Biography of Evgenia Baranov

These always dramatic motives-reality and our ideas, ambitions, claims-classic for the theater, the actor heard in his own way and gave them a new sound, mocking, bitter and a little sad. He is not afraid to be eccentric, buffonon on stage, sometimes bringing the absurdity of the characters to the point of absurdity. But, in essence, his heroes are dreamers, contemplators and ambitious dreamers who are pushing the subconscious fear of non -expression or underestimation to action.

Baranov clasers. Photos from the archive of the Comedy Theater, he did not then leave the theater. The Lensovite to the Comedy Theater to become the prime minister in the performances of Tatyana Kazakova. Having risked stepping into the unknown, Evgeny Baranov thereby tried to test his acting fate, to violate the established course of life - and managed to win in the main thing: to express his own topic.

Although in the native theater Baranov lived quite well. His heroes of that time are young people who only come to life, for the first time discovering the variable, the multiplicity of the world. But even then, in their behavior, hidden anxiety, doubt and self -doubt, shy alertness were guessed ... And at the same time, deep down to themselves, they knew the price and treated others with a secret sense of superiority.

Like the Baranov played by Baranov from the fairy tale “Snow Queen”, they did not really need people, content with communication with themselves. As if small fragments of ice once fell into their hearts and did not allow to breathe in full chest, recalling every time about that “high illness” that doomes to loneliness. Perhaps, only Martemarin Levitin in the play based on Sobolev’s novel “The Royal in the Open Sea” tried to defend his ideals.

The rest of the heroes of Baranov, as a rule, under the pressure of someone else's will, were forced to enter into a dangerous game with the outside world or completely went to the side, striving to hide, freeze, and avoid a decisive fight with life. What a charming and immediate youth looked at Baranov Gli Jr. in Gogolevsky “players”-but this was a person who was a milestone, served only a mask hiding the wounded pride and the complete inability to be responsible for his own actions.

And in the tragedy “Ogliness and Love”, Ferdinand Bazanov, passionately in love with his ideal, let him have fled in the image of an ordinary Louise girl fled into the world of illusory dreams, trying to hide from insoluly difficult problems in his sublime love. Over the years of work in the theater. The Lensovita Evgeny Baranov played many different roles-from fairy-tale characters to heroes-lover.

But only in the performances of the director Tatyana Kazakova, his acting topic was fully formed and sounded - the drama of a man who stepped or fell out? And the actor, having gained a faithful like -minded person in the director of the “high” eccentricity, which developed in the theater of the X - X - then it seemed that the position of the contemplator, absorbed by the solution of eternal issues and standing aside from the vain concerns of everyday life, helps to preserve his spiritual world, remain a person.

But having got into the era of violent changes, in the times of decisive transformations, these people, under the strict pressure of circumstances, behaved in the most unexpected way, declaring their right to exclusivity. And Evgeny Baranov loses the options for their fates, building a series of adultery stories. The very young dandy, mastering the “science of gentle passion”, without which success in society seemed completely impossible to him, played the role of sophisticated aesthet before the bewildered maid, taking spectacular poses and reveling in the languid intonations of his boyish voice, and now and then and now and now.

And when the beautiful young lady appeared, he hastily “changed the role”, immediately turning into an ardent romantic lover, ready to sacrifice life for the minute favor of the social beauty. That was not even special self -interest. This “inspired womanizer” in his soul was a naive dreamer and, trying to correspond to the ideas drawn from books, became a hostage to the game - a stranger or his own, then fulfilling the role allotted to him, then enrolled himself in brilliant premieres as, however, many other characters in Yevgeny Baranov.

Director Tatyana Kazakova accurately noticed and wittily used the actor’s tendency to spectacular theatricality and stage stunts, his passion for acting, which completely gives rams of almost all her characters. On the stage, he even feels and thinks plastic, as if painting in space. And he has his own, only inherent set of stage techniques: the emphasized sculpture of gestures suddenly begins to crumble, crumble, giving out confusion or mental splashes of the characters, their uncertainty and confusion.

He is not afraid of the buffoonery - grimacle, shaking, growing, grunt, change gait, play the mind of incomprehensible ugliness. But the mischievous acting does not exclude sadness driven deep into the depth. In essence, Baranov is an actor of tragicomedy or tragifars. Baranov Leaser. Comedy Theater.Photo from the archive “Every person seeks to create his own state, won his place under the sun ...” said Evgeny Baranov in an interview.

He does not hold on to these values: his construction occurs deep down. ” And in the play “The Smasses”, according to Carlo Goldoni’s comedy, the actor played the charm and strangeness of the dreamer, the hermit who had hidden from the world behind the stupid mask of the “holy fool”-he showed the type of eccentric, drawing the character and recognizable, and at the same time theatrical and fantastic.

Senor Kanchano appeared with an absurd, miserable hen, meekly seeding behind his beauty-hay and not paying the slightest attention to the irony of others. From the whole thirsty for the revenge of the Komania of the “tyrant”, this “minister of pure thought” was mansion, it would seem, not noticing the raging passions around. And his own loneliness did not burden him at all: falling into the detached contemplation of one of his accessible worlds, he went into himself, only occasionally responding to the demanding shout of the beauty-siprugs.

In appearance, a wretched idiot with an absurd rattle on his neck, Senor Kanchano, who founded himself involuntarily in the camp of insidious conspirators, suddenly appeared to be the kindest sage, who managed to reconcile the shallowing husbands and wives. This almost wordless episodic role found in Eugene Baranov and depth, artistry, and a bitter sad meaning.

The conjugation of reality and fiction, life and obsession, games and fantasies for Baranov are always attractive. In this strange double one, he finds the origins of the drama of his heroes. As, however, the reason for their comic pretentiousness. Although the actor always treats his characters deeply personally and addictedly - he sees their hidden fears, unseemly thoughts, weakness and cowardice - at the same time he never gives unambiguous assessments and does not pass the final sentence.

Baranov Fabrizio. The photo from the archive of the Comedy Theater seemed to be so possible, so close ... ”But the unlucky bridegroom Leaser, who was trying to find family happiness - with his home, children and those little joys, which, seemed to have the right to hope, was overlooking with him. He passionately wanted everything to be like people ...

into a long bewitching ritual turned the rams into “difficult people”, it would seem, a completely ordinary episode - removing outerwear at the entrance to someone else's dwelling. Biletled, one after another, the laser was thrown off some inconceivable rag-a worn coat with his elbows slightly covering his elbows, a huge, long, a long, wrapped in almost the very eyes, a woolen jack-reluctantly, like a snail, he parted with his shelter.

This man of gloomy, hidden passions, leaving the usual “case”, was afraid of unknown to convulsions, and yet he tried to present his appearance as a bar's gift, the gracious act of a benefactor. Understanding that there will never be a different life and inaction becomes destructive, Leaser Baranov, suffering from the need to do something, hoped to end his tormenting problems in one fell swoop.

His actions were determined by the logic of despair. Subragency of circumstances paradoxically coexisted in him with a stubborn faith in her exclusivity. He frantically defended his inner freedom, not wanting to act in his exorbitant ambitions. And at the same time, he desperately sought to achieve mutual understanding and sympathy, sought subtleties, tact, warmth ...

It seemed that in his soul either a wolf dreary howl, then the delicate music of a flute. A miserable, aggressive, Leaser darted between the two worlds-the world of his ideas and the reality that mockingly, made me reckon with it. And the spiritual drama, usually hidden from prying eyes, suddenly broke through a woeful confession. He felt the sad outcome of the absurd matchmaking immediately, barely crossing the threshold of the bride’s house.

And this obvious inevitability of the defeat turned him into hostage. No, he nevertheless tried to “sprinkle”, somewhere to tear and re-reinforce everything, but finally confused in the harsh “threads of fate”-like a arrogant puppet who dared to get rid of the will of an invisible puppeteer. The theme of unfulfilled ambitions, secretly tormenting the proud-mound heroes of Baranov, in the role of Leiser sounded ironically and bitterly-the unpredictability and vulnerability of the “underground soul” of Leizer scared and caused piercing pity.

Baranov Minusinsky. A photo from the archive of the Comedy Theater seemed to be a drunk, a led laser and a successful official of Klaver, the hero of the play “Clivir for Beginners of a Career” according to Saltykov-Shchedrin, had nothing to do with each other. And yet both of them made the impression of people who were passionately harassed by the revenge, but never managed to get it.

The Baranov did not begin to tell another “ordinary history” in the role of Klaurev.He showed not how romanticism ruthlessly crashes under the onslaught of life, but how, cherishing the image of a dreamer and philosopher, the capital's official tried to fit his life under his philosophy and in this very philosophy to find an excuse for his trifles. The story arose not quite ordinary: dreaming of power, about power over people and over money, Klavreov tried not only to read the read-read out the read-read out the holes in his own way, but also to extract unique living sounds from the long-dead musical signs.

He needed beauty. Claverov saw himself in life by an artist. And the prime minister, not a miserable statist. It is the king of life, not her pawn. So he played out at home for himself the fantasized plots: in a luxurious silk robe, he suddenly lured the poses of the “eastern lord”, or, sitting in the Voltaire chair, saw himself as a thinker making fateful decisions.

But the plill of the nervous and impetitives were his movements, giving anxiety and emotional anxiety. And going to the light, he tried on the Napoleonic triangle, arrogantly glancing around with a smug smile. But this uncertain person with a wary gaze, in a ridiculously sticking out of a hastily heated uniform, a shirt to the knees clearly played someone else's role.

The manners of geniuses and general habits in essence did not change anything. Buildings and lyrics brought Baranov to the Shchedrinskaya satire. Having accepted other people's rules of the game, the clasers were painfully experiencing his own lack of freedom. And the oppressive sense of helplessness, the impossibility of changing anything in his own or even more so in someone else's fate, deprived him of all self-esteem.

Minusinsky’s loser was ready for everything, which was wounded by life, to free himself from a sense of his own insignificance. He went to meanness and betrayal, proving to himself and others that he is still able to become the master of the "cherry garden". This hero of Baranov remained “forever the second” - both in love and in his career - giving way to the leadership of a careless lucky friend.

Not understanding why life is so unfair to him, he, wounded by someone else's glory and his own failure, tried to recoup, using a convenient case for information. And he lost such a carefully thought -out party. Baranov with cold irony showed traps of mind - the mind of a fierce, inflamed, insulted. Like Klaverov, the hero of the performance on the comedy of A.

Slapovsky “My Cherry Garden”, it would seem, having everything, was deprived of the main - mental strength. With fear and secret gloating, he watched in the finale the collapse of his ambitious ideas. In the fairy -tale world of “lovers” K. Goldoni, almost the most needed love and participation, the restless uncle Fabrizio, a nonsense of a cute eccentric and a dreamer obsessed with nonsense.

He belonged to this pale paste and did not belong, was clearly not from this world. Done by an irresistible craving for a wonderful game, thirsty to transform the world in accordance with his ideas, he inspiredly played various roles: he changed the outfits, crossing almost the entire wardrobe - from the night hoodie to the Napoleonic triangle - thought incredible “scenarios”, scandalized with households and guests.

In the surge of unbridledly enthusiastic vitality, he forced all the improvisations that came across his eyes and demanded universal attention and admiration. His fantasies excluded any common sense, but in a tireless desire to bring them to the life of Fabrizio was ready for anything: having entered the role of a cortherful owner, could easily urge to undress the guest tired of the heat or, not having a penny behind his soul, to convene a crowd for a luxurious dinner.

This lonely madman never came out of the state of euphoria. Some unknown force imperiously pushed him forward, forcing him to rush all the time, to run, as if he was afraid not to catch up with visions flickering in the distance. But it was a run nowhere, a race without any purpose. The most incredible ways were combined in the nature of Fabrizio - immersion in chimeric fantasies and a thirst for violent activity, detachment from reality and active intervention in the fate of others.