Vysotsky is one of the representatives of the "street" theater, and therefore he easily, with some kind of reckless freedom walks onto the stage. Truly, he only needs a rug. Or a microphone, if it is invented by modern technology. And the guitar, of course. But it is possible without her - he will read poetry, portray Kerensky, Hitler or anyone else. He does all this artistically, dashingly, with an ideal sense of the stage form, the beginning and end of the act, with that bliss of loneliness on the stage, which is given to pop artists as a gift from God. But the best thing about Vysotsky, of course, is his songs. Someone said about him that the floor under him walks when he appears on stage. It's right. The special springiness of temperament is the essence of his charm. But when he picks up the guitar, when his hands and feet calm down, the eyes turned to the audience become focused - when the actor remains himself - this is where the fun begins.

I will not undertake to retell the content of his songs, although the best of them are peculiar little dramas. Followed one after the other, now funny, now sad, now genre pictures, now monologues spoken from a person with a pronounced individuality, now the author's thoughts about life and time, they all together give an unexpectedly vivid picture of this time and the person in it. The rough "street" manner of performance, almost conversational and at the same time musical, is combined with an unexpected philosophical content - this gives a special effect. In style, these are Brechtian Zongs, transferred to our Russian soil.

Vysotsky's performing talent is very Russian, folk-style, but this, in itself, charming type is subject to intellect, the ability to think independently and fearlessly generalize what he has seen. In Lyubov's performances, the intellectual principle is always noticeably more active, it is brought directly to the audience, appeals to its mind. Vysotsky also sings - offensively, turning not somewhere over their heads, in general to the audience, but looking directly into the eyes of those in front of him, winning those eyes, not letting them go, subduing and convincing. The agitational essence of the theater that he represents is reflected in this as well.

Vysotsky is courageous not only in appearance, but also in mind and character. Fortunately, in his songs there are no self-confident intonations, he thinks more about life and looks for solutions than asserts anything that he is completely sure of. But he thinks, rejecting any possibility of compromise and mental resourcefulness. He thinks the way they think today and are looking for the best of his generation. Fearlessly, without hesitation, he brings the results of his searches to the viewer, hoping that they will understand him.

Vysotsky is a child of the elements, I have not seen a second one with the same endurance. He is tireless like a mountain river, like a Siberian blizzard, and this is not a metaphor, alas! - he is just as merciless to himself in his work as the above-mentioned phenomena of nature. Only it costs him more - life and health. Element, infatuation, intrigue of design, love make him himself. The bureaucratic routine, everyday vanity change its appearance. It's like a different person - not wide and generous, unrecognizable in anything ... But here he was imperiously summoned by passion, idea, dream, song, friendship, role. Before you is Vladimir Vysotsky. He will be thrown open all over in front of people, he runs the risk of burning, melting at every step ... He will compose a song that they will love tomorrow. He will leave to shoot in the mountains, get carried away with mountaineering, and his poems about friendship and courage, about mountains and war will bring success to the film. Having perfectly played an officer in the film "Two Comrades Served", he flatly refused an understudy - he rode himself, saddled himself, fell off his horse himself ... A child of the elements ... "

1. Brief biography

At the beginning of World War II with his mother, Nina Maksimovna, he was evacuated to the Orenburg region. In the summer of 1943, they returned to Moscow.

On September 1, 1945, he entered the first grade of the 273rd Moscow school. Two years later, in 1947, he left with his father and stepmother to Germany - the city of Eberswald. After spending two years there, in October 1949 he returned to Moscow. He settled in Bolshoy Karetny, 15. He studied at the 186th male school and in 1955 graduated from 10 classes. In the same year he entered the Kuibyshev Moscow Civil Engineering Institute, but after a few months, at the beginning of 1956, he left the institute.

In the summer of 1956 he entered the Moscow Art Theater School. Nemirovich-Danchenko to the acting department for the course of B.I. Masalsky and A.M. Komissarov. In May 1958, he married Isolde Zhukova, a student at the Moscow Art Theater School. In June 1960 he graduated from the Moscow Art Theater School. Got a job at the Moscow Drama Theater. A.S. Pushkin, then to the Theater of Miniatures.

In 1961, the first song was written - "Tattoo".

In the fall of 1961, in Leningrad, he met the film actress Lyudmila Abramova, his future second wife. In November 1962, the first son, Arkady, was born to Vysotsky and L. Abramova.

According to some sources, there is information that at this time Vladimir Vysotsky began to abuse alcoholic beverages, and in May 1964, at the insistence of his parents, he first went to the hospital and was treated for alcoholism. In August 1964, his second son, Nikita, was born.

Since September 1964, the creative life of Vladimir Semyonovich Vysotsky is associated with the Theater of Drama and Comedy on Taganka, where he was enrolled in the staff of actors. In 1965, the first solo concerts were held in Moscow. By that time, he had already written about a hundred songs.

In June 1966, at the Taganka Theater, the premiere of "The Life of Galileo". In the main role - Vladimir Vysotsky.

In the summer of 1966, he starred in two films: Vertical and Brief Encounters. The first flexible disc with Vysotsky's songs from the film "Vertical" saw the light of day. In 1967 he starred in the films: “Two Comrades Served” and “Intervention.” (The last film did not appear on the screens during his lifetime).

In July 1967, in Moscow, he met the French film actress de Poliakoff Marina-Catherine, better known to us as Marina Vlady.

In March 1968, Vysotsky was fired from the Taganka Theater, then accepted again with many reservations.

August 1968 - poems were written in Siberia for the songs "Hunting for Wolves" and "Bathhouse".

In July 1969, the first clinical death.

In the summer of 1973 he went to the West for the first time - to France. In the same year, the first two giant discs with Vysotsky's songs were released in the USA

In the spring of 1975, Vysotsky and Vladi received a separate three-room apartment at 28 Malaya Gruzinskaya.

May 10, 1978 was the first day of filming for "The Meeting Place Cannot Be Changed". Filming ended in February 1979.

1979 - starred in his last film, Little Tragedies.

July 20, 1980 - the last poem was written: "And from below the ice, and from above - toil between ..."

Buried at the Vagankovskoye cemetery in Moscow.

2. On the stage of the theater

He played more than 20 roles on the theater stage, 8 in radio performances, Vysotsky is the author of songs and lyrics for many films. Filmed in films:

- "Peers" (Petya)

- "Career of Dima Gorin" (Sofron)

- "Sinner" (correspondent)

- "713 requests landing" (American sailor)

- "Shore Leave" (Peter)

- "The Living and the Dead" (Cheerful Soldier)

- "Free kick" (Alexander Nikulin)

- "Our House" (mechanic)

- "On Tomorrow Street" (Peter Markin)

- "Cook" (Andrey Pchelka)

- "I come from childhood" (Volodya)

- "Vertical" (Volodya)

- "Short meetings" (Maxim)

- "There were two comrades" (Brusnetsov)

- "Master of the Taiga" ("Pockmarked")

- "Dangerous Tour" (Nikolay Kovalenko)

- "White Explosion" (political instructor)

- "Echo of Distant Snows" ("Gray")

- "Fourth" (he)

1973 - Bad Good Man (Von Corren)

- "The only road" (Solodov)

- "The Getaway of Mr. McKinley" (Bill Segger)

- "The only one" (Boris Ilyich)

- "How Tsar Peter Arap married" (Ibrahim Hannibal)

The meeting place cannot be changed "(Gleb Zheglov)

- "Little Tragedies"

3. Creative heritage

Vysotsky's creative heritage is fraught with many mysteries. Serious research began not so long ago, and there is still a lot of controversy, discoveries, and various versions.

If you try to define Vysotsky's place in the history of our culture in one word, then the most accurate will be: the personified conscience of the people... Therefore, he is the favorite of the people, therefore, the mass pilgrimage to his grave on Vagankovsky has been for how many years, therefore, there is an endless sea of ​​flowers at his monument, therefore any reminders of him are snapped up - books, booklets, cassettes, records. During his lifetime, he became neither a national, nor an honored, nor a laureate. He was not awarded official awards and titles. But it has truly become popular. His talent, his work were thus a miraculous monument.

He denounced the vices of our demoralized society without moralizing, without patronizing notes. Prose was alien to him. The meaning was the struggle for the return of the absolute: honor, conscience, dignity.

Vladimir Semenovich Vysotsky - poet, songwriter (25/01/1938 Moscow - 25/07/1980 ibid). Father is a communications colonel, mother is a translator of technical literature (from German). Vladimir Semenovich lived in 1947-49. with his parents in Eberswalde near Berlin, from 1956 to 1960. he studied at the Moscow Art Theater School, and then, after graduation, played on the stages of Moscow theaters.

Since 1964 he became the leading actor of the most avant-garde Moscow stage - the Taganka Theater under the direction of Yuri Lyubimov. The roles played here, including Hamlet, and in 26 films where Vysotsky performed songs with a guitar, soon brought him extraordinary popularity. Vladimir Semenovich performed with songs in public, as well as at home, but the texts of his songs were not published. They were distributed in the USSR on millions of tapes and cassettes. Some of them appeared on 25 pages of the uncensored Metropol almanac.

Vladimir Vysotsky was married to a French actress of Russian origin Marina Vladimirovna Polyakova (artistic name - Marina Vladi). With her help, he could periodically obtain visas for travel to France, and in 1979 he made a concert tour across the United States.

His early death did not receive any official response, but responded with popular grief, a spontaneous night demonstration in front of the Taganka Theater, in which several tens of thousands of people from all walks of life took part (a unique, almost unimaginable event throughout the decades of Soviet power). Thousands of admirers of the poet come to the grave of Vladimir Semenovich at the Vagankovskoye cemetery from year to year. After his death in the USSR, it was allowed to publish the collection " Nerve"(1981), containing 130 poems selected by Robert Rozhdestvensky. Some famous songs are missing here at all, others (for example," The ballad of wolf death" and " Black eyes») Are cut in half. Edition in 3 volumes " Songs and Poems"(1981-83), published in New York, contains about 600 songs, some prose, Vladimir Vysotsky's statements about his work and literature about him. Since 1986, perestroika has opened an official path for him to a reader in the USSR.

Vysotsky as a bard is close to B. Okudzhava and A. Galich. He became an idol for millions of Soviet people. This he owes to the talent of a deeply personal perception of the life of his compatriots and contemporaries; their joys and sorrows, fears and hopes with full truthfulness are reflected in his songs, performed with such dedication that one might call selflessness. Vysotsky's emotional excitement is without a trace transmitted to his Russian listeners. At the same time, he is capable of embodying tragedies and destinies that he has not experienced himself - this applies primarily to the horrors of war and camp torture. His main position is religiosity, pacifism, willingness to help; his expressive means are diverse: descriptiveness, accusation, humor, sharpness, irony, spell. In his manner of performance, in his singing, there was roughness and hoarseness, there was pathos and differences - and always in full accordance with the text. “A note of urban outskirts, courtyards of hastily asphalted Russia found itself in it” (A. Voznesensky, in the magazine Novy Mir, 1982, No. 11, p. 116). He sang, "creating, as it were, a synthesis of poetry and the garbage of everyday life, music and vulgarity of Soviet life, theater and the popular vulture of street voices" (A. Krugly).

Biography

At the beginning of World War II with his mother, Nina Maksimovna, he was evacuated to the Orenburg region. In the summer of 1943, they returned to Moscow.

On September 1, 1945, he entered the first grade of the 273rd Moscow school. Two years later, in 1947, he left with his father and stepmother to Germany - the city of Eberswald. After spending two years there, in October 1949 he returned to Moscow. He settled in Bolshoy Karetny, 15. He studied at the 186th male school and in 1955 graduated from 10 classes. In the same year he entered the Moscow Engineering and Construction Institute. Kuibyshev, but after a few months, at the beginning of 1956, he left the institute.

In the summer of 1956 he entered the Moscow Art Theater School. Nemirovich-Danchenko to the acting department for the course of B.I. Masalsky and A.M. Komissarov. In May 1958, he married Isolde Zhukova, a student at the Moscow Art Theater School. In June 1960 he graduated from the Moscow Art Theater School. Got a job at the Moscow Drama Theater. A.S. Pushkin, then to the Theater of Miniatures.

In 1961, the first song was written - "Tattoo".

In the fall of 1961, in Leningrad, he met the film actress Lyudmila Abramova, his future second wife. In November 1962, the first son, Arkady, was born to Vysotsky and L. Abramova.

According to some sources, there is information that at this time Vladimir Vysotsky began to abuse alcoholic beverages, and in May 1964, at the insistence of his parents, he first went to the hospital and was treated for alcoholism. In August 1964, his second son, Nikita, was born.

Since September 1964, the creative life of Vladimir Semyonovich Vysotsky is associated with the Theater of Drama and Comedy on Taganka, where he was enrolled in the staff of actors. In 1965, the first solo concerts were held in Moscow. By that time, he had already written about a hundred songs.

In June 1966, at the Taganka Theater, the premiere of "The Life of Galileo". In the main role - Vladimir Vysotsky.

In the summer of 1966, he starred in two films: Vertical and Brief Encounters. The first flexible disc with Vysotsky's songs from the film "Vertical" saw the light of day. In 1967 he starred in the films: “Two Comrades Served” and “Intervention.” (The last film did not appear on the screens during his lifetime).

In July 1967, in Moscow, he met the French film actress de Poliakoff Marina-Catherine, better known to us as Marina Vlady.

In March 1968, Vysotsky was fired from the Taganka Theater, then accepted again with many reservations.

August 1968 - poems were written in Siberia for the songs "Hunting for Wolves" and "Bathhouse".

In July 1969, the first clinical death.

In the summer of 1973 he went to the West for the first time - to France. In the same year, the first two giant discs with Vysotsky's songs were released in the USA

In the spring of 1975, Vysotsky and Vladi received a separate three-room apartment at 28 Malaya Gruzinskaya.

May 10, 1978 was the first day of filming for "The Meeting Place Cannot Be Changed". Filming ended in February 1979.

1979 - starred in his last film, Little Tragedies.

"Hamlet".

From above - toil between ... "

Georgian, 28.

Buried at the Vagankovskoye cemetery in Moscow.

He has played more than 20 roles on the stage of the theater, 8 - in the radio

Filmed in films:

- "Peers" (Petya)

- "Dima Gorin's Career" (Sofron)

- "Sinner" (correspondent)

- "713 requests landing" (American sailor)

- "Shore Leave" (Peter)

- "The Living and the Dead" (Cheerful Soldier)

- "Free kick" (Alexander Nikulin)

- "Our House" (mechanic)

- "On tomorrow's street" (Peter Markin)

- "Cook" (Andrey Pchelka)

- "I come from childhood" (Volodya)

- "Vertical" (Volodya)

- "Short meetings" (Maxim)

- "There were two comrades" (Brusnetsov)

- "Master of the Taiga" ("Pockmarked")

- "Dangerous Tour" (Nikolay Kovalenko)

- "White explosion" (political instructor)

- "Echo of distant snows" ("Gray")

- "Fourth" (he)

1973 - Bad Good Man (Von Corren)

- "The only road" (Solodov)

- "The Flight of Mr. McKinley" (Bill Segger)

- "The only one" (Boris Ilyich)

- "How Tsar Peter Arap married" (Ibrahim Hannibal)

The meeting place cannot be changed "(Gleb Zheglov)

- "Little Tragedies"

Vysotsky's creative heritage is fraught with many mysteries. Serious research began not so long ago, and there is still a lot of controversy, discoveries, and various versions.

One of the first to evaluate his work as a poet was the critic N. Krymova. In January 1968, in the magazine "Soviet Stage and Circus" she wrote:

“... Vysotsky goes to the stage as a songwriter - a poet and composer. As much as the Taganka Theater is not like the Bolshoi Drama Theater in Leningrad, so Vladimir Vysotsky is not like the Jurassic or Receptor. The theater formed this actor in its own image and likeness, in this form he entered the stage - a singer from Taganka. A special type of our, domestic chansonnier. We can be proud that he finally appeared. Appeared - and immediately pushed those pop song performers who are obediently attached to their accompanists, someone else's text and someone else's music. A new lively character did not even enter, but burst onto the stage, bringing a song where everything is merged together: text, music, interpretation; a song that you listen to as a dramatic monologue. Vysotsky's songs are born in him, they live in him and in many ways lose their vitality outside of his manner of performance, outside of his nervous pressure, outside of his diction, and most importantly, the infectious energy of thought and feeling, outside of his character. "

If you try to define Vysotsky's place in the history of our culture in one word, then the most accurate will be: the personified conscience of the people.

Therefore, he is the favorite of the people, therefore, the mass pilgrimage to his grave on Vagankovsky has been for how many years, therefore, there is an endless sea of ​​flowers at his monument, therefore any reminders of him are snapped up - books, booklets, cassettes, records. During his lifetime, he became neither a national, nor an honored, nor a laureate. He was not awarded official awards and titles. But it has truly become popular. His talent, his work were thus a miraculous monument.

He denounced the vices of our demoralized society without moralizing, without patronizing notes. Prose was alien to him. The meaning was the struggle for the return of the absolute: honor, conscience, dignity.

He knew how to be sick with common grief, he knew how to grope and point out the painful points of society.

It is impossible to retell the content of his poems, although the best of them are peculiar little dramas. Followed one after the other, now funny, now sad, now genre pictures, now monologues spoken from a person with a pronounced individuality, then the author's own thoughts about life and time, they all together give an unexpectedly vivid picture of this time and the person in it with unexpected philosophical content - this has a special effect.

Vysotsky's talent is very Russian, folk-style, but this, in itself, a charming type is subject to intellect, the ability to think independently and fearlessly generalize what he has seen. Vysotsky is courageous not only in appearance, but also in mind and character. Fortunately, in his poems there are no self-confident intonations, he thinks more about life and looks for solutions than he affirms anything that he is completely sure of. But he thinks, rejecting any possibility of compromise and mental resourcefulness. Fearlessly, without hesitation, he endures the result of his searches, hoping that he will be understood.

Vysotsky puts internal tension, a high concentration of emotional energy into his characters.

“Vysotsky did not exaggerate his importance, his gift. Maybe even underestimated. However, he knew his calling, treated him seriously, honestly and was faithful to him to the end, and therefore his strength grew, surprisingly. " These are the words of Y. Karjakin from an article dedicated to the memory of Vysotsky.

Yuri Shatin in his work "The Poetic System of Vysotsky" wrote: "... It is unlikely that we will ever fully decipher this plan ... Vysotsky's artistic thinking is of a fundamentally two-pronged nature: the empirical, everyday plan corresponds to the philosophical and ideological plan of the development of thought, goodness and art ...

Characters not only verbally embody the author's ideas, but also have an independent world. There is a rigid border between the two worlds, its crossing can only be organized violence against the plot, which deduces both the plot and the hero into a new hypostasis. This is no longer reincarnation, but ecstasy in the precise meaning of the word. We, spectators or listeners, are required to recognize several possible worlds, which are represented by different modes of artistic language. The transition to the other is always overcoming the first ... ... each poem is a complete text, and at the same time each time submits to a more complex whole, organized in the form of a performance or a poetic concert. But the text of a song or poem itself is not just a fragment, but rather a cell that reflects the laws of the whole. The integrity of the concept, therefore, regardless of its further fate, is initially not mechanical, but organic in nature, the development of the whole proceeds according to an internal plan and does not allow arbitrary gluing of individual parts

There is every reason to believe that any text by Vysotsky is built as an organic whole and reproduces the indicated patterns. In the completed work, the structure cannot be observed with the naked eye, it is hidden by the artistic fabric. It takes an x-ray of analysis to see the skeleton behind the flesh that holds it and allows movement.

One can love or not love the poetry of V.S.Vysotsky - this is a matter of taste and persuasion. To understand his tremendous contribution to the development of Russian and world art of the word can only be done in one way - by studying the basic properties of the artistic language, embodied in the structure of the poetic text.

The existence of Vysotsky's poetry in the minds of his contemporaries was too unlike everything that we knew until now. Almost no one read the poet's poems during his lifetime, despite the fact that everyone heard the songs. Such existence could not but give rise to a stable idea of ​​the bardic, song-like character of all Vysotsky's work. Of course, this idea is partly true: about two-thirds of the poems became songs, and the remaining third was not available to the absolute majority of readers for a long time.

What made Vysotsky's poetry so popular among different people, in different social and age groups? Most likely, the recognition of life situations in his poems. The same recognition led to the rejection of his poetry. Vysotsky covered a huge thematic and genre spectrum with his work. Unlike most poets, his lyrics are alien to the autobiographical experiences, they are largely focused on the poetic presentation of situations.

The purpose of most of Vysotsky's poems is to remove rose-colored glasses from the reader, ridicule his complacency and plunge into the world of the highest values ​​of human existence. Vysotsky's poetry leaves no chance for salvation in unchanging reality. The poet's poems are an artistic prophecy about powerful cataclysms, the participants and witnesses of which we are now.

In his prophecies, VS Vysotsky relied on historical and poetic experience, the inexhaustible reserves of which are inherent in our culture and, as it were, await new Columbus. "

Numerous of his poems reveal the genre nature of the lyrics in all its diversity. Only taking into account this diversity can one understand how the genre is transformed in a single work.

Vladimir Semyonovich Vysotsky wrote his last poem in 5

Days before death:

And ice from below, and from above - toil between:

Should I pierce the top or drill the bottom?

Of course, surface and not give up hope!

And there - for the business of waiting for visas.

Ice over me - break and crack!

I'm covered in sweat, even though I'm not from the plow.

I'll come back to you like ships from a song

Remembering everything, even the old poems.

I am less than half a century old - more than forty, -

I am alive, we keep you and the Lord.

I have something to sing, appearing before the Almighty,

I will have something to answer before Him.

Best of all, in my opinion, the work of V.S.Vysotsky was characterized by

Evgeny Evtushenko:

You, as an ancient hero, were carried by the power on the shield,

Now it doesn't matter that at times it was unjust.

You were scolded and loved, and gossip climbed on the ground,

But your recordings sounded both in the gateway and in the Kremlin.

Vladimir Semyonovich Vysotsky was born on January 25, 1938 in Moscow. Volodya's parents separated when he was five years old. Due to constant quarrels with his stepfather, he left with his father and his new wife in 1947 to the city of Eberwald (Germany), from where he returned in 1949. Then Volodya was diagnosed with a murmur in the heart.

In 1955 he entered the Moscow Civil Engineering Institute, but after a few months he took his documents from there. In 1956, he began his studies at the Moscow Art Theater School and two years later a wedding was played with student Izolda Zhukova.

1959 was marked by the first role in a motion picture. 1960 was marked by the end of school and the beginning of work at the Moscow Pushkin Drama Theater, where the actor was involved all the time only in the crowd. In 1962 and 1964, Vladimir had two sons.

1964 - transfer to the theater of drama and comedy on Taganka, where two years later Volodya will play his first major role in the production of The Life of Galileo. In 1965, Vladimir gave his first solo concerts, the repertoire at that time already numbered more than a hundred songs, the first sold out, actively starred in films.

In 1967, a fateful meeting takes place with a native of France Marina Vlady, with whom he will marry two years later. In 1969, Vladimir Semyonovich experienced his first clinical death, as a result - one kidney completely failed and the liver was destroyed, which was due to an excessive addiction to alcohol. 1971 - Vladimir plays the main role in the play "Hamlet".

In 1973 he went on his first tour to France and released two discs in the USA. 1978-1979, an iconic role in the film "The Meeting Place Cannot Be Changed". On July 25, 1979, the actor experiences his second clinical death in Bukhara, and only thanks to his doctor and friends who were nearby, Vladimir comes back to life. Vladimir Semyonovich Vysotsky died on July 25, 1980 in his apartment, was buried at the Vagankovsky cemetery.

Vladimir Semyonovich Vysotsky(1938-1980) - Soviet poet, musician, actor, author of hundreds of songs to his own verses.

As an author and performer with a guitar of songs of his own composition, he gained wide popularity. In the 70s of the XX century, citizens of the USSR bought tape recorders (an expensive purchase at that time, more than a month's salary) specifically in order to listen to the songs of Vladimir Vysotsky. Many of his songs became folk songs (that is, almost the entire population of the USSR knew them), and the names of the heroes of these songs became common nouns. And this is despite the fact that neither his songs nor his very name were practically mentioned in the official mass media of the USSR.

Vysotsky wrote about 700 songs and poems, played about 30 roles in films, played in the theater, and toured the whole country and the world with concerts. During the years of strict censorship, Vysotsky touched upon forbidden topics (for example, he performed thieves' songs), sang about everyday Soviet life and the Great Patriotic War - all this brought him wide popularity.

Childhood

Vysotsky was born on January 25, 1938 in Moscow, into a family of employees. Father, Semyon Vladimirovich Vysotsky (1916 - 1997), was a career soldier, colonel. Mother, Nina Maksimovna (nee Seryogina) (1912 - 2003), was a German translator by profession. Vladimir spent his early childhood in a Moscow communal apartment on First Meshchanskaya Street. During the Great Patriotic War, he lived with his mother in evacuation for two years in the city of Buzuluk in the Urals. In 1943 he returned to Moscow, at 126 1st Meshchanskaya Street. In 1945 he entered the first grade of the 273rd school of the Rostokinsky district. In 1947-1949 he lived with his father and his second wife, Evgenia Stepanovna Likhalatova-Vysotskaya in Eberswalde (Germany), where he learned to play the piano. Then he returned to Moscow, where he lived in Bolshoy Karetny lane, 15. This lane is immortalized in his song - "Where are your seventeen years old? On Bolshoy Karetny! .."

Artist career

Since 1953, Vysotsky attended the drama club in the Teacher's House, led by the Moscow Art Theater artist V. Bogomolov. In 1955 he graduated from high school No. 186 and, at the insistence of his relatives, entered the Moscow Civil Engineering Institute. V. Kuibyshev. After the first semester he leaves the institute.

From 1956 to 1960 Vysotsky was a student of the acting department of the Moscow Art Theater School. V.I. Nemirovich-Danchenko. He studied with B.I. Vershilov, then with P.V. Massalsky and A.M. Komissarov. In the first year, he met his first wife, Iza Zhukova. 1959 was marked by the first theatrical work (the role of Porfiry Petrovich in the educational play "Crime and Punishment") and the first role in the cinema (the film "Companions", the episodic role of the student Petit). In 1960, there was the first mention of Vysotsky in the central press, in the article by L. Sergeev "Nineteen from the Moscow Art Theater" ("Soviet Culture", 1960, June 28).

In 1960-1964. Vysotsky worked (intermittently) at the Moscow Drama Theater. A.S. Pushkin. He played the role of Leshy in the play "The Scarlet Flower" based on the tale of S. Aksakov, as well as about 10 more roles, mostly episodic.

In 1961, on the set of the movie "713th Asks for Landing", he met Lyudmila Abramova, who became his second wife. In the same year, his first songs appeared. The song "Tattoo", written in Leningrad, is considered his first song. In the future, songwriting became the main (along with acting) work of life. He worked for less than two months at the Moscow Theater of Miniatures and tried unsuccessfully to enter the Sovremennik Theater. In 1964, Vysotsky created his first songs for films and went to work at the Moscow Theater of Drama and Comedy on Taganka, where he worked until the end of his life.

In July 1967 he met the French actress Marina Vlady (Marina Vladimirovna Polyakova), who became his third wife.

In 1968 he sent a letter to the Central Committee of the CPSU in connection with the harsh criticism of his early songs in the central newspapers. In the same year, his first author's gramophone record "Songs from the movie" Vertical "" was released.

In 1975 Vysotsky settled in a cooperative apartment on the street. Malaya Gruzinskaya, 28. In the same year, for the first time and for the last time, Vysotsky's poem was published in a literary and artistic collection (Poetry Day 1975. M., 1975).

In 1978 he recorded on TV CHIASSR. In 1979 he took part in the publication of the METROPOL almanac.

Together with the actors of the Taganka Theater, he went on tour abroad - to Bulgaria, Hungary, Yugoslavia (BITEF), France, Germany, Poland.

Has recorded about 10 radio performances (including "The Hero of the Mongolian Steppes", "The Stone Guest", "Stranger", "Behind the Bystryansky Forest"). Has given more than 1000 concerts in the USSR and abroad.

On January 22, 1980 he recorded on the Central Television in the "Kinopanorama" program, fragments of which will be shown for the first time in January 1981, and will be released in full only in 1986.

The last days and death

On July 14, 1980, one of the last songs "My sadness, my anguish ... A variation on gypsy themes" is performed at the Pasteur Research Institute (Moscow). Two days later, the last concert of Vladimir Vysotsky took place in Kaliningrad near Moscow (now Korolev).

On July 18, 1980, Vysotsky last appeared in his most famous role in the Taganka Theater, in the role of Hamlet, a production of the same name based on Shakespeare.

On July 25, 1980, Vysotsky died in his Moscow apartment of a heart attack (the official version; according to the testimony of a number of people close to Vysotsky, the cause of his death was alcohol and drug abuse).

Vysotsky died during the Summer Olympics in Moscow. On the eve of the Olympic Games, many residents with a serious criminal history were evicted from Moscow. The city was closed to the entry of Soviet citizens and flooded with police. There were practically no reports of the death of Vladimir Vysotsky in the Soviet media (there was only a message in the "Evening Moscow" on July 28 and, possibly after the funeral, an article in memory of Vysotsky in "Soviet Russia", for a number of citizens of the USSR the media were foreign radio stations, Vysotsky's songs that were quickly aired, for example, "The One Who Was With Her" sounded on the Voice of America). And nevertheless, a huge crowd gathered near the theater "Na Taganka", where he worked, which was there for several days (on the day of the funeral, the roofs of buildings around Taganskaya Square were also filled with people).

Posthumous confession

In 1981, the first major collection of Vysotsky's works, Nerv, was published. In 1986, Vysotsky was posthumously awarded the title of Honored Artist of the RSFSR, and in 1987 for creating the image of Zheglov in the television feature film "The Meeting Place Cannot Be Changed" and the author's performance of songs, he was awarded the USSR State Prize. In 1989, the Council of Ministers of the USSR supported the proposal of the Soviet Culture Fund, the Ministry of Culture of the USSR, the Moscow City Executive Committee and the public to create a museum of Vladimir Vysotsky in Moscow.

Eldar Ryazanov shot in 1987 the documentary "Four meetings with Vladimir Vysotsky". Vysotsky died in an apartment tied up by his friends who wanted to wean him off drugs.

Vladimir Vysotsky has become a legend in Soviet music, theater and cinema. Vysotsky's songs have become classics and undeniable eternal hits. His work is very difficult to classify, as he goes beyond and expands them. Usually Vysotsky is referred to as bardic music, but at the same time his manner of performance and subject matter of the texts were completely different from those adopted in the bardic environment. The musician himself also denied this movement.

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Childhood and youth

Vladimir Semenovich Vysotsky was born on January 25, 1938 in Moscow in a huge communal apartment. The poet's father is a bard and actor, a native of Kiev, a veteran of the Great Patriotic War, and his mother is a translator-assistant. When the war began, Vladimir Semenovich was only four years old, so his mother decided to leave with her son to the Orenburg region. Vysotsky lived there for about two years, and after the evacuation, the family returned back to Moscow.

Two years after the end of the war, the parents separated. At the age of nine, Vladimir Vysotsky ended up in occupied post-war Germany, so his childhood cannot be called rosy, unlike his peers who are in the capital of the USSR. While in Germany, Volodya attended piano lessons. His mother married a second time, with his stepfather Vysotsky was in a difficult relationship. His own father also married a second time, but the musician had a better relationship with his stepmother.

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The young poet returned to Moscow in 1949, settling with his father and his wife. It was there that Vysotsky got acquainted with music, or rather, with the cheerful youth of the 50s, who pushed him to sing. The first chords of Vladimir Semenovich are motives of thug romance, a popular trend for those whose childhood was spent during the war. In the evenings, the companies gathered to play guitar songs about Kolyma, Vorkuta and Murka. Then Vladimir Vysotsky began a serious love affair with the guitar.

At the age of 10, Vladimir Semenovich began to attend a drama circle. Then he still did not quite understand that his future belongs to the theater. After graduating from school, Vysotsky entered the Moscow construction site, but six months later he realized that he had gone “in the wrong place” and dropped out of the school.

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According to legend, Vladimir did it suddenly and rather eccentrically. All New Year's Eve, the future actor, together with a classmate, spent preparing for the session, making drawings, without which it was impossible to get admission to exams. After several hours of painstaking work, the drawings were ready - and then Vysotsky grabbed a can of ink from the table and poured it onto his sheet. Vladimir realized that he could no longer be in this educational institution, and decided to spend the remaining six months on preparing for a new admission.

After that, the young charismatic guy entered the Moscow Art Theater and three years later made his debut on the theater stage in the educational play "Crime and Punishment". Then Vladimir Semenovich played the first small role in the film "Peers".

Theatre

After graduating from the Moscow Art Theater School, Vysotsky went to work at the theater. Pushkin. Soon the actor went to the Theater of Miniatures, playing there in small episodes and extras, which did not cause much enthusiasm. There were also unsuccessful attempts to get into the Sovremennik Theater.

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As a result, Vladimir Semenovich liked the Taganka Theater, in which he worked until his death. Here Vysotsky tried on the images of Hamlet, Pugachev, Svidrigailov and Galileo. Together with the Taganka Theater, the actor toured a lot, he practically traveled all over the world, performed in France, Poland, Germany, Hungary and Bulgaria, was able to travel to the United States several times, visited Mexico, Canada and Tahiti.

Music

Lyrics for songs Vladimir Vysotsky wrote himself. Vysotsky wrote his first poems at school. The young poet dedicated the poem "My Oath" to Stalin and in a lyrical manner grieved over the death of the leader. Vysotsky himself calls the first song "Tattoo", which was performed in Leningrad in 1961. This song began in the poet's work a cycle of courtyard, "thieves" works.

Despite the statements of the performer himself, there is another of his songs, dated a year earlier. This song is called "49 days". It is written about the feat of Russian soldiers who drifted across the Pacific Ocean. The poems were dedicated to a noble topic, but this did not make Vysotsky fall in love with his creation. He called this song a manual for hacks and spoke very negatively about it. According to the author, you can compose many such poems by simply opening the heading of current events in any newspaper and rewriting the names. It was important for the poet to let the creativity pass through himself, so he did not recognize the "hacky" song "49 days".

Vladimir Vysotsky drew his author's inspiration from whom he considered his mentor until the last day of his life. "Song of Truth and Lies" was dedicated to him. The actor began to write music and lyrics in the 60s. The first listeners did not appreciate the musician's "yard" motives, and Vysotsky himself did not particularly like them. As a musician, Vladimir Semenovich matured a little later. In 1965, the song "Submarine" became a sign that the youthful creativity of the early poet ended. Later, the actor wrote songs for films, in which he starred and took an active part in their creation.

Rock cult

In 1968, the first gramophone record with Vysotsky's author's songs was released. It was a collection of his songs for the film "Vertical", including the song about a friend, which was first performed in this film, and later became one of the musician's calling cards.

In 1975, for the first time, and, as it turned out, for the last time, Vysotsky's poem was published in the official Soviet collection. Lucky for the verse "From the road". In the same year, the musician recorded a new disc “V.Vysotsky. Self-portrait ". It was a large compilation, with the author's digressions before each song and the accompaniment on three guitars. But the recording was released only partially and only after the death of the author.

In 1978, Vladimir Vysotsky received the highest category of pop vocalist-soloist. This showed that the Ministry of Culture recognizes Vysotsky's work and is ready to recognize him as a professional performer.

TV Center

In 1979, the musician toured extensively, he performed in New York and Toronto. Vysotsky's songs impressed the audience so much that in law-abiding America in the same year, without the permission of the singer himself, a pirated recording of a concert with a mixed order of compositions was released.

In the same year, Vladimir Vysotsky took part in the creation of the famous self-published almanac Metropol. It was an uncensored publication, a collection of texts by those authors who could not be published officially. A total of 12 copies were published, but one of them was smuggled out to the United States, where the almanac was officially published.

Vysotsky continued to tour. In France, he met a gypsy musician, in a duet with whom he sang many songs and romances. The singers planned to record a disc, but Vladimir did not manage to do this.

In the last years of his life, the artist never stopped giving concerts. He performed in Leningrad, Kaliningrad and Moscow, continued to play Hamlet at the Taganka Theater.

The repertoire of the musician and poet includes more than 600 songs, as well as about 200 poems. Crowds of fans attended his concerts. The creativity of Vladimir Vysotsky to this day does not lose its relevance. The musician has given more than one and a half thousand concerts around the world. During his lifetime, Vysotsky released 7 of his own albums and 11 collections of songs by other musicians performed by him.

It is almost impossible to create an exact discography of all albums and collections in which Vysotsky participated, since they were published in different countries, withdrawn from sale, and rewritten. After the death of Vysotsky, his songs continued to be released on records.

Films

In the biography of Vladimir Vysotsky, theater, cinema and music were equally intertwined. Vysotsky played his first cameo role in the film "Companions" while still studying at the Moscow Art Theater. But he really discovered Vladimir Semenovich as an actor in 1961, after filming the film "Dima Gorin's Career". This was followed by "713th requests landing" and other films. But the main roles did not exist, Vysotsky began to abuse alcohol. This turned a lot for the worse.

Serious success came only in 1967 with the release of the film "Vertical", to which he wrote all the songs. The whole country immediately learned about Vysotsky, both as an actor and as a musician.

Vysotsky's songs were criticized in the Central Committee of the CPSU and the subordinate press. Vysotsky could not ignore this, and after caustic articles on what Vysotsky was singing about, he sent a letter to the Central Committee, where he called this criticism harsh and unsubstantiated.

The idol of millions, Vladimir Vysotsky, became the despicable of the Soviet regime. He was often denied roles, and the songs did not go on the air, so during the 70s the actor starred a little. At the Taganka Theater, he was fired for drunkenness, then again approved for the main roles. Vysotsky several times almost "thundered" to the next world because of a weak heart, overwork and prolonged drinking. But at the same time, it was during this period that Vysotsky played his Hamlet, which was remembered by millions. The most difficult and attractive role, Vladimir embodied in his own special manner and endlessly talented.

An Estonian program dedicated to Vysotsky, "The Guy from Taganka", went out on television. This was the artist's first non-feature television appearance on television. A lot has been written and filmed about the actor. An article about him was published in the magazine "Theater", later Vysotsky was invited to speak on a French TV channel, where he performed his biographical "Ballad of Love". But on Central TV, not a single interview or concert of Vladimir Vysotsky was shown during his lifetime. Sometimes there were attempts to record interviews for Central Television. For example, Vysotsky talked with Valery Perevozchikov, but later the film with the broadcast was washed away, leaving nothing but a small final fragment for a few minutes.

A significant role for Vladimir Vysotsky was work in the multi-part film "The Meeting Place Cannot Be Changed", where the actor played "his" favorite hero - Gleb Zheglov, and also acted as a director. In this film, the songs of Vladimir Semenovich do not sound, although initially he expressed such a desire. Then the director was against such creativity, since, in his opinion, the charismatic Vysotsky could overshadow the image of his hero.

Vladimir Vysotsky really wanted to star in the American film The Reds. He recorded a video message to Warren Beatty, who was to direct the film. But the recording never made it to the United States.

Personal life

When Vladimir Semenovich was in his first year at the Moscow Art Theater, he met a fellow student, who eventually became his first wife in 1960. The marriage did not last long, the couple often quarreled and, not having lived together for a year, divorced.

The second wife of the actor became. They met a year after Vladimir Semenovich's divorce from his first wife. In this marriage, Abramova gave the musician two children, which could not save the family, and already in 1968 the couple also separated. Both Vysotsky's sons later also became artists and linked their lives with cinema. The youngest son, runs the State Cultural Center-Museum of V.S. Vysotsky.

Woman.ru

For the third time, Vysotsky married, whom he first saw in the film "The Witch" and immediately fell in love with the actress. For many years, the musician dreamed of a beautiful woman, revising the picture with her participation. Their acquaintance nevertheless happened. Once, after watching the play, Vysotsky visited the restaurant where Vladi was just resting. Then the man went straight to her, took her by the hand and did not take his eyes off Marina for a long time. In 1970, Vladi and Vysotsky got married.

The personal life of Vladimir Vysotsky then turned upside down, his old dream came true. This went on for 10 years, until the musician's death. During this period, Marina Vlady remained for the actor not only the beloved woman, support, but also the main muse.

Bright Side

But in this family, everything was not so smooth. Vysotsky had a scandalous reputation, there were many rumors about him and his women. Already in our time in the biography “Vysotsky. Thank you for being alive ”tells about the artist's romance with a certain Tatiana Ivleva in the last years of his life. A girl with such a name never existed, but this does not mean at all that the famous musician was slandered and attributed to a married man non-existent love on the side.

Vysotsky's last love was student Oksana Afanasyeva. He fell in love by accident and at first sight. As she later said, Oksana, he became her first and, probably, the only true love. The difference between the lovers was more than 20 years. Oksana was the daughter of a famous writer, so she did not feel any trepidation in front of famous personalities, she was much more afraid that for a popular musician with a reputation as an alcoholic and womanizer, she would become only entertainment. But these were real feelings with tender courtship and admiration.

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Vysotsky's wife at that time was living her life in Paris, but she knew about her husband's mistress. Oksana even moved to Vladimir's apartment, she knew that he was married, but she perceived it as something distant and insignificant. The musician cheated on her too. Vladimir Vysotsky did not hide his relationship, openly introduced the girl to his friends and colleagues.

Death

Vladimir Vysotsky, despite his confident appearance and tall stature, did not differ in good health. It is difficult to say whether there were innate prerequisites for this or whether the artist's addiction to alcohol played a role. Vysotsky smoked a pack of cigarettes a day and was addicted to alcohol for many years. He was a creative person, but his works were constantly criticized, crushed and postponed. With all this, he helped many of his famous friends quit or at least get coded. He caught them around the city during periods of exacerbations, persuaded, gave pills brought by Marina from France. So he pulled out at least Dahl and Livanov. Many acquaintances of the musician claim that in the last years of his life Vysotsky himself stopped drinking alcohol.

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However, for a long time, Vysotsky had heart and breathing problems.

The first serious attack occurred in 1969. Vysotsky's throat started bleeding, an ambulance was called by a frightened wife. At first, the doctors even refused to hospitalize the musician, considering his case fatal, but Vlady blocked the door for them and threatened a diplomatic scandal. Vysotsky was saved by the persistence of his wife and the fact that the doctors recognized the famous singer and actor. The operation lasted 18 hours.

Alcohol addiction has had its consequences, causing kidney and heart disease. Doctors tried to deal with especially serious conditions with drugs of the narcotic series. It is not known whether this was the reason for the addiction or the musician himself decided that drugs would help him give up alcohol and cope with his illness, but the fact remains: by the mid-70s, Vysotsky had developed drug addiction. He constantly increased the dose of morphine and amphetamine; by 1977, Vysotsky could no longer live without the daily use of drugs. At that time, the musician was already doomed, attempts at treatment had no effect, and Vysotsky was predicted death within several years, either from an overdose or from abstinence.

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In 1979, in Bukhara, Vysotsky may have experienced clinical death. Biographers are still arguing about this fact.

On July 25, 1980, Vladimir Semenovich Vysotsky died suddenly. Death occurred in a dream in the apartment where the musician lived. The artist rushed around the room and told his mother that he knew that he would die that day. He fell asleep only after an injection of a sedative and died in his sleep.

At the request of relatives, an autopsy was not carried out, so the exact cause of Vysotsky's death has not been established. According to several sources, it can be assumed that the poet, musician and talented actor died of myocardial infarction or asphyxiation due to an overdose of sedatives.

Friends and spouse admitted that Vysotsky was killed by drugs, but indirectly, an overdose is never mentioned as a probable cause of death.

Russian Courier

The death of Vladimir Vysotsky was practically not advertised in newspapers and on television. This happened not so much because he was a poet disliked by the authorities, but because of the very date of his death. Vysotsky died during the Summer Olympics in Moscow. Nobody wanted to spoil such a major international event with an obituary. The message about the death of the actor was posted in the box office window of the Taganka Theater, and a huge crowd gathered around the theater almost instantly. None of those who bought tickets for the failed performances of Vysotsky surrendered them.

Information about the funeral was actively hushed up, but it seemed that the whole city came to say goodbye to the musician. As Marina Vladi later described this, even kings were not buried like that. To get to the Vagankovskoye cemetery, the coffin with Vysotsky had to drive past the Kremlin. The official authorities tried to wash off the flowers and knock down the portrait so that it would not be seen who was being carried through the center of Moscow, but before that, a quietly grieving crowd of people stood up to defend the procession. People covered flowers with umbrellas, shouted at the police. Photos of this mess have gone around the world.

Russian Courier

In order for the great musician to be buried near the entrance, the cemetery director had to sacrifice his position. Vysotsky's grave was simply littered with flowers. Fans of the genius did not forget about him for many years. Until now, many admirers of Vysotsky visit his last refuge and leave flowers. In 1985, the standard gravestone was replaced by a monument to the musician. The statue echoes his song "monument" and depicts a man trying to escape from the stone shell and from the chains of creative canons.

Filmography

• Peers
• Dima Gorin's career
• The living and the dead
• War under the roofs
• Two comrades served
• Fourth
• The Flight of Mr. McKinley
• Zodiac signs
• There are two of them
• Meeting place can not be Changed