Pashkova, Galina Alekseevna

G. A. Pashkova was born on December 18 (31), 1916 in Moscow. She graduated from the B.V. Schukin Theater School ( 1935 ).

Since 1934 - artist of the Moscow Academic Theater named after Evgeny Vakhtangov .

Galina Alekseevna Pashkova died on August 2, 2002. ^[2] She was buried in Moscow at the Novo-Kuntsevsky cemetery .

Roles on the stage of the Vakhtangov Theater

• 1935 - Zhenya - “Far”, based on the play by A. Afinogenov , dir. Joseph Tolchanov
• 1938 - Froska - “I am the son of the working people”, based on the play by V. Kataev , dir. Ruben Simonov
• 1939 - Marya Antonovna - The Examiner of N. V. Gogol , dir. Boris Zahava
• 1939 - Eliza - “The Straw Hat ”, based on the play by E. Labisch and Mark-Michel , dir. Andrey Tutyshkin
• 1941 - Anthony - “ Don Quixote ” by M. Bulgakov , based on the novel by M. Cervantes , dir. Joseph Rapoport
• 1944 - Denise de Flavigny (Nitouche) - “Mademoiselle Nitouche”, based on the operetta of Florimon Herve , dir. Ruben Simonov
• 1948 - Lyubov Shevtsova - “The Young Guard”, based on the novel by A. Fadeev , dir. Boris Zahava
• 1948 - Anka - “Makar Dubrava”, based on the play by A. Korneychuk , dir. Joseph Rapoport
• 1950 - Annochka - “First Joys”, based on the novel by K. Fedin , dir. Boris Zahava
• 1951 - Shurka - “Egor Bulychov and Others,” based on the play by M. Gorky , dir. Boris Zahava
• 1952 - Si-Er - “The Gray-haired Girl”, based on the play by He Jingzhi and Ding Ni , dir. Sergey Gerasimov , Samson Samsonov , Tatyana Lioznova ^[3]
• 1954 - Nina Zarechnaya - “The Seagull”, based on the play by A. P. Chekhov , dir. Boris Zahava
• 1956 - Juliet - Romeo and Juliet, based on a play by W. Shakespeare , dir. Joseph Rapoport
• 1963 - Turandot - “ Princess Turandot ”, by Fiab Carlo Gozzi , dir. Ruben Simonov
• 1964 - Patricia - The Millionaire, based on the play by J. B. Shaw , dir. Alexandra Remizova
• 1968 - Lisa - “Children of the Sun”, based on the play by M. Gorky , dir. Evgeny Simonov
• 1979 - Holda - “The Thirteenth Chairman”, based on the play by A. Abdullin , dir. Vyacheslav Shalevich , Evgeny Simonov , Oleg Forostenko , Vasily Chirikov

In other scenes

• Snow Maiden - “The Snow Maiden”, based on the play by A. N. Ostrovsky , - Concert Hall named after P. Tchaikovsky of the Moscow Philharmonic
• " Songs and Ballads of Bertold Brecht " - one- man show

Radio and Melody Records

• Solo performance - "Songs and Ballads of Bertold Brecht" - radio performance
• Dolly Halacher Levy - Hello, Dolly! "- radio show
• Dolly Halacher Levy - Hello, Dolly! "- Firm" Melody "
• "Tenderness," according to Henri Barbusse - Firm "Melody"
• "Tenderness", according to the story of Henri Barbusse - radio show

Movie Roles

• 1934 - Private life of Peter Vinogradov - Valya, student of the Moscow Conservatory
• 1936 - Random meeting - Irinka
• 1938 - The fight continues
• 1953 - Egor Bulychov and others - Alexandra (Shura), secondary daughter
• 1982 - Mystery Buff - Australian Wife

• Honored Artist of the RSFSR (1947)
• People's Artist of the RSFSR (1971)
• Stalin Prize of the second degree (1952) - for playing the role of Shurka in the play "Egor Bulychov and Others" by M. Gorky

• Theater critic and radio journalist Tatyana Alexandrova talked with the actress from the end of the 60s:

“... The most famous Mademoiselle Nitouche , from whom in the end of the 40s all theatrical Moscow went crazy. (...)

When I entered G. Pashkova’s apartment in a house on Vakhtangov Street and found myself in the living room, the first thing that caught my eye was a lovely sketch depicting Galina Alekseevna in the play “Mademoiselle Nitush” ...

I went closer to him and read the inscription:

“In the title role is the famous synthetic artist, laureate of the near future, Galina Pashkova in costumes created by the efforts of the entire leadership and the entire female part of the theater troupe, painted by Nikolai Akimov .”

(...) On the same wall, I could not help but pay attention to Bertold Brecht’s large photo portrait. The actress dreamed about working on Brecht for a long time. Yuri Lyubimov took advantage of this idea at the time, setting with his course “The Good Man from Cezuan ”, which laid the foundation for the Taganka Theater . But Pashkova so wanted to play this play on the Vakhtangov stage !

By the time I first crossed the threshold of her house, I had already visited the Central House of Arts on her solo performance “Songs and Ballads of Bertold Brecht”. The actress went on stage in an elegant trouser suit of black velvet, which shaded her blond hair, and the audience could no longer tear herself away from her, from her now low voice, from what she sang and talked about. From the change of rhythms, colors, moods, my head was spinning. Her voice was either dry and harsh, then became tender and exciting, sometimes childishly offended, like a child’s - her unforgettable phrase, “Why are you smoking, Johnny?” In the ballad “ Johnny from Surabaya ”.

And so we began to record on the radio her composition with the same name as her concert program. I won’t say that Brecht is my author, but I tried to get into the thoughts and feelings of Pashkova, her attitude to Brecht, tried to figure out why he is so close to her. Years of communication with Galina Alekseevna helped me understand that, apparently, these points of contact with him were in her exceptional nature, in her decisive nature, in her directness and uncompromisingness, and therefore she furiously opened up new pages of his work for herself. And more than once we returned with her to Brecht on the radio.

Then there was another bright page in our joint work with her and Anatoly Lipovetsky - the play “ Hello, Dolly! “, First on the radio, and then at the record company Melody. A wonderful group of Vakhtangers gathered: Shalevich , Sinelnikov , Raikin , Zozulin , Alabina , Koval . They worked very enthusiastically and amicably. In the first version, the actors played the text, and musical numbers, as was the case with other musicals , were performed by American artists. At “ Melodies ”, the actors recorded the musical part in Russian. Arrangements were made by Vladlen Makhlyankin , the “Melody” orchestra conducted by Georgy Garanyan , who did with Galina Pashkova and all other works released on records, took part in this work.

During this period, Anatoly Davydovich and I often visited her house. We met her husband Konstantin Borisovich, who was very careful about her. I remember in their apartment a huge Christmas tree, which always stood until the end of January, or even longer, and they usually cleaned it when it bloomed. I recall our conversations at the big table “the centipede”, on which during the holidays there was always a delicious pie and a duck cooked in a special way by Galina Alekseevna. And, of course, could not do without several piles of vodka. Sometimes we met at the table with V. Makhlyankin , who always made arrangements for her. Their friendship lasted until an unpleasant incident occurred. When they planned to stage Brecht (without Pashkova?) At the Vakhtangov Theater , and he was invited to take part in this work as an arranger , Makhlyankin gave the theater her “zero” phonogram. This Galina Alekseevna could not forgive him.

Galina Pashkova had many creative plans for the future, and, of course, she dreamed of playing Dolly Halacher in her own theater. Then it was still possible, and I think the musical Hello, Dolly! “With her participation could become the same phenomenon as once Mademoiselle Nitus. But alas! The theater was no longer up to her. Her last role on the Vakhtangov stage was in the play “Thirteenth Chairman”. Unfortunately, this work of hers was not captured in the play that was shot by television, because of her fundamental differences with the director, and she never compromised . It was a big episode, which you can’t even call an episode, because in fact in one scene, how she was played by Galina Pashkova, the whole biography of this woman was seen with a difficult fate, and at the same time there was such a finish and filigree game, which was characteristic of others her work. And she saw so many unplayed roles. Here is an example of another tragic fate of the actress, full of spirit and creation, but unclaimed by the theater. But her creative alliance with the famous St. Petersburg director Alexander Belinsky could have taken place, when, on the initiative of Pashkova, a very interesting work was planned - the central role in Aldo Nikolai’s play “Butterflies, Butterflies”. Negotiations with Mikhail Alexandrovich Ulyanov , artistic director of the Theater. Vakhtangov, were positive. And suddenly it turns out that the copy of the play is lost, and Belinsky is unexpectedly busy with another performance. A few more nervous conversations with Ulyanov on the phone, and this work disappears as if by itself. And then there are literally following one after another the death of her closest people, first the sister of Larisa Pashkova , a very bright Vakhtang actress, then the daughter of Tanya and, finally, their older sister, from whom only a cat remained from Galina Alekseevna. By the way, cats were always in the house of Galina Alekseevna, and she also loved this red, fluffy one, which could walk around the table.

And I also want to recall one of our common work with her. A few years earlier, Pashkova recorded on the “ Melodies ” the story of Henri Barbusse “Tenderness” . The letters of the heroine of this story, which come to her lover after their separation, when she is no longer alive, were interspersed with songs by V. Makhlyankin to the verses of the famous poet and translator Alexander Golemba . She really wanted us to repeat this on the radio, but it seemed to me that it would be better to make another, my own version without singing, and with French melodies in an orchestra performance. And we did this by picking up wonderful music that, in conjunction with the lyrics, touched to tears. But this was not a shadow of sentimentality, which, of course, was the merit of the actress herself. I would call this her work a small masterpiece, and there is no exaggeration. We received the most grateful words from the audience (among them were my colleagues). Repeatedly, “Tenderness” with Pashkova was broadcast, then a plate version, and each time this one-man show was a decoration of evening time on the air.

We didn’t have any big new works with her, but a couple of times Galina Alekseevna came to my radio at my request to tell us about her work on Brecht. Once she gave me a rather large and interesting interview about the beginning of her career in the theater. (...)

The last time we saw Galina Alekseevna was January 7, 2002 . Christmas ... we’re sitting at the table, talking about some little things, Kostya is bustling around us, again a huge Christmas tree, only she is not the same Galya. We hardly talk about the Vakhtangov Theater, which she has not been attending for a long time. (...)

I will learn about her death on August 2 in Paris ... On the fortieth day, when I had already returned to Moscow, we went with Kostya and his friends to the Kuntsevo cemetery to clean her grave. Vakhtangovs also arrived, six to seven people - Kazanskaya , Grave , Fedorov , Konovalov , Shashkova and someone else. And then everyone sat in her house at the same table and commemorated her. There was also the Vakhtang actress Natasha Moleva , who greatly supported Galina Alekseevna in recent years. Each of the participants had something of their own, connecting with her. And from the wall, the insightful eyes of Bertold Brecht and the same sketch with its unique Mademoiselle Nitouch still looked at us ” ^[4] .

• Nina Velekhova :

“Galina Pashkova and Snegurochka played in the play by A. N. Ostrovsky in the Tchaikovsky Concert Hall and was very fond of this role. Actress Elizaveta Georgievna Alekseeva , who played Vesna-Krasna , often remembered how Pashkova, the Snow Maiden, asked her, Spring Mother: “Oh mother, give love! I ask for love ... "" ^[5]

• Velekhova N. Galina Pashkova // Evg. Vakhtangov / Edited by B. M. Poyurovsky . M .: Tsentrpoligraf , 2001 . S.262-274, photo. (“Stars of the Moscow scene”) - ISBN 5-227-01251-2
• Alexandrova T. Mademoiselle Nitush: Galina Pashkova [Ch. 6] // Alexandrova T. Notes of the "radio station" . M .: APART , 2008 . - ISBN 978-5-86109-053-7

• Galina Pashkova at the Vakhtangov Theater website
• Grave of G. A. Pashkova