Padarin, Nikolai Mikhailovich

Nikolai Podarin was born and raised in the Vyatka province , his date of birth is April 28 ( May 10 ), 1867 ^[1] .

Taking the pseudonym Volzhin, he began stage activity in the theaters of the Volga region ^[2] . However, later he worked under his real name.

He entered drama courses at the Moscow Theater School (class of A.P. Lensky ), after graduation in 1892 he was accepted into the Moscow Drama Imperial Troupe ( Maly Theater ), where he served until the end of his life. True, for one theatrical season, immediately after the first year of service, in 1893-1894. Nikolai Podarin was transferred to the Imperial Petersburg scene at the Alexandrinsky Theater , and then returned to the Moscow Maly Theater. In total, he played more than 110 roles on the stage of the Maly Theater ^[2] .

It was a time of crisis in classical theater, a move away from academic stage decisions, and the search for new theatrical forms. Theater studios appeared throughout the country. However, the imperial troupes continued to work in the established traditions. But still realizing the inevitability of a theatrical crisis and trying to create acting places for young troupes of the imperial Bolshoi and Maly theaters that were not occupied by young people, a branch of the Maly Theater was opened by the Directorate of Imperial Theaters in 1898, for which the former Shelaputinsky Theater was rented. The new theater was called the "New Theater", and it was headed by A.P. Lensky. The modern address of the premises: Theater Square , 2. However, this youth troupe did not live up to expectations. A revolutionary country swept away the old classical ideas of everything, including theatrical art. In 1907, the New Theater was abolished ^[3] . For some time, the theater was tried to be led by another director of the Maly Theater, Prince A.I. Yuzhin , but nothing good came of it. Nevertheless, in a short time of existence, the New Theater allowed young talented young actors to prove themselves, among whom was Nikolai Mikhailovich Padarin, who worked all this time on two stages? and in the Maly Theater itself, and in its branch. In addition, the scene of the branch gave him the opportunity to try himself in directing, where he staged his first performances while continuing his acting career. The site page of the Maly Theater also assures that Padarin staged three performances on the stage of the New Theater (in 1906, 1910 and 1911) ^[4] . However, the repertoire pages of the same site name only the first performance (January 11, 1906 “For Happiness” based on the play by S. Pshibyshevsky ) staged at the New Theater ^[5] . The other two productions there could not go through the directorate of the imperial theaters, by then they had stopped renting it. In 1909, K. N. Nezlobin rented the premises, transferring his entreprise to Moscow ^[6] , now the Russian Academic Youth Theater (RAMT) is located in this building.

Since 1904, Padarin was appointed as the next director of the Maly Theater and was included in the composition of the director's board, which included: A. M. Kondratiev , I. S. Platon , A. P. Lensky , A. I. Yuzhin , O. A Pravdin , A. K. Ilyinsky , A. A. Fedotov and N. M. Padarin.

Padarin was one of the best performers of characteristic and everyday roles, had a great dramatic temperament ^[7] .

Engaged in teaching activities.

In the fall of 1914, the actress of the Maly Theater A.A. Matveeva opened her drama school: despite the outbreak of the war , artistic life in Moscow continued. It was a spacious building of the former Adashevskaya school; it occupied the whole floor of a large Fabrizius house on Arbat Square . Teachers of the Maly Theater, including Padarin, were invited by the teachers. The younger sister A. A. Matveeva, a school student, the future actress of the Maly Theater N. A. Belevtseva in the memorial book “Through the Eyes of an Actress” told about Padarin’s apprenticeship: “... Padarin and I. N. Khudoleev taught in my course. The third teacher was I.N. Pevtsov , who was still just beginning his brilliant career in Moscow, so three teachers and all three are completely different in their methods and methods.

Nikolai Mikhailovich Padarin demanded from students only feelings, only sincerity, only truth, he closed his eyes to everything else. He was absolutely indifferent to the form. It used to sit down and draw the “feeling” out of us: first it tells you what the impression of the scene should be, and then if it hears a fake performed by the studio people, its face becomes so indifferent that the person involuntarily stops and does not go any further. If a student breaks even one living note, his eyes are smiling, often tears come to them ^[8] .

Much later, he taught stage art at the Moscow Conservatory .

The range of interests of Nikolai Mikhailovich Padarin was very extensive. He was not a stranger to political activity, and talked with many prominent people of his time: he was friends with Chaliapin , corresponded with Sobinov , even worked a little with Stanislavsky , was familiar with Ulyanov-Lenin . However, he clearly did not share the political convictions of the chief leader of the revolution - Padarin was a member of the Cadet Party.

Theater Performances

• 1906 - “For Happiness” by S. Pshibyshevsky . Per. A.M. and S.P. Remizovs. (New Theater)
• 1910 - “In the Old Years” by I. V. Shpazhinsky
• 1911 - The Storm by A. N. Ostrovsky (premiered on January 27 ^[5] )

Theater Roles

• 1892 - The Examiner N.V. Gogol - Osip
• 1892 - "Tumble Field" by P. P. Gnedich - Fist
• 1892 - “ We Will Count Our People ” by A. N. Ostrovsky - Bolshov
• 1893 - “Priestess of Love” E. Karpova - journalist
• 1894 - “Gold” by V. I. Nemirovich-Danchenko
• 1894 - " Mad Money " by A. N. Ostrovsky - Vasilkov
• 1895 - The Puchina by A. N. Ostrovsky. Director: A.P. Lensky - Borovtsov
• 1895 - “ The Marriage ” of N.V. Gogol. Director: A.P. Lensky - Podkolesin
• 1896 - “Kashirskaya antiquity” by D.V. Averkiev . Director: A.P. Lensky - Korkin
• 1896 - “ For every sage of rather simplicity ” by A. N. Ostrovsky. Director: A.P. Lensky - Krutitsky
• 1896 - The Price of Life by V. I. Nemirovich-Danchenko - Demurin
• 1897 - "Gentleman" A. I. Sumbatova - newspaper
• 1897 - “ Hot Heart ” by A. N. Ostrovsky. Director: A.P. Lensky - Kuroslepov
• 1897 - “ Poverty is not a vice ” by A. N. Ostrovsky. Director: A.P. Lensky - Love Tortsov
• 1898 - “ Forest ” by A. N. Ostrovsky. Director: A.P. Lensky - Neschastlivtsev (New Theater)
• 1898 - " Vasilisa Melentyev " by A. N. Ostrovsky and S. A. Gedeonov - Vorotynsky
• 1898 - “From crime to crime” by V. A. Krylov . Director: A. M. Kondratiev
• 1898 - “The Perfect Wife” M. Prague. Director: A. M. Kondratiev
• 1898 - The Bear by A.P. Chekhov .
• 1899 - The Idiot by V. A. Krylov and S. Sutugin (O. G. Etinger) by Dostoevsky - Rogozhin
• 1899 - The Marriage of Figaro by Beaumarchais . Director: A.P. Lensky - Antonio (New Theater)
• 1900 - " Tradesman in the Nobility " Moliere - Jourdain (New Theater)
• 1900 - “Scum” by P. D. Boborykin . Director: O. A. Pravdin
• 1901 - “Educator Flaxman” by O. Ernst. Per. with him. E.E. Materna. Director: A. M. Kondratiev - Inspector Prell
• 1901 - “In the Wilderness” of M. Dreira. Per. A.A. Veselovskaya. Director A. M. Kondratiev - Franz
• 1902 - Shakespeare's Coriolanus . Director: A.P. Lensky - Brutus
• 1902 - “ Woe from Wit ” by A. S. Griboedov . Director: A. I. Yuzhin - Skalozub
• 1904 - The First Swallow by V. A. Ryshkov . Director: A. M. Kondratyev - Andrey Uvatov
• 1904 - The Red Mantle by E. Brie. Per. with fr. A.A. Fedotova . Director: A.K. Ilyinsky - Echepar
• 1904 - “Slaves” by I. S. Plato . Director: I. S. Plato - merchant of Sherstobitov
• 1905 - “Avdotin’s life” by S. A. Naydenov . Director: I. S. Platon - Gerasimov
• 1906 - “Useless and respectable people” by M. Severnaya. Director: I. N. Khudoleev
• 1908 - “Slaves” by P.P. Gnedich . Director: N. A. Popov - Vetochkin (in turn with S. A. Golovin )
• 1908 - “The Petitioners” by M. E. Saltykov-Shchedrin . Director: N. A. Popov - Zhivnovsky
• 1909 March 20 In memory of the centenary of the birth of N.V. Gogol. "Literary and musical evening in three sections." In the first section, among other things, reading an excerpt from Terrible Vengeance by N. M. Padarin
• 1909 - “ Dmitry the Impostor and Vasily Shuisky ” by A. N. Ostrovsky. Directors: I. S. Platon and S. V. Aidarov - Kalachnik
• 1909 - “The Poor Bride ” by A. N. Ostrovsky. Director: S.V. Aidarov - Benevolensky
• 1910 - “ Sin and misfortune on whom does not live ” A. N. Ostrovsky - Krasnov
• 1910 - The Old Rite by A. N. Budishchev . Director: E. A. Lepkovsky
• 1910 - The Battlefield by I. Kolyshko . Director: S.V. Aydarov
• 1911 - February 19 Celebratory performance concert on the occasion of the 50th anniversary of the Peasant Reform of 1861 . An excerpt from the story “Death” by I. S. Turgenev was read by N. M. Padarin ^[5]
• 1911 - The Edge by N. I. Timkovsky . Director: I. S. Platon - Dmitry Preturov
• 1912 - “The Twelfth Year” of A. I. Bakhmetiev. Directed by S.V. Aydarov and I.S. Platon - General Ermolov
• 1912 - “Assembly” of P. Gnedich . Director: I. S. Platon - Zotov
• 1912 - “Professor Storitsyn” L. Andreeva . Director: E. A. Lepkovsky - Storitsyn
• 1912 - “The Story of a Marriage” by V. Alexandrov. Director: S.V. Aydarov
• 1913 - “ Kozma Zakharyich Minin-Sukhoruk ” by A. N. Ostrovsky. Director: E. A. Lepkovsky - Minin

The talent of Nikolai Padarin was noted by A.P. Chekhov (correspondence with T. L. Shchepkina-Kupernik) ^[9] ), theater experts V. P. Preobrazhensky and N. E. Efros (Efros N., N. M. Padarin, “Rampa” and life ”, 1918. 13. S. 5-6 ^[7] ).

N. G. Zograph in the book "The Maly Theater at the end of the XIX - beginning of the XX century" writes:

“In the play of the modern playwright E. Karpov,“ Priestess of Love ”(1893), young Padarin successfully played the cameo role of a journalist.“ He had a few words, the critic wrote, but the tone of the speech, the whole figure made him feel so vulgar stupidity that it’s morally untidy, arrogant, cowardly, and at the same time nimble and agile that one could admire ”(Yu. Nikolaev (Yu. N. Govorukha-Otrok)“ Theater Chronicle ”“ Moscow Gazette ”, April 11, 1893)" ^[10] .

“An undoubtedly gifted comedian-resonator, excellent for the role of merchants in Ostrovsky's comedies - this is how Nikolai Mikhailovich Padarin was evaluated at the examination performance. The actor well reproduced the external characteristic features of the role, its everyday flavor. Without undue emphasis, with the outward simplicity of the game, he found intonations and facial expressions that successfully convey Podkolesin's comic. But in roles requiring dramatic moments, impulsive or touching, he was a little dry. So, in Korkin ("Kashirskaya antiquity"), perfectly revealing his tyranny, cunning, snobby, he did not capture the viewer in the scenes of his father's hot feelings. “Here, Preobrazhensky wrote, maybe the artist’s voice is partly the reason, strong and loud, but rather dry, not flexible, not amenable to those various modulations that are the voice of the heart or passion. But it seems to me that the matter is not in one voice, but in the artist’s temperament, and that his real destiny is character, not passion, comedy, not drama “( V.P. Preobrazhensky )“ Two Matinees at the Maly Theater “. “Family”, 1896, 41) ” ^[10] .

• Nikolai Mikhailovich Padarin on the site of the Maly Theater (inaccessible link)
• According to the book of N. G. Zograf "Maly Theater in the late XIX - early XX century" (inaccessible link)