Solyonik, Karp Trofimovich

Born May 26, 1811 in the Polotsk town of Lepel , then belonging to the Mogilev province . His father, with the rank of titular adviser, served as a district surveyor and lived with his family on his salary; in 1821 hereditary nobility was recognized for him ^[3] . Giving his son a decent education, to continue his education, the parent sent him to Vilna , where in 1829 he entered the local university - the faculty of mathematical sciences.

During the Polish uprising, the University of Vilnius, which expressed sympathy for the rebels, stopped work. Many students were arrested. According to researchers, among the arrested students was Karp Solenik ^{[1] [3]} . Having escaped the accusation and trial, in 1831, Solenik moved from troubled lands to Kharkov.

The beginning of a career (1831-1835)

In Kharkov, Solyonik quickly got a " prompter and exit " to the local theater , which contained a native of Poland, a German by birth, Johann Stein . In the troupe of the theater, motley in all respects, except for Russians, there were Poles, and Ukrainians, both free and serfs. It was the largest provincial private theater in Russia, which had existed by then for more than 15 years, with a wide and varied repertoire, including Russian classics, German romantics, and even opera and ballet productions, with a team of selected actors ^[3] . The Stein Theater has often toured.

In 1832, during the usual entreprise in Kursk, one of the leading actors had a big drink, and the prompter of the theater, Karp Solyonik, exactly like Mikhail Shchepkin once in the same theater, volunteered to replace him. In two performances in one evening. Unlike Shchepkin, Solyonik did not cram the role, but only "gave character", improvising every now and again, but he did it so convincingly that he received ovations and challenges.

The first that night was the role of the servant of Provor in Sudrovshchikov ’s sparkling satirical comedy “ Unheard of Marvel or Honest Secretary ”, the second was the role of the prompter Sheptalova in vaudeville, written by the director of the Moscow imperial theaters Kokoshkin, “A Strange Performance or Surprise to the Public ”. These were difficult roles - and they were recognized as a promising actor in the comic plan, well-educated, with a brilliant memory, free to feel themselves and ready for any unexpected on stage, an excellent imitator and, well, just a very funny young prompter. Saltynik began to trust small roles.

The Stein Theater continued to tour a lot, surprising the small provincial audience with the quality of its repertoire and acting. It is known that in 1833 and in 1834, in addition to the usual entreprise in Kharkov and Kursk, the troupe visited Kiev and left a good impression on itself ^[4] .

Recognition (1836-1840)

In 1834 (according to other sources - in 1833), during an enterprise, all in the same Kursk, “taking advantage of the proposal of the city authorities” ^[3] , part of the Stein troupe left its composition to form their own , “Kursk”. The new troupe was led by a baritone actor, a Pole by birth, Ludwig Mlotkovsky . The actors, mostly young ones, joined him, whom Stein's dismissive attitude towards the actors offended, and his tastes seemed old-fashioned. Among the actors who joined Mlotkovsky at that time, Lyubov Ostryakova , Nikolai Rybakov and Karp Solenik were most often called, who, in the near future, formed the highest reputation of the theater province - during its heyday - in the early 1840s.

Between the "young" troupe of Mlotkovsky and the "old" Stein, fierce competition immediately began, which ended in 1836 with the complete victory of Mlotkovsky: the gray-haired, sick Stein lost on a contractual basis both the building of the Kharkov Theater and the remnants of his troupe. During this time, Karp Solenik became a leading actor with Mlotkovsky, who played all the main comic roles. Mlotkovsky updated the repertoire, sensitively choosing winning plays promising success among the sentimental and puffer audience; and Solyonik, using the method of "conformity to nature", which was found by the actors of the Stein troupe, when he needed to, he made the audience laugh, when necessary he brought to tears. They talked about his game.

Gogol's Letter (February 1836)

At the end of 1835, Gogol’s friend A. Danilevsky , who had seen Solyonik’s play in one of the performances, painted in detail an unusual meeting with bright talent and an interesting troupe in some kind of bear wilderness. On February 21, 1836, Gogol, who was preparing the premiere of The Inspector General in St. Petersburg, wrote a letter to a friend who lived in the south, Belozersky, who ends with these words ^[5] :

I'm going to put comedy on the local theater. Wish that it was played more satisfactorily, which, as you yourself know, is somewhat difficult with our actors. By the way: there is in one nomadic Stein troupe, under the direction of Mlotkovsky, one actor named Solenik. Do you have any news of him? and if you happen to meet him somewhere, is it possible to somehow persuade him to go here? Tell him that we will all try for him. Danilevsky saw him in Lubny and was delighted. Strongly comic talent! If you fail to see him, then perhaps you will receive some news of his whereabouts and where to address him.
Farewell, my venerable Nikolai Danilovich! Hug you and ask you not to forget me.

- Yours N. Gogol.

The cited passage is the only surviving mention of Solyonik by Gogol, from which many draw two conclusions: the first is “Gogol highly appreciated Solyonik,” but it clearly follows from the letter that it was not Gogol who valued Solyonik, but Danilevsky, and Gogol never saw Solyonik’s game ; the second conclusion - “Solenik was invited to St. Petersburg for the premiere role of Khlestakov, but he refused out of love for his homeland,” but it is known that Belozersky was not at that time able to fulfill Gogol’s request, therefore, Gogol’s invitation did not reach him ^{[6 ]} .

It follows from Gogol’s letter that in February 1836 the play of young talent from the province “delighted” such sophisticated theater connoisseurs as A. S. Danilevsky , and that his name was already known in the literary circles of the capital. However, the story of the search for the then still little-known provincial actor Karp Solenik for the lead role in Gogol’s new comedy The Inspector General did not end there.

Speech to the Emperor in Voznesensk (August 1837)

After the premiere of The Inspector General in St. Petersburg on April 19, 1836, at which the Tsar himself was present (generally approving of the play), it became clear to Gogol that the role of Khlestakov was too difficult for the actors of his time. He writes to M. S. Shchepkin detailed instructions for the role, asking him to choose an actor worthy of the premiere in Moscow ^[7] . As you know, Schepkin, for the first time playing in the “Inspector” of Gorodnichy on May 25, 1836, went down in this role in the history of the Russian theater - “The Inspector” became his favorite play in which he played for another 25 years (sometimes this play was called “Gorodnichny” ); the search for a worthy Khlestakov did not stop all this time. Indeed, in the letter, Gogol says about Khlestakov that “ he is simply stupid, ” while Khlestakov is the main character . In the era of romanticism, it was too new and incomprehensible.

In the summer of 1837, at a small crossing over the Bug near the town of Voznesensk , a review and military exercises were planned for almost all cavalry formations of the southern provinces. The accumulation of troops is incredible. The arrival of the Emperor with the Heir, with the entire Court and officers of the guard headquarters, was expected. In the autumn of 1836, in Voznesensk, in which only the headquarters of the cuirassier regiment was located before, they began to prepare for the arrival of the highest persons ^[8] :

The place [...] was turned into a real city with less than a year, with a palace for the royal family, an extensive garden, a theater, about two dozen large houses for noble people and up to a half hundred smaller ones for the retinue and for generals and officers invited to this show . Everything that could be required for comfort and even for sophisticated luxury was connected here. The furniture of the palace was an example of the best taste, and merchants of all kinds and the best restaurateurs were discharged from Odessa and Kiev. Up to 200 carriages and 400 riding horses were prepared for guests. I will add that all the buildings were stone and built extremely solid. Everything had the appearance of real magic !

Of course, the question of who and what will be represented in the theater, specially built for this occasion, was not the last and, judging by the scope, not cheap. During the sovereign’s stay in Voznesensk, some kind of entreprise was received by Erokhin, an entrepreneur, previously mentioned only in connection with circus booths at fairs and a short entreprise in Chisinau in 1836 ^[9] . In the spring of 1837, M. S. Shchepkin, taking his daughters (beginner actresses) with him, traveled south. By chance or not, but his great tour in Voznesensk ended, just when the Tsar was there.

Along the way, Schepkin, as a metropolitan celebrity, gives performances in all cities where there is a theater - together with their troupes. In Kiev, he meets with the troupe of Mlotkovsky, meets with Solyonik and other actors, and also gives several performances. Then he goes to Odessa, taking with him part of the Mlotkovsky troupe, including Karp Solenik. In Odessa, they meet with the Erokhin troupe, hold an enterprise for about a month, and then travel to Voznesensk, where the Tsar was expected on August 22.

And although the Emperor arrived in Voznesensk five days earlier, it is known that Shchepkin managed to show himself to him in the “Inspector General”. The role of Khlestakov, thanks to Shchepkin, was played by Karp Solenik. It was, without a doubt, his finest hour.

If Gogol, as the author, was the father of the “Examiner,” who literally left him as soon as it became clear that he had brought nothing but bitterness, then his second father, who also literally picked him up, warmed up and gave life, was M. S. Schepkin. Apparently, back in Moscow, having learned that it was possible to speak before the Sovereign and the Court, he decided to show the “Examiner”. He decided to find the very “Solenik” and with it already achieve rehabilitation of this heavy Russian comedy in the eyes of those on whom the fate of the play depended in the future. To do this, Khlestakov must be so smart as to play a fool, and so serious as to be ridiculous, and Karp Solenik, who had only two or three years of experience in playing the title roles, coped with this task: “his success,” summed up later Solyonik’s performance in Voznesensk was no less than the success of a Moscow celebrity ” ^[10] .

There is a legend, evidently emanating from a single source ^[11] , that after the performances in Voznesensk “high-ranking person” from the Suite E. I. V. offered K. Solenik an engagement in St. Petersburg, and that Solenik refused. Despite the fact that there couldn’t be any witnesses to such a conversation, they even cite words in which K. Solenik answered the theater official: “No, Your Excellency, I am a Little Russian, I love Little Russia, and I am sorry to part with it” ^[12] .

After Voznesensk: Chisinau, Voronezh, Kharkov (1837-1840)

After success in Voznesensk, K. Solenik remains in the entreprise of Erokhin and, as part of his troupe, performs in Chisinau. The theater in this city was just put in order and expanded a bit, building a gallery; but with a gallery, it accommodated only 150 spectators. In the spring of 1838, in Chisinau, during a two-week scholarly tour of new places, Professor N.I. Nadezhdin , who was exiled to Odessa, visited the theater:

There is a theater in Chisinau - a Russian theater! ... Actors played exaggeratedly, and the audience was very grateful ... However, this time the troupe was not in its full splendor: there was no famous Solenik on the stage, which at that time belonged to the Chisinau theater. They promised us exactly for us to give Hamlet, and in a new translation of Mr. Polevoy. “Hamlet” - at the Chisinau Theater! It was certainly worth a look. Unfortunately, the circumstances were arranged so that we did not get this pleasure.

- Walk around Bessarabia. Odessa Almanac for 1840. p. 393-394

In Hamlet, Solyonik was played by Polonius.

In 1839, he returned to the troupe of Mlotkovsky. This and next year, the famous Kharkov troupe held an entreprise in Voronezh. Receiving 2,400 rubles and 2 (according to other sources - 3) benefits per year, Solenik became the highest paid actor in the troupe.

Glory (1841-1848)

In the spring of 1841, Solyonik married the first actress of the Kharkov Theater Protasova. His relations with Mlotkovsky, apparently, have deteriorated. Solyonik left Kharkov and moved with his wife to Kursk. At this time, Mlotkovsky embarked on the most risky and most wonderful adventure in his life: taking 40,000 rubles, he was building on the western side of Theater Square in Kharkov - directly opposite the old one - a new theater, stone, heated, clean, "modern". His financial affairs were greatly shaken and rolled down. In 1843, partially recognizing his bankruptcy, Mlotkovsky transferred the theater to the management of creditors and left Kharkov. - In the autumn of the same year, Solyonik returned to the stage of the new Kharkov Theater:

Everyone loved the salty, from the district to the armchairs. No matter how boring the play, but if Solenik participated in it, it was fun. No matter how small and the role went, it made him wonderful. It used to be quiet and sleepy in the theater hall, the audience was asleep, but behind the curtains there was a brisk voice of Solenik, and everyone lifts their heads, a smile of pleasure illuminates all the faces and hands of everyone are getting ready to applaud. In clashes on the stage with metropolitan celebrities - and, other, very not bad, Kharkov actors somehow faded into the background - Solenik always stood in a prominent place.

- Kiev Antiquity, 1889, No. 2, p. 553

Here it must be added that in the early 1840s a powerful cultural wave passed in Kharkov: the university city, which attracted the best minds of the surrounding provinces for four decades, has accumulated strength for a gradually prepared breakthrough, among other achievements in management, architecture, education, economics, in Kharkov has its own press . First, A. Kulchitsky , followed by A. Barymov, voluntarily assumed the obligations of honest theater critics of the Kharkov theater stage, and provided detailed reviews not only of the local press, but also of the periodicals in the capital. Thanks to their regular reports on the Kharkov Theater, the name of Solyonik in Russia became widely known in educated circles.

In 1845, Solyonik toured in Kiev. Here, already completely "matured" - after numerous Kharkov performances - the roles in the Ukrainian-language plays of Kvitka-Osnovyanenko and Kotlyarevsky simply elevate him to the podium. This is especially true of the role of Chuprun in Kotlyarevsky ’s play Moskal Charivnyk .

In this role, Karp Solenik, according to contemporaries, was “inimitable,” “unusually good and strictly true to reality”; comparing his interpretation of the role of Chuprun with Shchepkinskaya, the critic who saw the game of both wrote: “Shchepkin has a simpleton, believes everything, is afraid of everything ... Chuprun-Shchepkin is the way Kotlyarevsky created it, Chuprun-Solenik is our artist’s own creation, a faithful copy of nature , or better, nature itself ” ^[3] .

They are echoed by another important witness - Taras Shevchenko . In 1845, the poet "accidentally" visited the famous Ilyinsky Fair in Romny , "this pool" of "drunken repairmen", where he "swallowed dust for three days and lay in a tent." On July 24, Shevchenko “ saw the brilliant artist Solenik for the first time in the role of Chuprun (Moskal Charivnyk”) , he seemed to him “more natural and elegant than the inimitable Shchepkin ”. The first meeting was unforgettable - the poet recalled it in his diary 12 years later , on the same Ilyin’s day in 1857, very bitter for him ^{[13] [14] [15]} ...

In 1846, Solyonik toured in Chuguev. - Solyonik is 35 years old. Peak of Glory. It would seem that everything is ahead.

Signs of a break. Sickness and Death (1849-1851)

In 1847, in Odessa, not without the assistance of Schepkin, the regular city theater finally opened. The Directorate does not spare money for the purchase of first-class actors in the new city troupe. The spouses Orlovs , the spouses Schubert , Shumsky and the like of Moscow authorities come to Odessa.

Two years later, the directorate pays for an additional tranche and lures several actors from the famous Kharkov Theater to Odessa. Among them is the brilliant, but already aging Lyubov Mlotkovskaya , and the very expensive star of the provincial theatrical horizon - Karp Trofimovich Solenik .

There is every reason to believe that Solyonik moved to Odessa, already knowing about his illness: in 1849, the extremely promising comic actor Osip Dranche died of tuberculosis at the Kharkov Theater. - In the same year, Solyonik accepts engagement at the Odessa City Theater. “Perhaps in the hope of beneficial sea air.”

There were already reproaches for “some uniformity”; the free style of Solyonik, who allowed himself to deviate from the text every now and then, “to carry the gag”, seemed to the young actors of the next generation a booth attavism.

Arriving in Odessa, he drinks a lot ^[16] . As usual, he does not learn the role at all and does not want to remember the director's instructions at rehearsals. - The new team feels uncomfortable and lonely and yearns for Kharkov.

In 1851 he returned to Kharkov.

“When, - upon returning from Odessa , - Solenik first appeared on the scene, applause for a long time did not allow him to speak” ^[17] . “Our Solenik is with us again! - That's what everyone said then, if it came to the theater. Knowing his experience in stage art, our theater directorate entrusted him with the responsibility of a director ” ^[18] . However, the joy was short, and Solyonik hardly managed to fully take on the duties of the director: already in August his name disappeared from the posters. The incurable disease then exacerbated and entered the last phase ...

On October 7, 1851, at 41 years of age, Karp Solyonik died - from consumption. He was buried in the then “new” city cemetery (now No. 1):

A lot went to the people behind the coffin, swinging on the drogues under the black canopy. Many cried, singers sang behind the coffin and funeral music moaned. The emblem of the deceased’s merits lay on the crimson rooftop roof - a wreath of laurel and myrtle was green on it - the decoration of the coffin had never been seen before in Kharkov.

- Basis, 1861, No. 2 ^[18]

Karp Trofimovich Solenik, whom I mentioned above in the list of the Kharkov troupe, possessing great talent and worthily considered provincial fame, had a disgusting habit - not to learn roles. Sometimes, he will read his role once or twice and goes to play boldly: he conveyed it in his own words, but so that the unaware of the play is good and will not guess about his improvisation, always true to the type outlined by the author. Of course, this was greatly facilitated by his solid education and rich mental abilities. His resourcefulness and wit on the stage deserved attention and set him apart from the crowd of crammed actors. Without tolerating pauses during the course of the play, Solenik was able to speak for at least an hour in a row, however, without departing from the essence of the matter until the character interrupted him. On the one hand, it’s not bad, non-stop conversations give liveliness to action, but on the other it’s very nasty, it prevents others, depriving them of the opportunity to more clearly shade their role, and especially to those who know their words from the play by heart, he simply knocked down those.

At the rehearsal of the vaudeville "There are devils in a quiet pool," in which Zhivokini played Colonel Nezatsepin, and Solenik - Veseliev, the latter, as usual, talked so that Vasily Ignatievich was completely silent and with surprising calmness began to watch the enthralled actor. Zhivokini preoccupied with his arms folded across his chest and stared at Solenik for a long time.

Finally, Karp Trofimovich came to his senses, interrupted himself, and asked the patient guest:

“What are you not saying, Vasily Ignatievich?”

“I expect you to shut up!”

“It’s impossible, sir!” Solenik remarked angrily.

- What is it impossible?

- Yes, to make me talk all the time, the throat dries.

- Tell me, please, where do you get all these arguments? I played this vaudeville many times with Schepkin, and he never said anything like that, what you said.

“So he played with passes,” Solenik answered without hesitation, “and I play the game.”

- Excuse me, sir, this is not in the play: I know the play by heart ...

- No, there is ...

“And I tell you, no! ... That's what: if you want to play with me, then take the trouble to learn the role, otherwise transfer it to another.”

Petrovsky, who was present right there, suspended the rehearsal, took the role from Solenik and transferred it to Bobrov.

“Well, thank God!” Said Karp Trofimovich, not at all offended by this circumstance. - Otherwise, at the performance, Zhivokini would torture me with his stubborn silence ...

And here is another example of Solenik's improvisational ability.

There was a vaudeville "Son-in-law" in which he played the title role. There is a scene when he goes out to pacify a furious cabman, on which his mother-in-law came to him. Coming back after explanation, the son-in-law appears in the rumpled cylinder.

“What's wrong with you, son-in-law?” - asks him during the play of the mother-in-law, which was depicted by the comic old woman Ladin.

“Mommy,” he answers her, “do not get involved with the cabman another time: look what he did to my hat.”

“Comfort yourself, son-in-law, I'll buy you a new hat, bright,” Ladina should have said, and she misinterpreted the last word and said “faience”.

The audience erupted in terrible laughter, those who were on the stage - also, except for Solenik, who, as if nothing had happened, like in a play, went to the front of the stage and read a whole monologue on the subject of the “faience hat”.

“But mother is right,” he said, “that a faience hat will successfully replace a cylinder.” Earthen hat has a lot of advantages, and why they really will not invent one! Firstly, she would not be afraid of rain, secondly, she would not require repairs, and thirdly, she would always be clean. Suppose, its fragility would require great care, but this is excellent, we would put it in safe places, and its durability in this way would be guaranteed. We wouldn’t put it on chairs, as we do with these hats, which they sit on and wrinkle, and the cabmen would treat us more delicately: if he had broken a faience hat on me, I would channel it into the quarter red-handed, well, and with a crumpled cylinder how to pull it? Says: "that was." How can I prove its freshness? ... So, mother, order a faience hat at the factory - I will quickly introduce it into general use, and your name will be glorified by a wise invention; grateful descendants erected monuments and monuments to you.

At this time, all that is called, "laughed," and the vaudeville went on as usual.

- Memoirs of the artist of the imperial theaters A. A. Alekseev, chapter X ^[19]

A few years after the death of Karp Solenik, a rather anecdotal incident occurred with his grave, symbolically reflecting the original sense of humor of the Ukrainians: one of the actor’s admirers, having stopped by to pay his respects to the cemetery, found that not even some a monument, or even an ordinary cross. A fan ordered and set up a cross at his own expense. On the cross, he ordered to draw up an inscription in Ukrainian, which became a peculiar landmark of Kharkiv city cemetery No. 1:

In the name of the Tripartite God the Father, Sin and the Holy Spirit
the body of the servant of God Boz Karp Trofimovich Solenik was buried here
famous Little Russian actor,
to which this cross was delivered by Zaporizhzhya Kozak A.I. Stratonovich.
Marveling from the sky, Solenice,
Yak crooked heart cholovіche:
Like yo, take a shot on life,
Serving that publicly,
That’s a public to live
Quotes threw yak straw.
And died a non-artist,
That baijou! Nothing at all,
Shch ashes to lay thy without crack.
It's time, bach, the wrong one gurgled:
Now Ukraine has become
Empty, bututs domin. ^{* [12]}

_{* “Not good” - Starorus. miserable, poor fellow; “That is the baijou!” - Ukrainian. “Well, okay!”, “Ay, don't care!”; "Empty, but domin" - Ukrainian "Empty like a coffin."}

In addition to this anecdote, one more thing happened: when preparing the Russian Biographical Dictionary, the authors first compiled a preliminary list of persons who will be included in the future dictionary - the so-called “RBS Dictionary”; The dictionary compiled two volumes of names with the shortest annotations explaining the meaning of the person; So Solyonik is referred to as Karl in this Dictionary. When they already wrote an article for the Dictionary , they corrected the error in the name, but made a different one: it is indicated that Solyonik died in Odessa, which contradicts the current event sources ^[18] . These errors, due to the authority of the RBS, sometimes pop up in later mentions.

In general, the posthumous fate of Karp Solyonik is relatively safe. In the year of his death, obituaries appeared in two metropolitan magazines; the decade after his death is also marked by memorable articles; in the 80s, Kharkov journalist N. I. Chernyaev, collecting materials on the history of the Kharkov theater, published an extensive note dedicated specifically to K. T. Solenik - this material is reprinted and generates another wave of interest in him; in 1907, in the journal Kievskaya Starina, in an article devoted to the national Ukrainian theater, Solenik was already declared a national treasure; in 1911, in connection with the 100th anniversary of his birth, he is remembered in the official Yearbook of the Imperial Theaters ^[20] ; in 1928, in 1951 and in 1963, scientific monographs in Ukrainian were published devoted to the life and work of the actor. See bibliography

In the 1930s, it was decided to build a huge sports complex on the site of the old city cemetery No. 1 in Kharkov. The ashes of K. T. Solyonik were reburied at cemetery No. 13.

In vaudeville and comic plays :

• “A business man, or The thing in the hat” (comedy-vaudeville F. A. Koni ), - Gorsky
• “In people, an angel is not a wife! At home with her husband - Satan! ”(Comedy in 3 d., F. de Kursi and D.-Sh. Dupeti, translated by D.T. Lensky ), - Pryndik
• “Troublesome, or the Case of the master is afraid” (vaudeville by A. I. Pisarev ), - Repeykin
• “Good and bad, and stupid and smart” (vaudeville in 1 day, alteration of the play by E. Skrib and Melville ), - the servant Emelyan
• “Kettley, or Return to Switzerland” (opera vaudeville in 1 d. F.-A. Duver and P. Duport, per. D.T. Lensky ), - innkeeper Rutley
• “Lodger under the table” (vaudeville in 2 d. D.T. Lensky), - Jovial
• “You cannot conceal an awl in a bag, you cannot hold a girl in a bag” (vaudeville N. A. Nekrasova ), - Rupert
• "Actor" (vaudeville N. A. Nekrasov ), - Kochergin
• “Sailor” (a comedy in 1 d. E. Sauvage and J.-J.-G. Delurier), - Peter and sailor Simon
• " Lev Gurych Sinichkin, or Provincial Debutante " - Lev Gurych Sinichkin

In dramas, tragedies, in comedies of classics :

• “Thirty years, Or the life of a player” ( V. Ducange’s melodrama), - Innkeeper
• “Two-maiden, or Why you go, then you will find” (drama by A. A. Shakhovsky ), - Ivanushka
• “The Grandfather of the Russian Navy” (drama by N. A. Polevoy ), - Thibault
• “The Russian people remember good” (melodrama by N. A. Polevoy ), - Sidor Fearless
• “Kremnev, Russian soldier” (drama in 3 days by I. N. Skobelev ), - Senka
• “Death of Lyapunov” (drama by S. A. Gedeonov ), - Zarutsky
• “Sons of Edward, King of England” (tragedy in the 3rd building of C. Delawin ), - James Tyrell
• “ King Lear ” - King Lear (in Ukrainian) and the Jester
• Hamlet - Polonium
• " Gypsies " - Old Gypsy
• The Examiner - Khlestakov , Bobchinsky and Osip
• “ Marriage ” - Kochkarev
• “ Woe from Wit ” - Repetilov and Famusov

He also successfully played in the plays of Schiller and in the comedies of Moliere .

In Ukrainian comedies and vaudeville :

• Natalka-Poltavka - Makagonenko , Elective , Voznoy and Tetervakovsky
• “Matchmaking on Goncharovka” (vaudeville by G. F. Kvitki-Osnovyanenko ) - Stetsko
• " Shelmenko-batman " - Shelmenko
• “Boy-Zhinka” (vaudeville by G. F. Kvitki-Osnovyanenko ) - Potap Lavurda

In addition to those given in the notes to this article, see the following publications about K. T. Solyonik: “Russian Scene” 1865, (newspaper) No. 13, November 18, feuilleton; "Repertoire and Pantheon", 1844, vol. V, Theatrical Chronicle, p. 30, also 96, etc .; in the same place, XII t., Theatrical Chronicle, p. 15, 17-18, 22-30, 60, 73, 80-81; XIII, Theatrical Annals, p. 87 and 89; 1845, vol. IX, Theatrical Annals, 81–82; ibid., p. 102; Repertoire and Pantheon, 1848, I, Provincial Theaters in Russia, p. 8; 1848, I, Russian Theater, p. 44; Essays on the Russian scene, 92–97; also in Notes by actor A. A. Alekseev, p. 114. and in the memoirs of A. I. Schubert , p. 87-88; Yearbook of the Imperial Theaters, 1910, no. VII, pp. 27-39; Kisil O., Ukrainian actor Karpo Solenik (1811-1851). Life and creativity, Kharkiv, 1928; Dibrovenko M., Carpo Solenik. Zhittya i dyal'nіst, Kiev, 1951; Pletnev A.V., At the origins of the Kharkov theater, Kharkov, 1960; Grin A.A., Karpo Trokhimovich Solenik, Kiev, 1963, etc.