Vladimir Vysotsky. Brief biography of Vladimir Semenovich Vysotsky, personal life and creativity. Vladimir Vysotsky - biography, information, personal life Vysotsky’s life and creative path
Poetry and songs
Vysotsky wrote over 100 poems, about 600 songs and a poem for children (in two parts), in total he wrote approximately 700 poetic works.
Quite a lot of songs were written specifically for films, but most of them, sometimes for technical reasons, but more often due to bureaucratic prohibitions, were not included in the final versions (for example, in the films “Sannikov Land”, "The second attempt of Viktor Krokhin", “Minority Report” and others).
Style and theme of songs
Vladimir Vysotsky:
I didn’t get a guitar right away. First I played the piano, then the accordion. At that time I had not yet heard that you can sing poetry with a guitar, and I simply banged the rhythm of the song on the guitar and sang my own and other people’s poems to the rhythms.
- “I’ve been writing for a very long time...”)
As a rule, Vysotsky is classified among bard music, but a reservation must be made here. The themes of the songs and Vysotsky’s manner of performance were noticeably different from most other, “intelligent” bards; in addition, Vladimir Semyonovich himself did not consider himself a member of the “bard” movement:
“So, “How do you feel about current minstrelism and what, in your opinion, is a bard’s song?” Firstly, I’m hearing these two words for the first time - the word “minstrelism” and “bard’s”. You know what the matter is - I don’t relate to it at all. I never had anything to do with this, I never considered myself any kind of “bard” or “minstrel.” Here, and here, you understand... I never took part in any of these “evenings” that were organized. Now there is such a wild number of these so-called “bards” and “minstrels” that I don’t want to have anything to do with them.”
- Transcript of Vysotsky’s speech in Voroshilovgrad on January 25, 1978 (21 hours))
In addition, unlike most Soviet “bards,” Vysotsky was a professional actor and, for this reason alone, cannot be classified as an amateur performance.
It is difficult to find aspects of life that he would not touch upon in his work. These are “thieves” songs, and ballads, and love lyrics, as well as songs on political topics: often satirical or even containing sharp criticism (direct or, more often, written in Aesopian language) of the existing system and state of affairs, humorous songs and fairy tale songs. Many songs are written in the first person and subsequently received the title "songs-monologues". Other songs could have several characters, whose “roles” Vysotsky played by changing his voice (for example, “Dialogue in front of the TV”). These are original “songs-performances” written for performance by one “actor”.
Vysotsky sang about Everyday life and about the Great Patriotic War, about the life of workers and the fate of peoples - all this brought him wide popularity. The accuracy and figurativeness of the language, the performance of the songs “in the first person,” the sincerity of the author, and the expressiveness of the performance gave listeners the impression that Vysotsky was singing about experience own life(even about participation in the Great Patriotic War, at the end of which Vysotsky was only 7 years old) - although the overwhelming majority of the stories told in the songs were either entirely invented by the author or based on the stories of other people.
Vysotsky's songs are distinguished by increased attention, first of all, to the text and content, and not to form (with a contrast to the stage).
Vysotsky gained great fame for his “songs on the edge” - such as “Fasicky Horses” or “Paradise Apples”.
He was also distinguished by his unconventional style of singing - he emphasized not only vowels, but also consonants.
Vysotsky deliberately played an out-of-tune guitar. The professional musician Zinovy Shersher (Tumanov), who met him shortly before his death, recalled:
I tuned his guitar. He tried very hard, but he took the instrument in his hands and lowered all the strings a little. “I like it to hum...”
Prose and drama
"Life without sleep(Dolphins and Crazy)." 1968 The presence of the author's title is unknown.
The first known publication of the story was in the Parisian magazine Echo in 1980. The title “Life Without Sleep” was given by the editors of the magazine. Under the title “Dolphins and Crazies,” the story was distributed in Soviet samizdat.
“Somehow it all turned out that way”. 1969 or 1970.
"Where is the center?"(scenario). 1975
« A novel about girls» . 1977 The novel is not over. The title is missing from the author's manuscript.
"Vienna Holidays". Kinopovest (together with E. Volodarsky). 1979
"Black Candle"(1 part). Together with Leonid Monchinsky. Vladimir Semyonovich did not live to see the end of the joint work, and part 2 was written only by Monchinsky.
Theater works
Basically, Vysotsky’s name as a theater actor is associated with the Taganka Theater. In this theater he took part in 15 performances (including “The Life of Galileo”, “The Cherry Orchard”, “Hamlet”). His songs were performed in more than 10 performances (not only at the Taganka Theater).
Radio
Main article: Radio plays with the participation of V. S. Vysotsky
Vysotsky took part in the creation of 11 radio plays (including “Martin Eden”, “The Stone Guest”, “Stranger”, “ Behind the Bystryansky forest»).
Cinema
Vysotsky starred in almost 30 films, many of which feature his songs. He was not approved for many roles, and not always for creative reasons. Vysotsky also participated in the dubbing of one cartoon - “The Wizard of the Emerald City”. In addition, originally Volka in the cartoon “Well, wait a minute!” It was supposed to be voiced by Vysotsky, but censorship did not allow him and he was replaced by Anatoly Papanov.
In 1975, Vysotsky became the author of the advertising film “Zodiac Signs,” where he composed and performed the song “About the Zodiac Signs.” This film was initially not accepted by Soviet censorship, including due to Vysotsky’s participation in its creation.
Filmography:
- 1959 - Peers - Peter
- 1962 - 713th requests landing - Marine Corps Soldier
- 1962 - Career of Dima Gorin - Sofron
- 1962 - Shore Leave - Peter, friend of Valezhnikov
- 1962 - Free kick - Yury Nikulin
- 1963 - The Living and the Dead - cheerful soldier
- 1965 - Our house - Mechanic
- 1965 - On Tomorrow Street - Peter Markin
- 1965 - Cook - Andrey Pchelka
- 1966 - Vertical - Volodya(also performs songs)
- 1966 - I come from childhood - tank captain Volodya
- 1967 - Short Encounters - Maksim
- 1967 - War under the roofs - policeman at a wedding
- 1968 - Intervention - Michelle Voronov/Evgeniy Brodsky(also performs songs)
- 1968 - Two comrades served - Brusentsov
- 1968 - Master of the Taiga - Pockmarked(also performs songs)
- 1969 - Dangerous Tours - Georges, Nikolai(also performs songs)
- 1971 - White Explosion - Captain
- 1972 - Fourth - He
- 1973 - Bad good man - Von Koren
- 1974 - The only road - Solodov
- 1975 - The Escape of Mr. McKinley - Bill Seeger(also performs songs)
- 1975 - Signs of the Zodiac (script, music)
- 1975 - The only one - Boris Ilyich
- 1976 - The story about how Tsar Peter married an arap - Hannibal
- 1977 - The two of them (“Mafilm”, Hungary)
- 1979 - The meeting place cannot be changed - captain Zheglov
- 1979 - Little tragedies - Don Guan
Friends
In his interviews, Vysotsky often talked about his friends - primarily about famous people, but noting that there were also “several people who were not related to ... public professions.”
So, the first friends who later became famous were Vladimir’s classmates: the future poet Igor Kokhanovsky and the future screenwriter Vladimir Akimov. Then this group grew: “We lived in the same apartment in Bolshoi Karetny, ... we lived like a commune ....” This apartment belonged to the poet’s older friend, Levon Kocharyan, and actor Vasily Shukshin and director lived or often visited there Andrei Tarkovsky, writer Arthur Makarov, screenwriter Vladimir Akimov, Anatoly Utevsky. Vladimir Semyonovich recalls about these people: “It was possible to say only half a sentence, and we understood each other by gesture, by movements.” One of Vysotsky’s closest friends was the mime clown Leonid Engibarov.
Over time, theater colleagues were added: Vsevolod Abdulov, Ivan Bortnik, Ivan Dykhovichny, Boris Khmelnitsky, Valery Zolotukhin, Valery Yanklovich. In addition to them, at different stages of his life, Vysotsky also made new friends: David Karapetyan, Daniel Olbrykhsky, Vadim Tumanov, Viktor Turov, Mikhail Baryshnikov, Sergei Parajanov and others.
In Paris, Vysotsky meets Mikhail Shemyakin, who in the future will create many illustrations for Vysotsky’s songs and erect a monument to the poet in Samara. However, perhaps the most important thing that Mikhail Mikhailovich did to perpetuate the memory of his friend was the recordings of Vysotsky made in Paris in 1975-1980 in the studio of Mikhail Shemyakin. Vysotsky was accompanied on the second guitar by Konstantin Kazansky. These recordings are unique not only in the quality and purity of sound, but also in the fact that Vysotsky sang not just for the record, but for close friend, whose opinion he valued so much. Also during these years, in Paris, together with Konstantin Kazansky, who acted as an arranger, Vysotsky managed to record three of his records.
A close friend was Pavel Leonidov, Vysotsky’s impresario and his cousin.
Discography
Lifetime discs published in the USSR
Personal editions
During Vysotsky's lifetime, only 7 minions were released (released from 1968 to 1975). Each record contained no more than four songs.
A giant export disc was also released in 1978, which included songs recorded in different years by Melodiya, but never published.
With the participation of Vysotsky
Since 1974, four disc performances with Vysotsky’s participation have been released, including the double album “Alice in Wonderland” was released in 1976 (the EP “Alice in Wonderland. Songs from a Musical Fairy Tale” was also released separately).
In addition, 15 records are known, which included one or more songs by Vysotsky, mainly songs from films and collections of military songs (for example, “Friends and Fellow Soldiers”, “Victory Day”).
Also, Vysotsky’s songs were heard on 11 records in music magazines (mainly Krugozor), and in 1965, the same Krugozor (No. 6) published excerpts from the play “10 Days That Shook the World” with the participation of Vysotsky and other Tagan actors.
In the USSR and Russia after death
- The largest publication is the series of gramophone records “At the concerts of Vladimir Vysotsky” on 21 discs (1987 -1992). Also notable are 4 records released in 1993-94. by Aprelevka Sound Inc., with rare and previously unreleased songs.
- In the first half of the 2000s, the company "New Sound - New sound" 22 CDs with remastered songs by Vladimir Semenovich were released. The tracks were presented with modern remakes, which were based on Vysotsky’s vocals, cleared of the author’s soundtrack and superimposed on modern musical arrangements. Such a bold experiment caused conflicting opinions among the audience: on the one hand, the music became quite good quality sound, and on the other hand, a certain “pop” was added.
- On the 30th anniversary of the death of V. Vysotsky, the newspaper “ TVNZ» has prepared a special release with the film on DVD: “Vladimir Vysotsky. Unknown newsreel footage. „ Road story“” with footage that has never been shown in Russia: material from Polish newsreels, as well as unique footage from various private archives (screen tests for a failed role, amateur filming, interview fragments).
List of albums published since 1996:
- Tattoo - (1963-1965)
- Formulation - (1964)
- But I have no regrets - (1964-1978)
- Just talk to me - (1964-1974)
- Journey to the Past - (1967)
- Say thank you for being alive - (1969-1980)
- Songs for the film “Ivan da Marya” - (1969-1976)
- Ballads for the film “The Escape of Mr. McKinley” - (1974-1976)
- Your own island - (1964,1973-1974,1976)
- Skydive - (1974-1976)
- Concert at the Mir Palace of Culture - (1967)
- Concert at the central Puppet Theater - (1973)
- Concert at the VAMI House of Culture - (1974)
- Concert at the Commune House of Culture, part 1 - (1980)
- Concert at the Commune House of Culture, part 2 - (1980)
- Tikhoretskaya - (1961-1965)
- I come from childhood - (1965-1979)
- Song about the Volga - (1968-1979)
- Domes - (1968-1979)
- I will lose my true faith - (1963-1967)
- Lukomorye no longer exists - (1967-1972)
- Bathhouse in white - (1969-1974)
- Don't Worry - (1969-1976)
- Weight Taken - (1969-1978)
- Monument - (1973-1979)
- Case history - (1969-1979)
- Recheka - (1967,1977-1980)
- Alice in Wonderland - (1970, 1973)
- My Hamlet - (1966-1978)
- Concert at the Eureka Club-Shop - (1966, 1973, 1976)
- Concert in Kazan - (1977)
- Concert in Severodonetsk - (1974, 1978)
- Criminal Code - (2001)
- Repeat offender - (2002)
- Everyone went to the front - (2002)
Abroad
In France, 14 records were released from 1977 to 1988.
IN In the USA, from 1972 to 1987, 19 records were released (including a series of 7 records “Vladimir Vysotsky in the recordings of Mikhail Shemyakin”).
One album was released in Finland in 1979.
In Germany, 4 records were released from 1980 to 1989.
In Bulgaria, from 1979 to 1987, 6 records were released (4 original records and 2 collections).
In Japan from 1976 to 1985 4 records were released (2 original records and 2 collections).
IN 2 records were released in Korea in 1992.
Also in Israel in 1975, the album “Unreleased Songs of Russian Bards” was released, which contains 2 songs by Vysotsky.
Guitars by Vladimir Vysotsky
Vysotsky always played seven-string guitars.
He got his first guitar that stood out from the crowd in 1966. Vladimir Semyonovich bought it from the widow of Alexei Dikiy. He later said that this guitar “was made by some Austrian master 150 years ago. It was bought by the princes Gagarins, and the artist Blumenthal-Tamarin bought it from them and gave it to Dikiy...” Probably, this guitar took part in a photo shoot between Vysotsky and Vladi in 1975 (photographer - V.F. Plotnikov).
Photographs dating back to 1975 show Vladimir Semyonovich with the first guitar made for him Alexander Shulyakovsky(with a headstock made in the shape of a lyre). This master made 4 or 5 guitars for Vysotsky.
Vysotsky also had a guitar with two necks, which he liked because of its original shape, but Vladimir Semyonovich never used the second neck. Vladimir Semyonovich is depicted with this guitar on the back of the sleeve of the 9th disc of the series “At Vladimir Vysotsky’s concerts.”
In the play “Crime and Punishment,” which was released in 1979, Vysotsky played a guitar that belonged to film director Vladimir Alenikov, who gave him his guitar for this role, since Vysotsky liked the guitar for its out-of-date appearance, color, and sound. This guitar was once made by the St. Petersburg master Yagodkin. After the death of the poet, Alenikov asked the theater to find the guitar, and in the end it was returned to him, but in an extremely deplorable, broken state, it was missing pieces, and no one undertook to repair it. In 1991, Alenikov took the broken guitar to the USA, where it was eventually restored to full order by guitar master, Indian Rick Turner. (English)Russian. A photo of the guitar appeared on the cover of Acoustic Guitar magazine (English)Russian"Under the name "Vysotsky".
Cars of Vladimir Vysotsky.
According to the recollections of friends, Vladimir Vysotsky loved driving fast at a speed of about 200 kilometers per hour and often crashed his cars.
Vladimir Vysotsky's first car - Volga GAZ-21 gray, acquired by him in 1967, and then broken by him.
In 1971, he was one of the first in the USSR to buy a VAZ-2101 (“kopeyka”) with license plate 16-55 MKL. The life of the car was short-lived - Vladimir smashed the car to smithereens after several trips behind the wheel.
Marina Vladi brought him a Renault 16 from Paris, which she received for filming in an advertisement. Vysotsky crashed the Renault on the first day, driving into a bus at a bus stop. The car was eventually restored, but it had Parisian license plates, and according to the rules of those years, the traffic police did not let it go further than 100 km from Moscow. In 1973, the actor’s friends helped him get a certificate to cross the border, and in this beat-up car, Vladimir and Marina traveled from Moscow to Paris. There, in France, they sold this car (after an advertisement in the magazine “Paris Match”: “Marina Vladi is selling a car... Inquire by phone...”).
A year later, Vysotsky went to Germany for concerts and brought two BMWs from there - one gray, the other beige. But the beige one was among the stolen ones, so the capital’s traffic police registered only one car. The second one was in the garage, although Vysotsky drove both - he simply rearranged the numbers from one car to another, and no one noticed it. In the end, Interpol caught the beige BMW, and it was sent back to Germany, and Vysotsky drove to Paris in the gray one, where he sold it.
In 1976, Vysotsky got his first Mercedes, produced in 1975, metallic blue ( model 450SEL 6.9 on the W 116 platform (English)Russian) - four-door sedan. Marina Vladi brought about 10 cars in a row from France for her husband, but they had to be taken out of the USSR a year after import - those were the rules. Mercedes became Vysotsky’s first foreign car officially registered in Moscow. By the way, it was this Mercedes that was the first to appear in the traffic police file with registration number 7176MMU. Brezhnev had another one, and a month later appeared with Sergei Mikhalkov.
At the end of 1979, while on tour in Germany, Vladimir bought a sports two-seater Mercedes 350 coupe in yellow-brown color.
Serush Babek ( V. K. Perevozchikov): “The next time he came to see me in Germany, he said: “You have to sell me your car!...” And I had a sports Mercedes, it’s not so easy to buy, you have to wait a while... This second one is small.” He bought a brown Mercedes from me... Volodya then had permission to import the car duty-free, this permission was signed by the Deputy Minister foreign trade Zhuravlev."
But Vysotsky didn’t make it to Moscow: on the Moscow-Brest highway, which is being built for the Olympics, just outside Minsk, at a speed of about 200 km/h, he lost control and flew into a ditch. The Mercedes was restored after the actor’s death. No one ever picked up the car from the service station.
Posthumous recognition and cultural impact
Vysotsky touched on a number of taboo topics, but, despite the existing restrictions, Vysotsky's popularity was (and remains) phenomenal. This is due to human charm and large-scale personality, poetic gift, unique performing skills, extreme sincerity, love of freedom, energy in the performance of songs and roles, accuracy in revealing song themes and embodiment of images. It is no coincidence that according to the results of a VTsIOM survey conducted in 2009-2010. on the topic “Who do you consider to be the Russian idols of the 20th century,” Vysotsky took second place (31% of respondents), second only to Yuri Gagarin (35% of respondents) and significantly ahead of writers (L. N. Tolstoy - 17%, A. I. Solzhenitsyn - 14 %).
Official recognition came to V.S. Vysotsky only after death. At first these were separate steps: in 1981, through the efforts of R. Rozhdestvensky, the first major collection of works by V. Vysotsky - “Nerve" - was published and the first full-fledged (“giant disc”) Soviet record was released, as it should be great poet. In 1987, he was posthumously awarded the USSR State Prize for his performance as Captain Zheglov in the film “The Meeting Place Cannot Be Changed” and for his original performance of songs (the award was received by his father, S.V. Vysotsky).
Onomastics
- More than 30 streets bear Vysotsky’s name (including in Bulgaria and Germany). In Russia, streets in the cities of Yekaterinburg, Kaliningrad, Novosibirsk, Samara, Tomsk are named after V.S. Vysotsky.
- Almost 20 rocks and peaks, passes and river rapids, canyons and glaciers are named after Vysotsky. Even a mountain plateau in the Tierra del Fuego archipelago is named after him.
- The asteroid “Vladvysotsky” (2374 Vladvysotskij) was named in honor of Vysotsky.
- Theaters, ships, an airplane, cafes, even a variety of gladioli are named after Vysotsky.
- Several sports tournaments are dedicated to his memory.
- Also, a 200-meter skyscraper (54 floors) in Yekaterinburg is named after him.
- Embankment in Volgograd
Museums
There are at least 6 Vysotsky museums. The State Cultural Center-Museum of V. S. Vysotsky (“Vysotsky House on Taganka”) is the most famous Vysotsky museum, giving a fairly complete picture of his life and work.
Cultural and leisure center
- In the city of Norilsk, Talnakh district, the Cultural and Leisure Center named after. V. S. Vysotsky.
Monuments
In the territory former USSR more than 20 monuments (and the same number of memorial plaques) have been installed; 4 more monuments to the poet were erected in foreign countries.
Monuments to Vladimir Vysotsky were erected in several cities of Russia (Barnaul, Voronezh, Kaliningrad, Moscow, Novosibirsk, Samara, Pokachi, Naberezhnye Chelny), as well as in Ukraine (Melitopol, Odessa, Mariupol) and Montenegro (Podgorica). In 2013, a monument was laid in Rostov-on-Don.
Coins, medals and stamps
In honor of Vysotsky, 2 commemorative medals, 2 travel tokens and 4 coins were issued, two of them by other states.
In January 1988, the 50th anniversary of Vladimir Vysotsky was widely celebrated. The first collections of Vysotsky’s poetry were widely sold, memorial evenings were held, and articles about him were published in the press. In 1999, a Russian postage stamp from the series “ Popular singers Russian stage", Vladimir Vysotsky. 2 rubles, Russia, 1938-1980.
In 2010, the state of Niue (on the island discovered by James Cook) released silver coin denomination of $2 in the series “Great Personalities of Russia” Vladimir Vysotsky 1938-1980 with a portrait of Vysotsky and the text “If you didn’t have time to live, then at least finish singing.” That same year in African Republic Malawi has issued a commemorative 50 kwacha coin with the image of Vladimir Vysotsky.
Influence on other authors
The work of Vladimir Vysotsky is studied in a special cultural research direction called “Vysotsky studies”.
The work of Vladimir Vysotsky, which contributed to wider recognition of the author's song, indirectly helped the formation of Soviet rock. His poems had a direct influence on such rock musicians as Alexander Bashlachev, Yuri Shevchuk (“DDT”), Konstantin Kinchev (“Alice”), Andrey Makarevich(“Time Machine”) and Igor Talkov. So, for example, there is a direct connection with Vysotsky’s poems in such songs as “The Time of Bells” by Bashlachev, “Twilight” by Kinchev, “Gypsy” by Yuri Shevchuk. Indirectly, Vysotsky also influenced Viktor Tsoi (“Cinema”), Boris Grebenshchikov(“Aquarium”), Yuri Klinskikh (Khoy) (“Gas Sector”), Yegor Letov (“Civil Defense”) and many others.
Vysotsky’s work influenced not only Russian culture. It had big influence based on the work of the nationally famous Polish bard Jacek Kaczmarski. Inspired by a personal meeting with Vysotsky in 1974, he wrote his first “Roundup,” as a free translation of Vysotsky’s famous “Wolf Hunt,” for which he received the first award at the Student Song Festival in Krakow. This is where his creative journey began.
After Vysotsky's death dedicated to his memory poems and songs of many poets (for example, B. Akhmadulina, A. Voznesensky), bards and urban romance performers (for example, Vladimir Asmolov, Yu. Vizbor, B. Okudzhava, M. Shcherbakov, A. Rosenbaum, A. Zemskov), rock musicians and art song performers (for example, A. Bashlacheva, A. Makarevich, Y. Loza, A. Gradsky) and others.
Movies
In 1987, the first film about Vysotsky was released - the documentary “ Four meetings with Vladimir Vysotsky", director Eldara Ryazanova. Subsequently, more than 10 documentaries were shot by different directors.
The film “Lucky” (2006, based on the novel “Black Candle”) was based on his works.
The image of Vladimir Vysotsky is also used:
- as one of the prototypes of the main character of the story by A. and B. Strugatsky “Ugly Swans” - Viktor Banev. With Vysotsky's permission, his song is used in the story in a slightly modified version « I'm fed up to my chin...» ;
- in film Ivan Dykhovichny“Kopeyka” - in the role of Vysotsky Igor Artashonov;
- in the series "Galina";
- in Garik Sukachev’s film “House of the Sun” - the director himself starred in the role of Vysotsky;
- in the film “Vysotsky. Thank you for being alive" (2011)
- in the series " back side moons" (2012) - artist Arthur Fedorovich.
Childhood and youth of Vladimir Vysotsky
Vladimir Vysotsky was born in Moscow, in a large communal apartment on 1st Meshchanskaya Street. His father was from Kyiv, a colonel and a veteran of the Great Patriotic War. Mom worked as a translator-referent.At the age of four, when the war began, Vladimir and his mother went to the Orenburg region, where they lived for two years. After the evacuation, Vladimir Vysotsky returned to Moscow from the Urals. Two years after the end of the war, Vladimir Semenovich’s parents divorced, having been married for only 5 years.
His father married again, and at the age of 9, Vladimir and his father ended up in occupied post-war Germany. The artist’s impressions, even from afar, did not resemble the life of his peers in the post-war capital. Here he took piano lessons.
The musician’s mother also married for the second time. Vladimir Vysotsky communicated with both his stepfather and stepmother. However, relations with the first one were worse than with the second one. In 1949, having returned from Germany, Vladimir Semenovich settled in the center of Moscow with his father’s new wife on Bolshoi Karetny Lane.
It was there that Vysotsky “sang together” with a company of urban youth of the 50s, whose childhood passed during the war years. In Vysotsky’s youth, thieves’ romance was in fashion. Every household group had a guitar and to it they sang heart-warming songs about Vorkuta, Kolyma, and Murka. And it was at this time that Vysotsky began his “romance” with the guitar.
Study of Vladimir Vysotsky
10th grader Vladimir Vysotsky began going to a drama club at the Teacher’s House. But he did not immediately realize that he wanted to become an actor. After school, the future artist entered the Moscow Institute of Civil Engineering, and left after six months. He made an unexpected decision on New Year's Eve 1956.He, together with his school friend Igor Kokhanovsky, decided to meet New Year drawing drawings, without which they would not be able to pass the session. Immediately after the chimes, the students set to work and completed the drawings in two hours. And then Vysotsky suddenly began pouring ink on his papers with the words: “That’s it. I’ll prepare, I still have six months, I’ll try to enter the theater school. And this is not mine...”
Vladimir Vysotsky entered the Moscow Art Theater School in the acting department. Three years later, he played his first role in the educational play “Crime and Punishment” and appeared on television for the first time. He played a small role in the film “Peers”.
Theatrical career of Vladimir Vysotsky
After graduating from the Moscow Art Theater, Vysotsky worked at the Pushkin Theater. True, not for long. Then he moved to the Theater of Miniatures. I played in episodes, as extras, and didn’t get much joy from the stage. He also tried to get into the Sovremennik TheaterVladimir Semenovich found “his own” theater in 1964. It became the Taganka Theater. It was in this theater that Vladimir Semenovich worked until his death.
Yuri Lyubimov recalled how Vysotsky came to him to get a job. The artist offered to listen to several of his songs and Lyubimov, instead of the planned five minutes, listened to the bard for an hour and a half.
A whole palette of images awaited Vysotsky at Taganka - Hamlet, Pugachev, Galileo, Svidrigailov. In the theater, however, things did not go very smoothly. Lyubimov often turned a fatherly blind eye to Vysotsky’s misdeeds, which was the envy of his colleagues. But here he also had friends - Valery Zolotukhin, Leonid Filatov and Alla Demidova.
Together with the actors of the Taganka Theater, Vysotsky went on tour abroad: to Bulgaria, Hungary, Yugoslavia (BITEF), France, Germany, Poland.
A week before his death, Vladimir Vysotsky played his last role - the image of Hamlet in the Shakespeare production of the same name.
Works and songs of Vladimir Vysotsky
Vladimir Semenovich considered Bulat Okudzhava his teacher. It was his work that awakened Vysotsky’s interest in original song. Afterwards he will dedicate the “Song of Truth and Lies” to Okudzhava.Vladimir Vysotsky - Ballad of Love
The artist wrote his first compositions in the early 60s. It was “yard romance”. Neither Vysotsky himself nor his first listeners took her seriously. It is believed that the first song written by Vysotsky was “Tattoo”. The year of its creation is 1961, the place is Leningrad. But only a few years after this, the musician’s work acquired more mature forms. In 1965, the singer wrote his famous song “Submarine,” which, according to his friend Igor Kokhanovsky, marked the end of the poet’s creative youth.
Vladimir Vysotsky wrote many songs for the films in which he starred. As a versatile and creative person, he took an active part in the creation of films. His songs are heard in such films as “Vertical”, “The Escape of Mr. McKinley”, “Dangerous Tours”, “I Come from Childhood” and others.
Vladimir Vysotsky's repertoire consists of more than 600 songs and 200 poems, which still remain popular and do not lose their relevance. A huge number of people came to his concerts. He charged everyone with his energy and sincerity; his songs were close to almost all segments of society and did not leave anyone indifferent. He was “an insider” for everyone; his songs reflected different themes - military, criminal, humorous, fairy-tale, romantic and lyrical, fairy tale songs or dialogue songs.
Vladimir Vysotsky - Picky horses
During the artist’s lifetime, only 7 mini-albums of 4 songs were released, as well as about 11 records with collections of songs by different artists, on which his compositions were recorded, mainly soundtracks for films.
After the death of Vladimir Semenovich, in 1987, a series of gramophone records “At the concerts of Vladimir Vysotsky” was released on 21 discs. And in 1993-1994, the Aprelevka Sound Inc. company recorded 4 records with rare and previously unreleased songs.
Vladimir Vysotsky and filming
Cinema and theater went in parallel in Vysotsky’s life. In 1961, Vladimir Semenovich played a small role in the film “The Career of Dima Gorin.”At that time, the actor received small, gray supporting roles, empty and boring. Vysotsky began to find consolation in drinking. This caused discord at work and in the family.
Success came to Vysotsky in 1967. The film “Vertical” was released. The audience especially loved the songs from the film, written by the artist.
Vladimir Vysotsky filmed a lot in the late 60s. He worked on the films “Brief Encounters”, “Intervention”, “Two Comrades Served”, “Master of the Taiga”, “Dangerous Tours”.
At this time, tape recorders began to spread throughout the USSR. Unofficial recordings of Vysotsky began to appear in almost every home. The artist became a real idol, but he became disliked by the Soviet authorities. Vysotsky was often not approved for roles, and songs were not allowed on the radio.
Therefore, in the 70s, Vysotsky acted little. But still, one could hear his songs and songs based on his poems on the screens: in the drama “Sons Go to Battle”, the films “Contraband” and “Once Alone”, the drama “72 Degrees Below Zero”. There were also roles in films: “A Bad Good Man”, “The Tale of How Tsar Peter the Arap Married”.
At the Taganka Theater, Vysotsky either gets the main roles or is kicked out of work for drinking. The artist has been on the brink of death more than once - he ends up in intensive care due to intense nervous activity, a bad heart and alcohol abuse.
Vladimir Vysotsky and Gleb Zheglov
Vladimir Vysotsky played the most significant role in 1979. It was Gleb Zheglov in the series “The meeting place cannot be changed.” This was also the actor’s favorite role. However, Vladimir Semenovich refused her, saying that he had little left and did not want to waste a year of his life on Zheglov. By the way, in “The Meeting Place” Vysotsky also tried himself as a director. He took the place of Stanislav Govorukhin when he left for the festival.Film with Vladimir Vysotsky “The meeting place cannot be changed” - a dispute between Zheglov and Sharapov
In this film, Vladimir Semenovich does not sing, although he originally wanted to. The director was against it, believing that the image of the singer would overshadow the image of the operative.
Failed roles of Vladimir Vysotsky
Vladimir Vysotsky has enough unplayed roles. So, he could play Stepan in Andrei Rublev by Andrei Tarkovsky. When the director was collecting information about Rublev, he learned that he studied icon painting at the Vysotsky monastery. Tarkovsky loved mystical coincidences and decided to film Vysotsky in the film. However, this did not happen. According to one version, Goskino officials did not allow it, according to another, Vysotsky started drinking.Vysotsky was not approved for the role in the films “Over the Tisa” and “Annushka”. In 1969, Vysotsky himself asked to join Eldar Ryazanov in Cyrano de Bergerac. However, he refused, citing the fact that he needed to film a poet, not an actor.
Vysotsky also tried to get into the film “Sofya Perovskaya”, the adventure film “Audacity” and the melodrama “The Road Home”. Directors different ways they tried to get permission from Goskino to film the actor. However, officials were afraid of the artist like fire.
Personal life of Vladimir Vysotsky
In his first year, Vladimir Semenovich met student Iza Zhukova. She became his first wife, they got married in the spring of 1960. True, the marriage did not last long; the artist quarreled with his wife, and she left Moscow.A year later, Vysotsky met actress Lyudmila Abramova while filming a film. She became his second wife and gave birth to Vysotsky’s two children – Arkady and Nikita. In 1968 they separated.
The third wife of Vladimir Vysotsky was Marina Vladi (Marina-Katrin Vladimirovna Polyakova-Baydarova). She appeared in the artist’s life in 1967. Vladimir Semenovich fell in love with her after the film “The Witch”. I watched the film several times a day and dreamed about the actress for many years.
The acquaintance took place in the WTO restaurant, where Vysotsky came after the performance. Silently took Marina Vladi’s hand, sat down opposite him and did not take his eyes off his beloved. A few years later, in 1970, they got married. And they were together for 10 years.
Marina Vladi introduced her husband to the circle of European celebrities. In the west, Vysotsky released several records. She was his muse and reliable support.
Death of Vladimir Vysotsky
The life of Vladimir Semenovich ended unexpectedly on July 25, 1980 at 4:10 am. The artist died in his sleep, in his Moscow apartment. The exact cause of death has not yet been established because an autopsy was not performed at the request of relatives. According to one version, the cause of death was myocardial infarction, according to another - asphyxia, suffocation, as a result of excessive use of sedatives. 
At this time, the Summer Olympic Games were taking place in Moscow, so only two articles about the artist’s death were published. An announcement was posted above the box office window: “Actor Vladimir Vysotsky has died.”
The actor is buried at Vagankovskoe cemetery. It seemed that all of Moscow had come to the cemetery, people were gathering near the theater to say goodbye to their idol.
As often happens, recognition came to Vysotsky after his death. In 1986, Vladimir Semenovich was posthumously awarded the title of Honored Artist of the RSFSR. And a year later, the USSR State Prize was awarded for the image of Zheglov in the television feature film “The Meeting Place Cannot Be Changed” and the original performance of the songs.
In 1989, it was decided to open the Vladimir Vysotsky Museum in Moscow with the support of the Soviet Culture Fund, the USSR Ministry of Culture, the Moscow City Executive Committee and the public.
The work of Vladimir Vysotsky is interesting and multifaceted. He wrote more than 600 songs and poems, played more than 20 roles on the stage of theaters, 30 roles in films and television films, 8 in radio plays. So who is he - an actor, a poet or a composer? He himself, in one of his interviews, answered this question like this: “I think that the combination of those genres and elements of art that I do and try to make a synthesis out of them - maybe it’s some kind of the new kind art. Maybe in the future all this will be called one word, but now there is no such word." Volodya was born on January 25, 1938, into a military family, so they moved a lot, but he spent his youth in Moscow, on Bolshoy Karetny, where he began to write. He most often called his genre on the stage - the author's song. He wrote his first poem in 1961. Vysotsky began to write his songs only for his friends to sing in a small courtyard company, so the first songs were so street and even a little hooligan. Later he began to write about the war and about more philosophical topics. V. Vysotsky was asked a lot why he, who had not gone through or seen the war, wrote about it, and wrote as if he himself took part in it. He answered: “First of all, we must not forget about this. The war will always worry us - it is such a great disaster that covered our land for four years, and it will never be forgotten, and everyone who to some extent owns a pen will always return to this... We are children of the war years - for us this will never be forgotten. One person aptly remarked that we “fight before the war” in our songs. We all have a bad conscience because we did not take part in this. I pay tribute to this time with my songs. It is an honorable task to write about people who fought.
I will not leave this heavenly square.
Numbers are not important to me now, -
Today my friend protects my back
This means the chances are equal.
("The Pilot's Song")
These are not retrospective songs: they were written by a man who did not go through the war. These songs are associations. If you think about them and listen carefully, you will see that they can be sung now: the characters are simply taken from a situation from those times, but all this could happen here, today. And these songs were written for people, most of whom also did not participate in these events. War is not fireworks at all, But just hard work, When black with sweat, the infantry glides up the plowed land. These songs are written on war material with an estimate of the past, but it is not at all necessary that the conversation in them is purely about war..." He wrote many songs about the war for cinema. Vysotsky himself starred in films, but, he did not succeed as a film actor. The cinematography did not use all his capabilities. Half of the roles played were episodic. In the film “Two Comrades Served,” the role of Lieutenant Brusentsov, the work on which Vysotsky remembered with particular warmth, was conceived as the main one, but in the final version it secondary. This often happened with films and with songs for them. In reality, he was the owner only at concerts. At concerts he always worked in full force. Every concert is like the last. While performing songs, he could be so thunderous, so stormy and raging that the people sitting in the hall felt as if strong wind, close your eyes and pull your head into your shoulders. And it seemed: another second - and the ceiling would collapse, and the speakers would explode, the strings would burst, unable to withstand the tension, and Vysotsky himself would fall, suffocate, die right on stage. It seemed: it was impossible to sing in such a nervous atmosphere, it was impossible to breathe! And he sang. He was breathing. But his next song could be stunningly quiet. And this made her sink into her soul even more. Vysotsky, who had just seemed like a pulsating bundle of nerves, suddenly became the embodiment of sublime calm, became a man who had comprehended all the secrets of existence. And every word sounded specially reverent. At concerts he often sang songs about sports. I don’t know which other poet paid so much attention to the sports theme. Vysotsky himself played a lot of sports when he was younger - he did it just like that - boxing, acrobatics, and many other sports. Then, when he became an actor, he began to play sports for the stage, because at the Taganka Theater he had to do various acrobatic acts. Vladimir Semenovich wanted to create a whole program from his songs, where there would be a song about each sport. This, of course, is an exorbitant task, because... there are already 49 of them in Sportloto alone. However, he worked a lot and wrote something. He has a “Song about a short-distance skater who was forced to run a long distance (And he really didn’t want to)” or also a comic song, a continuation of “Song about a sentimental boxer.” There is a song “Professionals,” which he wrote after the USSR-Canada hockey game, when ours became world champions for the fifth time. The game was difficult and our fans feared that the Canadian professionals who owned using power techniques, they will be able to win, but everything turned out differently.
"...To professionals, desperate little ones,
It's a lottery game - who's lucky?
They play with a partner - like a bull with a matador -
Although it seems to be the other way around."
This song has become the most favorite among hockey players. Sometimes Vladimir Vysotsky met with them before they went to important competitions, and they always asked to sing this song. The team even carries a magnetic tape of it with them in order to boost morale before the game. And the famous “Morning Gymnastics”, such an anti-alcohol joke song, like a parody of some gymnastics exercises.
"Inhale deeply, arms wider,
Don't rush - three, four! -
Cheerfulness, grace and plasticity!
General strengthening,
Sobering in the morning,
If you are still alive, do gymnastics!
If you are already tired -
They sat down, stood up, sat down, stood up, -
The Arctic and Antarctic are not scary for you!
Chief Academician Ioffe
Proved: sports prevention will replace cognac and coffee"
“Song about a long jumper” is dedicated to Vladimir’s friend, the famous long jumper, Gerion Klimov. He has a misfortune: he constantly steps over the board from which they are pushing off - and his records do not count.
“What happened, why are they shouting?
Why did my coach yell?
Just eight forty result, -
True, he crossed the line.
Oh, I have to drink it to the dregs -
I take the cup of poison instead of the cup.
You just have to cross the line -
I'm turning into a kangaroo man"
“The Song about a Weightlifter” is not a joke song - it is “lyrical-comedy”. It is dedicated to Vasily Alekseev, the strongest man in the world. Vysotsky first wanted to write a comedy song, he even came up with a verse for it. It was like this:
"Opponents are trying
Repeat records
But I'm so athletic
What a scary thing to say. "
But then I changed my mind and the song turned out to be more serious
"... Not marked by the grace of a mustang,
I am constrained and not quick in my movements.
Barbell, overloaded barbell -
My eternal rival and partner.
Such an unmanageable bulk
I wouldn’t wish it on my enemy -
I'm approaching a heavy projectile
With a heavy feeling: what if I don’t lift it?!
We both seem to be made of metal, -
But only he is truly metal.
And it took me so long to reach the podium,
That he trampled dents in the platform"
In the early 70s, multi-part television films were already popular, and Vysotsky decided to try to write a song with sequels. The popularity of chess was very high at that time, and people followed the games of Spassky and Fischer. Many dreamed of playing with them, and one acquaintance told Vladimir that he had a dream where he was playing with Fischer. This gave Vysotsky a certain idea, and he wrote the song “Honor of the Chess Crown” in two episodes: the first, “Preparation,” and the second, “Game.” The song turned out to be semi-fantastic and comic.
"... And in the buffet, closed to others,
The cook reassured: “Don’t be timid!
You have such a wonderful appetite
You will swallow all his horses at once!
Follow me - what to do?!
It is necessary, Seva, -
At random, like at night in the taiga...
I remember the queen is most important:
Walks back and forth and left and right, -
Well, the horses seem to be shaped like the letter "G"
But, in my opinion, special attention should be paid to the songs from the film "Vertical". They're pretty serious. “Mountaineering is not a sport, but even if it is a sport, competitions are inappropriate here - they will not lead to anything good,” Vladimir Vysotsky said this phrase in one of his interviews. Everyone knows that Vysotsky wrote songs, as if immersed in the atmosphere of what he was writing about. The same thing happened on the set of the film "Vertical". He and the film crew came to the mountains, and they simply captivated him with their beauty. “The only thing better than mountains can be mountains that you have never been to.” He met a lot there with smart, good people, and people in the mountains, I must say, lead behave completely differently than in an ordinary, urban setting. They open up in a completely different way. The fact is that the situation during the ascent is close to military, and therefore people behave as if in battle. “This is not a plain, here the climate is different - and there are avalanches one after another,” You rarely see this in other places. Vysotsky himself said: “I was once invited to speak by climbers, I came to them, they had long wanted to listen to me, but then it suddenly turned out that some group had suffered an accident. They were all blown away as one by the wind, they left at night, in bad weather, they went on a route to save people. Why do people go up? Probably to check, to see what kind of person you are, to understand better the people who are with you. Because in the mountains there is no police, there are no ambulances that They could have saved you or helped you out." In the mountains, neither stone, nor ice, nor rock are reliable, - We rely only on the strength of our hands, on the hands of a friend and a driven hook - And we pray that the insurance will not fail. "Mountaineering is a very risky business. And Vladimir Vysotsky loved risky people, so he also especially noted performances in front of sailors and pilots. He did not perform songs about the sea, about a storm, about sailors so often, but he did not have them little. He was fascinated by the mutual assistance of the sea, and in the songs “Man Overboard” and “Save Our Souls" he reflected this. "There was a storm - the ropes tore the skin from his hands, And the anchor chain screamed like a devil, The wind sang a rough song - and suddenly a voice was heard : "Man overboard!" And immediately - “Full back! Stop the car! Get the boat into the water, help - Pull out the son of a bitch, or, there, the daughter of a bitch!” I regretted that I was doomed to walk on land, which means I won’t have to wait for help. No one will rush to save me, And they won’t announce a boat alarm. And they will say: “Full speed ahead! The wind is at our back! We will be in port by the hour. son of a bitch“Let him choose for himself!” (1969) Among his friends there were many sailors, and he often sang to them in the wardrooms. V. Vysotsky's sea songs are a special category of soulful songs. “Only the eyes turn back again - The earth holds tenaciously, everything is still wrong. Why don’t the sights converge for too long, Why does the lighthouse blink too often?!” They touch a person to the very soul, especially noteworthy is “The Ballad of abandoned ship", "I stubbornly strive to the bottom..." and "Twenty thousand horses are squeezed into cars...", dedicated to the crew of the ship "Shota Rustaveli", on which Vladimir and Marina Vladi were relaxing. Vladi Vysotsky met Maria in 1967, although he learned about her much earlier. The film “The Witch” with her participation was popular in the Union. Before they met, he wrote a comic song: During his next visit to Moscow, her friend invited Marina to the Taganka Theater, promising that she would see a young, but very talented and already popular actor - V. Vysotsky. She really liked his performance in the play “Pugachev”, and she agreed to come to dinner at the restaurant, where the actors who participated in the performance were present. Vladimir took Marina from that evening to a friend, where he sang his songs for her with a guitar all evening. Actually, Marina Vladi is Russian on both her father’s and mother’s side. Her real name is Maria (Katrin) Vladimirovna Polyakova - Baydarova. Her surname was formed from an abbreviation of her patronymic - Marina Vladimirovna. And on December 1, 1980, they got married, but it was a difficult union. Vysotsky still has children from his first marriage, and so does Marina. The situation was further complicated by the fact that M. Vladi lived and worked in Paris. They were both connected only by telephone, and Volodya’s mother recalls that bills received for long-distance calls often had three-digit figures. He called Paris at any time of the day or night, sang songs he had just written into the phone, and declared his love. It’s a pity that the connection could have been interrupted in the most intimate place; it got on both of their nerves. An incredibly complex tangle of feelings arose, as is clear from the song address to the telephone operator of International Station 07. In this monologue, all of Vladimir Vysotsky, with his dazzling passion, with an unbridled desire to love - now, and not someday in the future. At first, with his impatience, it was difficult for him to wait to be connected with the woman he loved, and the song “07” appeared just one evening when he was waiting for a conversation with Paris.
"For me this night is outlawed.
I write - at night there are more topics.
I grab the phone dial
I'm dialing the eternal 07.
Girl, hello!
What is your name? Tom.
Seventy-second! I am waiting! Hold your breath!
It can’t be, repeat, I’m sure - at home!
Here! Already answered!
Well, hello, it's me.
The phone is like an icon to me
Phone book - triptych.
The telephone operator became a madonna,
Shortening the distance for a moment"
Then the telephone operators already knew him well, connected him immediately and sometimes listened to his unusual concerts themselves. When they did manage to meet, on tour or when Marina came to the Union, they were simply happy. “I have never seen another hand like this, which would caress me so much...” It is clear that great love inspired Vysotsky to create lyrical musical and poetic works that were unique in spirit and character, which enriched his songwriting with their melodies, content, and form. "The house is crystal on the mountain for her. Like a dog, he grew up in chains. My springs are silver, My gold placers! I wouldn’t compare anyone with you, Even if you execute me, shoot me. Look how I admire you, - Like Raphael’s Madonna!” Love inspired Vysotsky, and he dedicated more and more poems to her. “On what day of the week, at what time will you come out to me carefully... When I take you in my arms to where it’s impossible to find... “Like any creative personality, V. Vysotsky had successes and defeats, numerous experiences. He tried to drown his mental and physical suffering in wine. Vysotsky was not an alcoholic: he was never registered as such and was never treated. He himself struggled with drunkenness in his songs and understood the harm that alcoholism causes to a person. Vysotsky did not like to advertise his personal life, and therefore he spoke little about it, but various newspaper scribblers and other “admirers” of his work supplemented this deficiency with their speculations.
"I hate gossip in the form of versions,
I don't like it when they get into my soul
Especially when they spit on her"
Numerous rumors and gossip that constantly circulated about him irritated him and, as if in revenge on them, he wrote the song “Rumors.” "Tempered in many troubles, Rumors are spreading, knowing no barriers. Gossips are circulating that there will be no more rumors at all, Gossips are circulating as if gossip will be banned. Like flies here and there, rumors are circulating from house to house, And toothless old women are spreading them to their minds." Crowds of fans who saw him only as an idol and not as a creator constantly pestered him stupid questions about personal life. To avoid any confusion, Vysotsky wrote a song that answered many questions from the curious, and sometimes performed it at concerts. "I will cover all the questions in full, I will give satisfaction to curiosity. Yes! I have a French wife, But she is of Russian origin. No! I don’t have any mistresses now. Will there be? I don’t intend to yet. I haven’t drunk for about two years. Will I start drinking again? ? I don’t know, I’m not sure" But it cannot be said that he did not tolerate questions at all; on the contrary, he was glad when people were interested in his work, his work in the theater. It should be noted that Vysotsky was very proud of his work at the Taganka Theater. In one of his interviews, he said: “Many of our actors are musically educated people, they play different instruments, write music, poetry, prose and dramatizations; there are also professional composers among us. And because so much has been invested in this the work of the actors' authorship, that is, their creative hobby is used - this makes the business more expensive. Therefore, it is interesting to work with us, and this truth flies through the ramp, and when you come to the theater, you will be convinced that no one is hacking or allowing themselves to play carelessly - only on technique. It is always with sweat, with blood. You see the holy sweat of an actor and you see that they are giving everything to you, with full dedication, with the strain of all physical and spiritual strength. And because of this, it is also so difficult to get to our theater, because that’s how they play in it.” The role of Hamlet is rightfully considered one of his favorite and best works. This role was the only main one in the play, and it belonged to him. The magnitude of his talent is confirmed by the fact that in 1977 in France the play was awarded the highest prize of French criticism as the best foreign performance of the year. It would not be amiss to add that more than 200 troupes from different countries competed for this award. Vladimir Vysotsky played Hamlet without makeup. His short stature and rough face might have puzzled him at first. But tall, handsome men were associated only with the heroes of entertainment shows. On stage, as in life, inner beauty is more valued, that light of the soul that a personality carries within itself. And a gloomy, self-absorbed young man is more in line with the harsh medieval morals than some radiant handsome man. Moreover, the tragedy was not interpreted in a romantic style at all. Hamlet walked freely around the palace and outside the palace, without observing any palace etiquette. There were even no ceremonial scenes when the king appeared. Moreover, Vysotsky’s Hamlet could, in his own way, pat on the shoulder the people from his friendly circle and high-ranking members of the hierarchy. He could lie on the floor, jump, somersault, and generally take various non-regal poses. Vysotsky had the ability to discover unexpected depths in the subtext of roles. He showed the tragedy of a man who was ahead of his time, who, thanks to his sublime spirit and his knowledge, stepped into another era and measured his contemporaries by his own standards. Realizing his own powerlessness to change the course of events, Hamlet waged an unequal struggle against evil, realizing that here efforts are more important than results. Vysotsky's Hamlet, like Vysotsky himself, sought to penetrate the motives of human behavior. Great, however, are his efforts to change the destined order, to carry out the predestination of fate. When “Hamlet” was played, the impressions of the film of the same name directed by Grigory Kozintsev with I. Smoktunovsky and Anastasia Vertinskaya were still fresh. Inevitable parallels were drawn, preferences and tastes emerged. Talk about Hamlet at Taganka did not subside until the last performance on June 18, 1980. This means that this role, which Vysotsky played for about ten years, captured the imagination of the audience and made them watch with trepidation its original embodiment. Despite the inevitable pros and cons. Vysotsky captivated the audience with his powerful talent. V. Vysotsky died on July 25, 1980 from a heart attack in the hospital. And at this time the Olympics were in full swing in Moscow, it was a beautiful Friday day, medals were being handed out in full at the stadiums, and it seemed that no one was in the mood for it. Neither newspapers, nor radio, nor television considered this event important enough to pay even a little attention to the poet’s death; they continued to glorify the victories of Soviet athletes. Only on the Taganka there was a handwritten obituary, and people stopped and read. There were more and more of them, flowers appeared, rivers of flowers - people said goodbye to the “Chansonnier of All Rus'” - Vladimir Vysotsky. The words he said can be fully attributed to his departure from our world. "During my life, I was tall and slender, I was not afraid of a word or a bullet. And I did not climb into the usual framework. But since then, since I am considered dead, They bewitched me and bent me, nailing Achilles to a pedestal. I can’t shake off the granite meat. And It’s impossible to pull this Achilles heel out of the pedestal, And the iron ribs of the frame are Deadly captured by a layer of cement - Only spasms along the spine." These are prophetic words. Vysotsky knew perfectly well how people behave towards the “dear deceased”, and allowed himself to laugh at us, anticipating that we would treat him according to our stereotypes, confident that we were doing him a great favor. We will miss V. Vysotsky for a long time - his talented appearances on the Taganka stage and his heroes that he created, his funny, sad, mischievous and irreconcilable songs, his confidential hoarse voice... In his poems and songs, Vysotsky managed to convey mindset and way of thinking of the Russian people. He expressed some kind of daring, despair, the confusion of the life of his people and at the same time breadth. This is all together, it’s hard to find one word, it’s poetic and at the same time mocking and wise attitude to life made his songs very lifelike. On October 12, 1985, a monument to Vysotsky was unveiled at his grave. The poet is cast in bronze to his full height, as if he is trying to break out of the fetters that bind him. Above him is a guitar. Behind are two beautiful horse heads, which remind of his best song: “A little slower, horses, a little slower! Don’t listen to the tight whip! But somehow the horses I came across were picky, And I didn’t have time to live, I didn’t have time to finish singing.” In the same year, astronomers of the Crimean Observatory named the newly discovered planet between the orbits of Mars and Jupiter - VLADVISOTSKY. In space, among a huge number of planets, a small luminous point wanders, and it is forever alive heavenly body associated with the name of the famous poet, singer and actor - Vladimir Vysotsky.
Key tags.
Vladimir Vysotsky is a Soviet poet, theater and film actor, songwriter (bard). He is the author of more than 600 songs on a variety of topics.
In addition to his brilliant songs, thanks to which he became famous throughout the world, he managed to play many iconic roles in theater and cinema. According to recent polls, Vysotsky took 2nd place in the list of “Russian idols of the 20th century,” second only to.
We bring to your attention the biography of Vysotsky. Of course, this biography, like the vast majority, contains many paradoxes. But first things first.
So, here is a short biography of Vladimir Vysotsky.
Brief biography of Vysotsky
Vladimir Semenovich Vysotsky was born on January 25, 1938 in. He lived in a large communal apartment with his parents. His father, Semyon Vladimirovich, was an actor and bard, and his mother, Nina Maksimovna, worked as a translator and assistant.
Childhood and youth
16-year-old Vysotsky According to the artist, his first song was “Tattoo”, performed by him in 1961. He considered his idol the then famous musician and actor -.
Vysotsky began writing songs more seriously in the 60s. But at first his work was not appreciated. Listeners were little attracted to the yard theme, and in such an unusual execution.
It must be said that at that time the musician himself did not take his compositions seriously, saying that he wrote simply for his friends and “home gatherings.”
Vysotsky experimented with different genres, trying to talk about serious things in simple words. In 1965, he wrote the famous song “Submarine,” which was instantly loved by the public.
From that moment on, Vladimir Vysotsky repeatedly wrote songs for films, and also took part in the filming himself.
In 1968, his debut album was recorded with his songs heard in the film “Vertical”. The composition “Song about a Friend” immediately gained incredible popularity in society.
In 1975, the bard recorded the gramophone record “V. Vysotsky. Self-portrait." This album is notable for the fact that each song was accompanied by comments from the author.
In 1978, in the biography of Vysotsky, it happened an important event: he was awarded the highest category of pop vocalist. Thus, the Soviet Ministry of Culture on official level recognized the artist’s work.
The popularity of Vysotsky's songs grew every day. His poems and manner of performance so impressed foreign listeners that they massively bought pirated recordings of the artist.
In 1979, Vladimir Semenovich was invited to perform in New York and Toronto. At the same time, he took part in the creation of the famous almanac "Metropol", which was not influenced by censorship.
It was released in 12 copies, one of which was illegally exported to the United States and officially published there.
Vysotsky did not stop giving concerts in large and provincial cities. Once on tour in France, he met a gypsy musician, with whom he recorded many compositions.
Despite the fact that in recent years Vysotsky had serious health problems, he did not stop performing in front of the public, while also playing in the theater.
He wrote more than 600 songs and about 200 poems. Wherever a musician appeared, he was waiting for him stunning success and the love of the public. Concert halls were always crowded, because everyone wanted to hear Vysotsky’s hysterical, hoarse cry: “Save our souls.”
During the period of his creative biography, he recorded 7 of his own albums and 11 collections of other people's songs performed by him. However, the exact number of his albums is not known for certain.
The fact is that they were published in different countries, were often not allowed for sales, and were also rewritten many times.
Life in cinema
Vysotsky played his first acting role in the film “Peers”. This was followed by more serious films: “The Career of Dima Gorin” and “The 713th Requests Landing.” However, directors still did not trust him with leading roles.
Perhaps this was due to the fact that Vysotsky began to abuse alcohol. Subsequently, alcohol became the cause of many problems in his personal and creative biography.
The film “Vertical” brought national love and recognition to Vladimir Semenovich, for which he wrote all the musical compositions. The day after the film was released, Vysotsky became the favorite actor and musician of many Soviet citizens.
Once upon a time, in his distant childhood, young Volodya performed compositions by popular authors on the guitar, and now in every courtyard group young people vied with each other to sing his own songs.
Vysotsky really liked cinema, so, despite the colossal workload in the theater and constant bard concerts, he continued to act in films with famous directors.
He managed to play in such popular films as “Two Comrades Served,” “Master of the Taiga,” “Brief Encounters,” etc.
Despite public recognition, Vysotsky was in serious confrontation with the authorities. The Communist Party constantly put a spoke in the musician’s wheels, doing everything possible to prevent the spread of his songs.
In fairness, it should be noted that with all this, many managers government agencies They openly sympathized with Vysotsky, helping to resolve certain problems.
Due to the constant incredible workload, Vladimir Vysotsky began to drink seriously, which is why he was repeatedly kicked out of his native Taganka theater.
However, then he was again offered the main roles, which he performed brilliantly on stage. It was at this time that he played Hamlet, which became his calling card.
No matter what problems the bard faced in life, he never faked it, but completely devoted himself to what he loved.
For the first time on television he was shown in the Estonian program “The Guy from Taganka”, where viewers could learn in more detail about the life of their idol. Then he appeared on French television, where he performed original songs and answered questions from the audience.
Despite the enormous interest in Vysotsky on the part of domestic and foreign citizens, during his lifetime he was never shown on the USSR Central Television.
One of the most iconic roles in the actor’s creative biography was his work in the TV series “The Meeting Place Cannot Be Changed.” Vysotsky played senior detective Gleb Zheglov so skillfully and truthfully that the image of this hero became attached to him for the rest of his life.
Many of this film entered Soviet culture as an integral part of it.
Vysotsky's wives
Officially, Vysotsky was married 3 times. However, there were much more beloved women in his biography.
First wife
In 1960, student Vladimir Vysotsky, at the age of 22, married Isolda Zhukova, who also studied at the Moscow Art Theater. However, their family union fell apart very quickly, without lasting even a year.
Second wife
In 1962, Lyudmila Abramova became the artist’s second wife, who bore him two sons - Arkady and Nikita. However, in 1970 their official divorce took place.
Third wife
The third and last wife of Vladimir Vysotsky was Marina Vladi. He fell in love with her as soon as he first saw her on TV. The musician constantly thought about her and watched films with her participation.
One day, completely by chance, he met Vladi at a restaurant for lunch. The actor, without hesitation, walked to her table and began to look her straight in the eyes. This look predetermined their future fate.
Vladimir Vysotsky and Marina Vladi In general, it is no wonder that Vysotsky managed to win the heart of a French woman, because women literally pursued the famous poet and musician.
In 1970 they got married. For 10 years, until Vysotsky’s death, Marina Vladi remained next to him, and was for him not only his beloved woman, but also a reliable support in life.
However, their marriage was far from ideal. The musician was repeatedly spotted surrounded by other girls, which was often the cause of family quarrels.
Romance with Afanasyeva
It is reliably known that Vysotsky had an affair with Oksana Afanasyeva, his junior by 20 years. It was real love with reverent courtship and deep feelings.
The artist’s legal wife lived in Paris at that time, but at the same time knew very well about her husband’s love affairs.
Soon Afanasyeva moved to Vysotsky’s apartment and began living with him. After a little time, the artist began to cheat on her.
Diseases and addictions
Despite his excellent physical shape, Vladimir was never in good health. In principle, this is not surprising. After all, constant abuse of alcohol and the use of various drugs does not pass without leaving a trace.
Vysotsky smoked at least a pack of cigarettes per day. At the same time, he himself already wanted to get rid of alcohol and drug addiction, periodically undergoing treatment in various clinics in Russia and France.
However, all these attempts were unsuccessful. Marina Vladi sent him expensive medicines from France, but they also did not help.
In 1969 he had his first serious attack, which could have ended his life fatal. His throat suddenly started bleeding, as a result of which Vladi urgently called an ambulance.
Surprisingly, at first the doctors did not want to help him, explaining that the patient was about to die. The situation was saved by Marina’s persistence, who began to threaten the doctors with a diplomatic scandal.
Fortunately, the doctors managed to deliver him to the hospital in a timely manner and perform the corresponding operation, which lasted about 18 hours.
However, all these warning signs did not in any way affect the great bard’s lifestyle. He continued to drink alcohol, as a result of which his kidneys and heart began to seriously worry.
Later, Vysotsky himself began to take some drugs, thinking that they would help him get rid of his addiction to alcohol. Already in the mid-70s, he was discovered to have a persistent drug addiction.
Each time he increased the doses of morphine and amphetamine, without which he could no longer live a day.
In Vysotsky’s biography there are facts indicating that in 1979 in Bukhara he experienced clinical death.
Death and funeral
On July 25, 1980, Vladimir Semenovich Vysotsky died at the age of 42. It is reliably known that on that day he had a presentiment of his own death and even warned his mother about it.
Before this, the doctor gave him a sedative injection so that he could get some sleep. Thus, the greatest Russian bard died in his sleep.
The musician's relatives insisted on not conducting an autopsy, which is why the exact cause of his death remains unknown. Vysotsky's relatives and friends believe that drugs ruined him.
The Soviet leadership did everything possible to ensure that his death was known as widely as possible. less people. Largely the reason for this was summer olympics, which took place this year in Moscow.
The authorities did not want to spoil the solemn event with the news of the death of the people's favorite. Only at the box office of the Taganka Theater was a message posted about Vysotsky’s death, after which a crowd of people gathered near the theater in a matter of minutes.
Vysotsky's funeral Despite the fact that information about the funeral was not disseminated, a huge number of people came to say goodbye to the great artist. The line moving to the entrance to Taganka stretched for nine kilometers.
According to reports from the Moscow Main Internal Affairs Directorate, 108 thousand people gathered on Taganskaya Square and the surrounding areas that day.
Here are some memories of Vysotsky’s son, 16-year-old Nikita:
“We slowly moved behind the bus and watched as people, breaking through the cordon, threw bouquets under the bus. The entire funeral column rode along the flowers. I have never seen anything like this either before or since. It was as if someone had staged this crowd scene, like in a movie. That day I heard that flower shops in Moscow were empty...”
The director of the cemetery was an admirer of Vladimir Vysotsky’s talent, so he made sure that he was buried not far from the entrance. He would later be fired because of this.
Many years have passed since Vysotsky’s death, but even today his grave remains one of the most visited at the Vagankovskoye cemetery.
Vysotsky wrote his last poems to his wife Marina Vladi:
And there is ice below and above - I toil between -
Should I punch through the top or drill through the bottom?
Of course - to emerge and not lose hope,
And then we get down to business waiting for visas.
The ice is above me, break and crack!
I'm covered in sweat, like a plowman from a plow.
I'll return to you, like the ships from the song,
Remembering everything, even old poems.
I am less than half a century old - forty-something -
I am alive, I am protected by you and the Lord.
I have something to sing when I appear before the Almighty,
I have something to justify myself before Him.
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Vysotsky Vladimir Semenovich, (1938-1980) Russian poet and actor
In 1947-1949 lived with his father and his second wife in the city of Eberswalde-Finow (Germany), then returned to Moscow.
While studying at school, Vysotsky studied in a drama club and wanted to enter a theater institute, but at the insistence of his parents, he passed exams at the Moscow Construction Institute named after V.V. Kuibyshev, from which he soon left. In the summer of 1956 he entered the School-Studio named after V. I. Nemirovich-Danchenko at the Moscow Art Theater.
After graduating from the studio (1960), he worked at the Moscow Drama Theater named after A. S. Pushkin and at the Moscow Theater of Miniatures. Then he started acting in films.
In 1964 he was accepted into the Moscow Taganka Drama and Comedy Theater, where he worked until the end of his life. The artist played more than 20 roles on the Taganka stage, of which the most famous is the role of Hamlet from Shakespeare's tragedy of the same name.
In 1960-1961 Vysotsky's first songs appeared. During his life he created about a thousand of them. Not officially recognized, bypassing radio, television, and print, thanks to tapes, Vysotsky’s songs became known to everyone.
Many songs and ballads were intended for films. In 1966, Vysotsky starred in the film “Vertical” and wrote five songs for it. In total he played 30 feature films. Last years Vysotsky's life was dramatic. Despite his nationwide popularity, he could not achieve the publication of his poems or the release of records; suffered greatly from the persecution unleashed in the press. He was sick from overexertion, and in 1979 he suffered clinical death.
He died on July 25, 1980 in Moscow, and was buried at the Vagankovskoye cemetery. Only after his death was the first collection of his poems, “Nerve” (1981), published.
In 1987, for the role of MUR captain Gleb Zheglov in the five-episode television film directed by S. S. Govorukhin “The meeting place cannot be changed,” he was posthumously awarded the USSR State Prize.