel” and showing it.

I came out of my skin to complete the task. It was not difficult, because the only Italian in all of Rostov, to whom I went to learn Italian manners, ripped me off all the money I had. If there were more, I would have taken more. He showed me gestures and taught me some words.

Pavla Leontyevna liked it. I'm afraid it's not so much what happened, but the passion in my eyes, not so much because of the Italian touch, but because of hunger.

She took me in not just as a student - she accepted me into the family. And this family consisted of her, Irina and Tata, our guardian angel in everyday life and a part-time kind genius.

An excellent remedy for toothache is a big button, first on the chair, and then in the ass. If it screams, you’ll forget about the tooth, at least for a while. If this doesn’t help, you need to go to the doctor.

This is also called “knocking out a wedge with a wedge.” Why am I saying this? To the fact that life had come when all other problems, except ordinary survival, should have been forgotten for a while. Hunger, devastation, typhus, the endless transfer of power from one to another, when in the morning we didn’t know what kind of power would be there by lunchtime, and when we went to bed, we didn’t know what kind of power we’d wake up to.

The button in the chair turned out to be of such a size that one could forget not only about the toothache, but also that there were teeth at all.

There is no point in returning to Moscow; the trains were not just robbed, they were destroyed. It was decided to go to Crimea, where it would be easier for Irina, who was in poor health, it would be warmer there and it would be easier for everyone to feed themselves.

In Crimea, not only did it not become easier, although work in the Simferopol theater was found even for me, the same devastation and change of power reigned there. They swallowed their grief to the fullest. I wouldn't be able to survive on my own.

But what is surprising is not that Pavel Leontievna helped the newcomer, but that even at such a time and in such a situation, she managed to maintain the level of play and demands on herself and me. Wulf also played on the stage of hungry Simferopol in front of any audience as if it were a stage imperial theater, as if Komissarzhevskaya herself was looking at her.

How she managed not to lose anything, either during her forced wanderings through the cities and villages of pre-revolutionary Russia, or later, during the revolution and the Civil War, is amazing. She managed to do it herself and instilled it in me. Instilled for life!

Many years have passed, Pavla Leontievna has long been dead, but I still look up to every role, every line, every gesture according to her very same requirements, just as she looked up to Komissarzhevskaya all her life.

We managed to survive in the devastated, hungry Crimea, without getting sick with typhus, without dying of hunger, without getting sick, without going crazy. And I managed to become an actress.

And to this day it is very difficult for me to observe how carelessly they use gestures, how sloppily they pronounce words, how, without thinking, young actors, trained by masters, play their roles. Of course, after Wulf I had Alisa Koonen and Tairov, but it was Pavel Leontyevna who laid the foundations. I consider her my teacher and mentor for life.

We traveled a lot around the already famine-stricken Land of the Soviets, changing city after city, theater after theater, simply because we needed to live on something, which means somewhere to play.

Then the clever Irina entered Stanislavsky’s studio, Pavel Leontievna and I became envious, and we followed. Of course, Tata is with us.

I think Tata didn’t really love me all the years that she knew me; Ira was her favorite, and I seemed like a burden, and a heavy one at that. Perhaps she was, but where could I go alone?

We live incorrectly: we either regret what has already happened, or are horrified by what will happen. And at this time the present rushes past like a courier train.

Without being in too much of a hurry to jump on the bandwagon of this same courier train, Pavel Leontyevna managed to maintain dignity and decency in their highest manifestations.

Later in Moscow, having quarreled with the leadership of the Red Army Theater, I was left alone and again on the street (I had to move out of the hostel), Wulf again sheltered me in her house. I was old enough, if not aged, but without them and Ira I felt restless and terribly lonely.

It is important not so much to get help as to know that you will certainly receive it. I always knew that I would receive, if not help, then at least the support of this amazing woman.

Pavel Leontievna stopped playing in 1938; her illness no longer allowed her to do it at full strength, and she couldn’t do it half-heartedly. remained teaching activity. Zavadsky helped, he himself had taught at GITIS since 1940.

At the end of her life, Pavel Leontyevna complained about everything, was capricious, and picky. It seemed that all her life she had patiently endured any adversity, she saved her complaints for the last days.

Nobody understood Pavel Leontievna except me, the fact is that she wanted... back to the nineteenth century! Wulf herself lived in that century for twenty-two years, this is enough to feel the taste and difference, she adored the Silver Age...

Pavel Leontyevna died in June 1961. It was a real loss for me; I was left an orphan.

Her last words to me were:

“I’m sorry that I raised you to be a decent person.”

Horrible! An exceptionally decent man asked for forgiveness for instilling decency!

She could not correct my very difficult character, teach me to restrain myself, not to say anything, not to shout, to be tolerant and intelligent. Pavel Leontievna was killed by my swearing, my inability to keep my mouth shut, to dress, to look elegant...

But she forgave everything because she was infinitely kind and patient. Of course, Irochka could complain about her whims in last years, but if she remembered how much Pavla Leontyevna had to go through in life, she would be more lenient towards these whims.

Then Tata died... And suddenly Irina and I almost became friends, truly feeling like sisters.

And when Irina died, I was completely orphaned. Only Irina’s son Leshka, my ersatz grandson, remains, but he is far away, he has his own life. And I am an old and useless witch.

It’s a pity that I didn’t have time to ask Irina for forgiveness. For what? For taking away so much from her mother's love, which made me jealous of Pavel Leontyevna.

I managed to meet my own family in Romania in the fifties. My father was no longer alive, my mother was very old, it’s hard to even recognize her, my brother Yakov, of course, had changed. Bella could not come from Paris; she was not given a visa, despite all my petitions.

Then Bella moved to Moscow with me, deciding that she was so famous actress What I have become, who has so many awards and prizes, national recognition, should simply bask in luxury. The high-rise building on Kotelnicheskaya Embankment, where I lived then, delighted her:

- Fanya, is this your house?!

I had to explain that not the whole apartment, just one small apartment.

Bella could not fit into our Soviet reality; when it was her turn at the store, instead of quickly telling her how much to weigh, she started conversations with the seller about the health of her parents, about the weather... The line gradually grew wilder.

The behavior of a completely impractical sister, who was unable to arrange her life either in Paris after the death of her husband, or in Turkey, where she later moved, prompted me to think that my own everyday restlessness was not at all the result of my stupidity, but some kind of hereditary acquisition.

Bella did not live long in Moscow, although she met her old love and everything was heading towards new wedding. But inoperable cancer ruined all the happy plans...

I have outlived so many people dear to me! Today’s young people don’t need me, for them I’m an ancient, harmful old woman, they don’t want to waste their mental strength not only on talking with me, but also on following my advice.

Only Ninochka Sukhotskaya, Alisa Koonen’s niece, remained with me. We met, it seems, in 1911 in Yevpatoria. My God, how long ago it was! Nina is a wonderful friend and adviser, but she has her own life, she cannot take care of me. In addition, taking care of Ranevskaya is such a crazy job that not everyone can handle and not everyone likes.

No, I’m not capricious, now I’m not capricious anymore, I’m lonely at heart. To be with me, you need to penetrate this soul, accept it with your own soul, and this is very difficult.

Perhaps I’ve healed, everything around me is so different that I seem to myself like an ancient lizard, clumsy and stupid.

I am overcome by sores and sad thoughts, first of all about my uselessness, about a mediocre life lived, about the fact that what has not been done is a thousand times more than what has been done, that so many years and strength have been lost in vain.

When I find someone who will process my stupid notes, I will definitely ask them to leave less whining and more experience, especially emotional, spiritual, theatrical.

When your ninth decade of life ends, many things seem different, much better. Surprisingly, with age, a person loses the ability to see with his eyes, but acquires mental vision. It's more important.