Painting morning in a pine forest description. The story of the masterpiece: “Morning in a Pine Forest”

MOSCOW, August 7 – RIA Novosti, Anna Kocharova. “Love the art in yourself, and not yourself in the art”, “Theater begins with a hanger” - actors all over the world are taught according to Sanislavsky’s system today, although in fact he did not create any special system. The founder of the Art Theater passed away 80 years ago, but his directorial principles will always be relevant.

His famous “I don’t believe it!” Konstantin Sergeevich spoke to the actors, blaming them for their unnaturalness and pathos on stage.

The phrase “The theater begins with a hanger” is from Stanislavsky’s letter to the Moscow Art Theater cloakroom staff, in which he thanked them for their congratulations on his 70th anniversary.

The director wrote then: “Our Art Theater differs from many other theaters in that the performance in it begins from the moment you enter the theater building. You are the first to meet the arriving spectators." And he also said: "Know how to love the art in yourself, and not yourself in art. If you exploit art, it will betray you; art is very vindictive."

The so-called Stanislavski system as a clear methodological manual does not exist. However, it is set out in the works of the theater reformer. One of the main techniques is acting transformation.

“An actor must know everything about his character - where he came from before he appeared on stage, who his parents are, and the entire biography of the hero.”

The director demanded that the actors tell him full story the lives of their characters, although it was not written into the play. Each image needed painstaking elaboration.

The artist must clearly understand who his hero is and what he needs. Otherwise, he will walk around the stage pointlessly, acting like a wound-up machine, Stanislavsky believed.

Thanks to him now theater schools all over the world, aspiring actors perform different exercises, based on observation of animals and people, aimed at developing attention.

Stanislavsky's system also took root in cinema, which was facilitated by the advent of sound cinema. Director Vsevolod Pudovkin wrote that according to the educational system, a film actor should be closest to Stanislavsky’s school, and in every possible way promoted this theatrical approach.

It also helped that in the 1930s, Moscow Art Theater actors actively began acting. The works of the Russian theater theorist were carefully studied by such film directors as Sergei Eisenstein and Sergei Gerasimov.

Hollywood also owes a lot to Stanislavski. For example, before filming the film “Marathon Man,” Dustin Hoffman, getting used to the image of a man on the run, did not wash, did not sleep normally, and dressed in rags.

It must be said that Konstantin Sergeevich was a very independent person. In the difficult 1920-1930s, he defended traditional artistic values Russian stage.

The Moscow Art Theater was charged with socio-political accusations of “backwardness.” In response, the theater staged “Warm Heart” based on the play by Alexander Ostrovsky. And outwardly Stanislavsky - in pince-nez, a suit, often with a bow tie - did not at all resemble a proletarian director.

It's no secret that after many years collaboration The paths of the two stage reformers Stanislavsky and Nemirovich-Danchenko diverged. But, even when in a quarrel, Konstantin Sergeevich often helped out Vladimir Ivanovich, who was a passionate card player with all the ensuing consequences.

Stanislavsky himself was very careful with money. Many of his notebooks have been preserved, where, in addition to sketches for decorations, aphorisms, lists, addresses and recipes, there are records of expenses and the availability of funds in accounts.

And of course, artistic ethics has always occupied a special place in Stanislavsky’s system, by which the director meant collective creativity. He was sure: the failure of any artist, technical worker, or the pursuit of personal goals jeopardizes the entire performance, the success of the entire theater.

Konstantin Sergeevich Stanislavsky: “I don’t believe it!” This combination can only be compared with Mayakovsky’s expression about Lenin and the party. If we slightly paraphrase it, we get the following: as soon as you hear two words about distrust of something, the name, patronymic and surname of the founder immediately ring in your head

Popularity of the phrase

Even if a person knows nothing at all about this director, about his world-famous System, he will still easily complement the first phrase with the second. Because “Stanislavsky” and “I don’t believe” are twin brothers. This biting phrase by Konstantin Alekseev (this real name) used in craft lessons and performance rehearsals. The phrase did not make him famous, his talent brought him recognition, it made him famous and quoted all over the world, beyond

Memory of the director

Alekseevs is a surname known in Tsarist Russia. Father is a major industrialist, cousin- Moscow mayor, the family was related to the Tretyakovs and Mamontovs - famous philanthropists. This was truly the “flower of Russia,” which, as we know, did not have its own prophets. One can only wonder how a representative of the nobility and industrial elite managed to avoid persecution. However, he got everything state awards, title of academician and people's artist. Streets in dozens of cities are named after him, commemorative medals have been issued, and there are awards named after him - the MIFF “I Believe” award. Konstantin Stanislavsky." There have been seasons named after him for several years now. This theater festivals, which brings the best world performances. The unforgettable phrase of people who question something: “I don’t believe what Stanislavsky said,” has become popular. Its first part, said separately, sounds rude and even insulting. But when combined with the surname, it caresses the ear with tolerance and hints at the erudition of the interlocutor.

Foundation of the Moscow Art Theater

In 1898, at the age of thirty, Konstantin Sergeevich, together with Nemirovich-Danchenko, founded a new performing arts. And Stanislavsky begins to create his famous System, the goal of which is to get the “truth of life” from the actors. The super task, the main idea of ​​this theory, required not to play the role, but to completely get used to it. The assessment of the actors’ work during rehearsals was the phrase that Stanislavsky threw out: “I don’t believe it.” Documentary footage of such a run-in of the role has been preserved. There is a rehearsal for the play “Tartuffe,” Konstantin Sergeevich’s latest production, and he gives advice to the theater actress V. Bendina, who plays Dorina, to lie on stage, as she herself would lie in life. Unique shots. The year is 1938, the year of the death of the brilliant director. Even Nemirovich-Danchenko, with whom relations were completely severed for many years (their friendship-enmity is very well described in “ Theatrical novel"M. Bulgakov), said famous phrase: "Orphaned." Stanislavsky died. No one else said “I don’t believe it” to the actors.

Secrets of mastery

But the school remained, the System of Konstantin Sergeevich remained, which formed the basis of Russian theatrical skill. Its postulates are fully described in the books “My Life in Art” and “An Actor’s Work on Oneself.” The rehearsals of the two famous Moscow Art Theater performances were described in detail. the most talented actor theater by Toporkov and represent vivid documentary evidence of the director’s work with performers.

Game of none American actor cannot compare in intensity of passions and truthfulness with skill Russian artists, dead and living, such as Plyatt, Popov, Makovetsky, Efremov. They just have different super goals. Most TV series, both foreign and domestic, are not discussed at all. In this case, it’s even too lazy to say the phrase: “As Stanislavsky said, “I don’t believe it”,” because it still refers to “ high art", the actors play well or poorly.

The extraordinary talent of Stanislavsky

How talented person, Konstantin Sergeevich was talented in everything. In his youth, he worked for quite a long time at his father’s factory and rose to the rank of director. The products manufactured by the enterprise were not far from the world of beauty - they produced the finest gold and silver wire - the basis for the production of brocade. All evenings were devoted to amateur acting at the Alekseev Theater. Love to acting, as is obvious, Stanislavsky inherited his talent from his grandmother, the French artist Marie Varley. Later, Konstantin Sergeevich studied plastic arts and vocals and sang well. One of the best musical theaters country bears his name and the name of Nemirovich-Danchenko. The famous talented theorist and reformer of stage art, Stanislavsky was a very gifted actor. A number of his famous roles have entered the world's treasury acting work(for example, Old Man). He was noticed from the first professional productions. However, in 1916 he completely stopped his artistic activities. An exception was made only once - forcedly, during the theater's tour abroad. For everyone, the abrupt cessation of performances on stage, after brilliant rehearsals, including the dress rehearsal, remained a mystery. It was the role of Rostanev from Dostoevsky’s “The Village of Stepanchikovo,” which he worked on for a year. We have to assume that Konstantin Sergeevich first uttered such a later-famous phrase, addressing himself: “Stanislavsky, I don’t believe it.” But the director's and scientific work he did not leave until the end of his life. After death there remained one of the best theaters world, his famous System, his school of theatrical excellence, talented students and brilliant books. And the phrase remained forever, a symbol of doubt about something or distrust - “I don’t believe.”

Konstantin Stanislavsky

I do not believe! Memories

Lev Nikolaevich Tolstoy

Around this time, our amateur circle, the Society of Art and Literature, played several performances in Tula. Rehearsals and other preparations for our tour took place there, in the hospitable home of Nikolai Vasilyevich Davydov, a close friend of Lev Nikolaevich Tolstoy. Temporarily the whole life of his house adapted to theatrical requirements. In the intervals between rehearsals there were noisy dinners, during which one funny joke was replaced by another. The owner himself, no longer young, turned into a schoolboy.

One day, in the midst of the fun, the figure of a man in a peasant sheepskin coat appeared in the hallway. Soon an old man entered the dining room with long beard, in felt boots and a gray blouse, belted with a belt. He was greeted with a general exclamation of joy. At first I didn’t understand that it was L.N. Tolstoy. Not a single photograph, not even portraits painted from him, can convey the impression that was obtained from his living face and figure. Is it possible to convey on paper or canvas the eyes of L.N. Tolstoy, which pierced the soul and accurately probed it! These eyes were either sharp, prickly, or soft, sunny. When Tolstoy looked closely at a person, he became motionless, concentrated, inquisitively penetrated inside him and as if sucked out everything that was hidden in him - good or bad. At these moments his eyes were hidden behind his overhanging eyebrows, like the sun behind a cloud. At other moments, Tolstoy responded to a joke like a child, burst into sweet laughter, and his eyes became cheerful and playful, coming out of his thick eyebrows and shining. But then someone expressed an interesting idea - and Lev Nikolaevich was the first to be delighted; he became youthfully expansive, youthfully mobile, and the sparks of a brilliant artist shone in his eyes.

On the described evening of my first acquaintance with Tolstoy, he was gentle, soft, calm, senilely friendly and kind. When he appeared, the children jumped up from their seats and surrounded him in a tight ring. He knew everyone by name, by nickname, and asked everyone some questions that were incomprehensible to us regarding their intimate home life.

We, the visiting guests, were brought to him one by one, and he held each of us by the hand and probed us with his eyes. I felt shot by this look.

The unexpected meeting and acquaintance with Tolstoy led me into a state of some kind of numbness. I was poorly aware of what was happening in me and around me. To understand my condition, you need to imagine what significance Lev Nikolaevich had for us.

During his life we ​​said: “What a blessing to live at the same time as Tolstoy!” And when things became bad in our souls or in life and people seemed like beasts, we consoled ourselves with the thought that there, in Yasnaya Polyana, he lives - Leo Tolstoy! And I wanted to live again.

He was seated at the dinner table opposite me.

I must have been very strange at that moment, since Lev Nikolaevich often looked at me with curiosity. Suddenly he leaned towards me and asked something. But I couldn't concentrate to understand it. People laughed all around, and I became even more embarrassed.

It turned out that Tolstoy wanted to know what play we were playing in Tula, but I couldn’t remember its name. They helped me.

Lev Nikolaevich did not know Ostrovsky's play " The last victim“and simply, publicly, without embarrassment, admitted it; he can openly admit what we must hide so as not to be branded ignorant. Tolstoy has the right to forget what every mere mortal must know.

“Remind me of its contents,” he said.

Everyone fell silent in anticipation of my story, and I, like a student failing an exam, could not find a single word to begin the story. My attempts were in vain, they only aroused laughter fun company. My neighbor turned out to be no braver than me. His clumsy story also caused laughter. The owner of the house himself, Nikolai Vasilyevich Davydov, had to fulfill L.N. Tolstoy’s request.

Confused by the failure, I froze and only secretly, guiltily, dared to look at the great man.

At this time the roast was served.

“Lev Nikolaevich! Would you like a piece of meat? - adults and children teased the vegetarian Tolstoy.

"Want!" – Lev Nikolaevich joked.

Then huge pieces of beef flew towards him from all over the table. Amid general laughter, the famous vegetarian cut off a tiny piece of meat, began to chew and, swallowing it with difficulty, put down his fork and knife: “I can’t eat a corpse!” It's poison! Give up the meat, and only then will you understand what a good mood, a fresh head, means!”

Having found his passion, Lev Nikolaevich began to develop the doctrine of vegetarianism, now well known to readers.

Tolstoy could talk about the most boring topic, and in his mouth it became interesting. So, for example, after lunch, in the semi-darkness of his office, over a cup of coffee, for more than an hour he told us his conversation with some sectarian, whose entire religion is based on symbols. An apple tree against the background of a red sky means such and such a phenomenon in life and predicts such and such joy or sorrow, and a dark spruce tree in the moonlit sky means something completely different; the flight of a bird against the background of a cloudless sky or a thundercloud means new omens, etc. One must be amazed at the memory of Tolstoy, who listed endless signs of this kind and forced some inner strength listen, with great tension and interest, to a story that is boring in content!

Then we started talking about the theater, wanting to boast to Lev Nikolaevich that we were the first in Moscow to play his “Fruits of Enlightenment.”

“Bring joy to the old man, free the “Power of Darkness” from the ban and play!” - he told us.

“And you will let us play it?!” – we exclaimed in unison.

“I don’t forbid anyone from playing my plays,” he replied.

We immediately began to distribute roles among the members of our young amateur troupe. The question of who would stage the play and how was immediately decided; we have already hastened to invite Lev Nikolaevich to come to our rehearsals; By the way, we took advantage of his presence to decide which of the versions of the fourth act we should play, how to connect them together in order to prevent the annoying stop of the action at the very climax dramas. We pressed Lev Nikolaevich with youthful energy. One would think that we were dealing with an urgent matter, that rehearsals for the play would begin tomorrow.

Lev Nikolaevich himself, participating in this premature meeting, behaved so simply and sincerely that we soon felt at ease with him. His eyes, which had just been hidden under overhanging eyebrows, now sparkled youthfully, like those of a young man.

“Here’s what,” Lev Nikolaevich suddenly thought up and perked up from the thought that was born, “you write how to connect the parts and give it to me, and I will process it according to your instructions.”

My comrade, to whom these words were addressed, became embarrassed and, without saying a word, hid behind the back of one of those standing near him. Lev Nikolaevich understood our embarrassment and began to assure us that there was nothing awkward or unfulfillable in his proposal. On the contrary, they will only provide him with a favor, since we are specialists.

However, even Tolstoy failed to convince us of this.

Several years passed, during which I did not have to meet Lev Nikolaevich.

Meanwhile, "The Power of Darkness" was censored and played throughout Russia.

They played it, of course, as written by Tolstoy himself, without any combination of the options for the fourth act. They said that Tolstoy watched his play in many theaters, was pleased with some things, but not with others.

Some more time passed. Suddenly I receive a note from one of Tolstoy’s friends, who tells me that Lev Nikolaevich would like to see me. I go, he receives me in one of the intimate rooms of his Moscow house. It turned out that Tolstoy was dissatisfied with the performances and the play “The Power of Darkness” itself.

“Remind me how you wanted to redo the fourth act. I’ll write to you, and you play.”

Tolstoy said it so simply that I decided to explain my plan to him. We talked for quite a long time, and next to him in the room was his wife, Sofya Andreevna.

Now step into her shoes for a moment. Do not forget that she was painfully jealous of her brilliant husband. What was it like for her to hear that some young man was taking his play and starting to teach him how to write. After all, it’s impudence if you don’t know everything that happened up to that moment.

S.A. Tolstaya could not stand it. She ran into the room and attacked me.

I admit, I had a fair amount of fun. They would have gotten even more if not for their daughter, Marya Lvovna, who came running to calm her mother down. During this entire scene, Lev Nikolaevich sat motionless, tugging at his beard. He did not utter a single word in my defense.

When Sofya Andreevna left, and I continued to stand in complete confusion, he smiled affably at me, remarking: “Don’t pay attention! She's upset and nervous! Then, returning to the previous conversation, he continued: “So, where did we stop?”

Also exists in the form: “Stanislavsky would say: I don’t believe it!”

There is no consensus on what Stanislavsky wanted to say with his phrase. According to the simplest version, the director pursued stiltedness, unnaturalness, excessive pathos and encouraged life-likeness. The critic A. M. Smelyansky, pointing out the shortcomings of this hypothesis, suggests that Stanislavsky, on the contrary, opposed naturalism and “imitation of truth,” demanding from the actors an internal transformation, after which they could “see” life through the eyes of the hero.

Many artists were afraid to hear from Stanislavsky his catchphrase. One day N. O. Massalitinov, tormented by his nagging, asked him to play the episode himself and began to constantly repeat: “I don’t believe it!” Stanislavsky then showed complete gentleness. He himself considered rumors about frequent use expressions were exaggerated and stated that he was pronouncing it from the position of an ordinary spectator.

In more late time The phrase was used sparingly by directors so as not to offend the artists. The exception was Jerzy Grotowski, who “built his role in the theater on this expression.”

Influence

• The writer M. Durnenkov composed the play “I Don’t Believe,” which was performed in Stanislavsky Theater.
• On Moscow International Film Festival awarded special prize « I believe. Konstantin Stanislavsky ».
• Theater director Joseph Raikhelgauz entitled with the phrase “I don’t believe it!” your memoirs.

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