03.05.2020

Ranevskaya about the birthday. Faina Ranevskaya's birthday: the most witty quotes from the actress. Early career: the path to recognition

ironic quotes about myself for Faina Ranevskaya's birthday ">ironic quotes about herself for Faina Ranevskaya's birthday" alt="Laughter through tears ironic quotes about myself for the birthday of Faina Ranevskaya!}">

August 27, 1896 was born great actress and a storehouse of aphorism and quotations, Faina Georgievna Ranevskaya. She was not very beautiful and was never a good girl. Faina Ranevskaya was a living irony and sarcasm, including statements about herself. Today Babr decided to make a selection of her quotes about her appearance, fate and attitude to life.

“In my obese body sits a very slim woman but she can't get out out. And given my appetite, it looks like a life sentence for her…”
“Faina Georgievna, how are you?” “Do you know, my dear, what is shit? So it is in comparison with my life - jam.
"I'm like an old palm tree at the station - no one needs it, but it's a pity to throw it away."
To the question: “Are you sick, Faina Georgievna?” - she usually answered: "No, I just look like that."
Ranevskaya stood naked in her dressing room and smoked. Suddenly, the managing director of the Mossovet Theater Valentin Shkolnikov entered without knocking. The man froze. Faina Georgievna calmly asked: “Does it shock you that I smoke?”

This is how Faina Ranevskaya looked in her youth, but everyone remembers her in her old age

“I don’t drink, I don’t smoke anymore and I never cheated on my husband because I never had one,” Ranevskaya said, ahead of the journalist’s questions. “So what,” the journalist does not lag behind, “does it mean that you don’t have any shortcomings at all?” “In general, no,” Ranevskaya answered modestly, but with dignity. And after a short pause, she added: “True, I have a big ass and sometimes I lie a little!”
If I kept a diary, I would write down one phrase every day: “What a mortal anguish,” and that’s it.
“Either I am getting old and stupid, or today's youth is not like anything! Before, I just didn’t know how to answer their questions, and now I don’t even understand what they are asking about. ”
"I play the role of eggs: I participate, but I do not enter."
“Think and say of me what you will. Where have you seen a cat who would be interested in what the mice say about her?
For a long time they didn’t tell me that I’m a whore. Losing popularity.

Faina Ranevskaya in the cinema

Once she was offered to star in a program for children, something like " Good night, kids! To which Ranevskaya replied: Represent - mother putting baby to sleep, and here I am with my muzzle from TV: "Good evening!". The child will become a stutterer for life».
“I looked at my passport, saw what year I was born, and just gasped.”
I haven't read anything for a long time. I re-read everything Pushkin, Pushkin, Pushkin. I even dreamed that he came in and said: “How tired of you, you old fool!”
“Old age,” Ranevskaya said, “is the time when candles on a birthday cake cost more than the cake itself, and half of the urine goes to tests.”
"Young man! I still remember decent people ... God, how old I am!
"I was smart enough to live my life stupidly."
On my tombstone, write "Died of disgust."

Faina Ranevskaya - Faina Ranevskaya

Birthday: 27.08.1896 , Russia, Taganrog
Date of death: 07/19/1984, Russia, Moscow
Citizenship: Russia

Biography

People's Artist of the USSR (1961) Laureate State Prizes USSR (1949, 1951 - for theatrical work; 1951 - for participation in the film They Have a Motherland) Included in the top ten outstanding actresses of the 20th century (1992, Who is who, London)

Faina Ranevskaya was born on August 27 (15 - according to the old style), 1896 in the city of Taganrog in a wealthy Jewish family. Father - Feldman Girshi Khaimovich - was the owner of a dry paint factory, several houses, a store and the steamer St. Nicholas. Mom - Feldman Milka Rafailovna (nee Zagovailova (from some sources - Valova)). There were four children in the family, two brothers and elder sister Bella. When Faina was 5 years old, her younger brother died.

As Faina Georgievna herself admitted, she was not happy in her parents' house: I remember my bitter resentment towards everyone around me in my lonely childhood ... Why, living without any material problems, in a family where she also had a brother and sister , dearly beloved mother, did the girl feel unhappy and lonely? Perhaps the reason is her increased vulnerability due to a slight stutter that Faina suffered from from birth.

Fearing ridicule, Faina avoided her peers, had no girlfriends, and did not like to study. Having studied with difficulty in the lower grades of the Mariinsky Women's Gymnasium, the girl begged her parents to take her out of there. I studied poorly, arithmetic was a terrible torture. I never learned how to write without mistakes. Count too. Probably, therefore, always, and to this day, always without money ... - Faina Georgievna later admitted.

At the same time, Faina received the usual home education for a girl from a wealthy family, studied music, singing, foreign languages, and loved to read.

Ranevskaya

Faina's passion for cinema came at the age of twelve. She described her first impression of what she saw as follows: Stunned. The film was in colors, possibly Romeo and Juliet. I am in ecstasy, I remember well my excitement ...

A little later, the girl's passion for theater began. The first visits to the city theater left indelible impressions in her soul, but she experienced a real shock in 1913, when she visited the play The Cherry Orchard by A.P. Chekhov on the stage of the Moscow Art Theater, where the stars of those years played. By the way, the pseudonym Ranevskaya is from this play. Once, on the way home, money fell out of Faina's purse, the wind picked it up, and she laughed and said: How beautiful they fly! Her companion then noticed: You are just like Ranevskaya. So this surname remained behind her, later becoming official.

The decision to become an actress

As Ranevskaya admitted, she did not choose a profession - she hid in her. After what she saw on stage, she already knew that she would definitely be an actress. Having passed the exams for the gymnasium course externally, Faina began to attend classes at the private theater studio of A. Yagello. The girl learned to move freely on stage, to speak, drawing out words to hide her stutter.

The father was indulgent about his daughter's passion until she announced her decision to become a professional actress. This caused a scandal and a break with the family. There was no question of going to work in a local theater. In addition, the girl understood that she still needed to seriously study stagecraft. Therefore, in 1915 she left Taganrog and went to Moscow.

provincial actress

Faina's hopes were not destined to be fulfilled. She was not accepted into any of the best theater schools, and the girl got a job in a private school. But she soon had to be left, because Ranevskaya simply did not have the means to pay for her studies.

But luck in another. Actress Geltser reacted to the girl with participation. It was she who recommended Ranevskaya to the Malakhov Summer Theater near Moscow. And although Faina had to play in the crowd, it was real happiness for her to even just be next to famous actors. In those years, the great Olga Osipovna Sadovskaya, Petipa, Pevtsov played there. By the way, it was Pevtsov who predicted that Ranevskaya would become a famous actress.

After playing a season at the Malakhov Theater, in 1916 Ranevskaya signed an agreement with the Ladovskaya entreprise for the role of coquette heroines and left for Kerch. But the performances of the troupe did not gather spectators, and Ranevskaya left the entreprise. Her wanderings began in provincial theaters - Feodosia, Kislovodsk, Rostov-on-Don ...

In the spring of 1917, the entire Feldman family emigrated, Faina was left alone in Russia. In Rostov, she met the actress Pavel Leontievna Vulf, in whose person Ranevskaya found a reliable friend for life. In the years civil war Wulf sheltered Ranevskaya, and the famous playwright Max Voloshin helped them survive.

At the same time, Ranevskaya was accepted into the troupe of the Actor's Theater, the main director of which was Pavel Anatolyevich Rudin. The actress successfully debuted in the role of Margarita Cavalini in Romana, and then played in performances: The Living Corpse, The Last Victim, Guilty Without Guilt, For Every Wise Man ..., Thunderstorm, At the Bottom, Inspector General, Marriage and others. One of the best works actress had the role of Charlotte in The Cherry Orchard.

In 1925, Pavel Vulf and Faina Ranevskaya entered the mobile Theater of the Moscow Department of Public Education (MONO). But, having existed for one winter season, the theater closed, and the actresses returned to the province again. They start again from wandering - the Svyatogorsk Theater at the sanatorium of Donbass miners, the Baku Workers' Theater. Then there were Gomel, Smolensk, Arkhangelsk, Stalingrad and again Baku...

Back in Moscow

All these years, Ranevskaya does not leave the thought of Moscow. In 1930, she wrote a letter to the chief director of the Moscow Chamber Theater Alexander Tairov with a request to accept her. Initially, a refusal follows, but then the director changes his mind. And since 1931, Ranevskaya has become an actress of this theater. Ranevskaya will make her debut in Moscow with a role in the play Pathetique Sonata. Moreover, it debuts successfully, but after a while the performance is removed from the repertoire ...

Since she had no other roles, Ranevskaya went to the Central Theater of the Red Army in 1935. Here she happened to play a mother in the play Alien Child, a matchmaker in Ostrovsky's play The Last Victim, Oksana in Korneichuk's play Death of the Squadron and leading role in Gorky's play by Vass Zheleznov.

In 1939, Ranevskaya was invited to the Maly Theater. To perform on the stage where the great Yermolova played! Ranevskaya agrees, but unexpected obstacles arise. They did not want to let her go from the theater of the Red Army, and the actress left with a scandal. At the same time, the elders of the Maly were categorically against her joining the troupe. As a result, Ranevskaya was left without work ...

Film debut

Faina Ranevskaya made her film debut in 1934, when she was an actress at the Chamber Theater. The novice director Mikhail Romm, seeing her on stage, invited her to the role of Madame Loiseau in the film Pyshka based on the famous Maupassant novel.

As Ranevskaya admitted, the shooting was very difficult. The heating did not work - the pavilions kept the temperature of the refrigerator, and the actors did not get a tooth on the tooth. Constant fuss, painfully long installation of light, noise of equipment, eternal confusion ...

The film was shot in a silent version. Nevertheless, in order to better feel the role, Ranevskaya took out the original of Maupassant's story and hardened a few phrases of Madame Loiseau in the original language.

Arrived at Soviet Union Romain Rolland was delighted with the film. Among the actors, he singled out Ranevskaya in the first place. At his request, Pyshka was demonstrated in France. And the film went there with great success.

Mulya, don't annoy me!

After Pyshka, despite her success, Ranevskaya decided not to appear in the cinema anymore - it's all too painful. However, three years later, she accepted the offer of director Igor Savchenko to play the role of a priest in the film Duma about the Cossack Golota. By this time, the actress was just left without work in the theater, and the movie captured her.

In 1939, Faina Ranevskaya starred in three films at once. In the film The Man in the Case directed by Annensky, she played the role of the inspector's wife, in the film Error engineer Kochin directed by Macheret - the role of the tailor Gurevich's wife - Ida. But the comedy of Tatyana Lukashevich Podkidysh brought real fame to the actress.

In the Foundling, Ranevskaya played a self-confident woman commanding a henpecked husband. The actress specifically for her role came up with a few biting phrases. One of them - Mulya, don't make me nervous - has become truly winged. This phrase subsequently haunted her all her life. At the sight of the actress, the boys on the street began to shout: Mulya, don’t make me nervous!

All this unusually annoyed Ranevskaya, over time, she simply began to hate the role that gave her popularity. Somehow she even confessed this to Anna Akhmatova. clenched her hands under dark veil“These are also my Mules,” she replied.

Many, many years later, when Leonid Ilyich Brezhnev presented Faina Georgievna Ranevskaya with the Order of Lenin, he couldn’t resist either - he made a face and squeaked: Mulya, don’t make me nervous! Faina Georgievna shrugged her shoulders contemptuously and said: Leonid Ilyich, only ill-mannered street boys treat me like that! Brezhnev was terribly embarrassed and answered quietly: Sorry, I just love you very much. On which the incident ended.

In 1940, Mikhail Romm invited Faina Ranevskaya to star in the socio-psychological drama Dream. The actress said: In all my long life I have not experienced such joy either in the theater or in the cinema, as at the time of our second meeting with Mikhail Ilyich. Such an attitude to the actor - I'm not afraid of a gentle word - I did not know such a benevolent director-teacher, I did not meet. His advice, hints were accurate, necessary. I will always be grateful to Mikhail Ilyich for the help he gave me in my work on the role of Pani Skorokhod in Dream, and for the joy when I saw this wonderful film on the screen.

Mikhail Romm began to shoot this picture after he visited Western Ukraine, annexed to our country in the late 30s. Impressions from what he saw formed the basis of the film. Ranevskaya played the role of the mistress of furnished rooms - Madame Rosa Skorokhod. This work opened a huge tragic beginning in the talent of Faina Ranevskaya. Her heroine paradoxically mixed compassion and cruel ruthlessness towards those below her. social status, all-consuming stinginess and the same immeasurable love to her unfortunate son, for whom she lives, works, commits baseness, realizing in the depths of her soul all the futility of these efforts ... The outstanding playwright Theodore Dreiser highly appreciated the actress's play.

After the outbreak of war, Faina Ranevskaya was evacuated to Tashkent, where she stayed until 1943. In 1943, Ranevskaya returned to Moscow, and was admitted to the Drama Theater (now the Mayakovsky Theater). She starred in several ordinary films, after which she was invited to play the role of Mother in the film The Wedding.

Directed by Isidor Annensky assembled a great ensemble cast. In addition to Faina Ranevskaya, the Wedding starred: Erast Garin, Zoya Fedorova, Alexei Gribov, Osip Abdulov, Mikhail Yanshin, Sergei Martinson, Vera Maretskaya, Nikolai Plotnikov, Mikhail Pugovkin and many others. Faina Ranevskaya later spoke very negatively about the film and the director himself, believing that Annensky, firstly, completely distorted Chekhov's prose, and secondly, did not use talented actors to the full.

Faina Georgievna is right or not, but the comedy Wedding is on long years became one of the audience's favorite films. How many phrases from the film have become winged. Remember the catchphrase of Osip Abdulov In Greece, everything is there, or the phrase of Faina Ranevskaya They want to show their education. In addition, representing an inexhaustible storehouse of Russian wit, Wedding impartially describes human vices and delusions. The vulgar story of wedding squabbles in the family of the Zhigalovs, who are trying to get the capricious official Aplombov as a suitor at all costs, turns into a true encyclopedia of national characters.

Ranevskaya herself, creating the image, used observations from real life. Makeup doesn't look like this. After all, I put on a dress, pulled up my nose, put on a wig and a hat and went out onto the set, almost without makeup. It's all about the way you speak, listen, think. Walking and gesticulating - this is later, - she admitted.

After the war, Faina Ranevskaya played several notable roles. In 1947, Grigory Aleksandrov's comedy Spring with Lyubov Orlova and Nikolai Cherkasov in the lead roles was released. Faina Ranevskaya was given only one episode in the script: her heroine Margarita Lvovna served breakfast to her famous niece.

Alexandrov suggested that the actress herself make a role for herself. Ranevskaya came up with many funny phrases and dialogues. Together with Rostislav Plyatt, they introduced a comedic, characteristic, vaudeville element into the picture. Remember the conversation on the phone: ambulance! Help ambulance! Who is sick? I am ill. Lev Margaritovich. Margaret Lvovich. As a result, the supporting roles of Faina Ranevskaya and Rostislav Plyatt were remembered by the audience even more than the main characters.

In the same year, Ranevskaya played a stepmother in the famous fairy tale Cinderella directed by Nadezhda Kosheverova. This picture is one of the few that brought the actress real joy. Ranevskaya played with her inherent brightness, believability. G. Skorokhodov in the book Conversations with Ranevskaya said: In her Stepmother, the audience recognized, despite the magnificent medieval clothes, today's quarrelsome neighbor, colleague, just an acquaintance who established the regime of her dictatorship in the family. This household plan roles, quite angry and expressive. But Stepmother also has a social connotation. Her strength, impunity, self-confidence lie in huge connections ...

One of the most remarkable scenes in the film with the participation of Ranevskaya is, of course, the hunt for courtesies of the king and prince at the ball. We return to the book of Skorokhodov: In it<сцене>everything is funny: both what the lovely family does and how it does it. Ranevskaya here, we repeat, is the minimal co-author of Schwartz-screenwriter, but the complete hostess of the role. According to the scenario, the daughters inform the mother about the signs of attention, and she, knowing the strength of the document, immediately records each fact in a notebook.

The author of the screenplay, Yevgeny Lvovich Schwartz, who, like no one else, was painfully careful about every phrase, every word in the script, Ranevskaya gladly allowed a gag. Ranevskaya recalled: There was still such a scene. I am getting ready for the ball, trying on different feathers - I came up with this myself: it seemed to me very typical for the Stepmother to complain about fate and immediately look in the mirror, putting various feathers to her head and admire herself. But I didn't have enough text to act. Yevgeny Lvovich looked at what I was composing, laughed and kissed my hand: God bless!

The stepmother is one of Ranevskaya's best comedy roles. Surprisingly, she - a purely negative character of a fairy tale - causes real delight in the audience!

* * *

When the Sistine Madonna was brought to Moscow, Faina Georgievna heard a conversation between two officials from the Ministry of Culture. One claimed that the picture did not impress him. Ranevskaya remarked:
“This lady has impressed such people for so many centuries that now she herself has the right to choose whom she impresses and who not!

* * *

To the question: “Are you sick, Faina Georgievna?” - she usually answered: "No, I just look like that."

* * *

“The pearls that I will wear in the first act must be real,” the capricious young actress demands.
“Everything will be real,” Ranevskaya reassures her. - Everything: pearls in the first act, and poison in the last.

* * *

An employee of the Radio Committee N. constantly experienced drama because of her love relationship with a colleague, whose name was Sima: then she sobbed because of another quarrel, then he left her, then she had an abortion from him. Ranevskaya called her "the victim of HeraSima."

* * *

Once Ranevskaya was asked: why beautiful women enjoy more success than the smart ones?
- It's obvious: after all, there are very few blind men, and stupid men are a dime a dozen.

* * *

Ranevskaya with all her family and huge luggage arrives at the station.
“It’s a pity that we didn’t take the piano,” says Faina Georgievna.
“Not witty,” one of the escorts remarks.
“Really stupid,” Ranevskaya sighs. - The fact is that I left all the tickets on the piano.

* * *

Once Yuri Zavadsky, artistic director of the Theater. The Moscow City Council, where Faina Georgievna Ranevskaya worked (and with whom she had a far from cloudless relationship), shouted in the heat of the actress: “Faina Georgievna, you gobbled up all my directorial idea with your game!” “I feel like I ate shit!” - retorted Ranevskaya.

* * *

Some man pushed Ranevskaya walking down the street, and even cursed with dirty words. Faina Georgievna told him:
- For a number of reasons, I cannot now answer you with the words you use. But I sincerely hope that when you return home, your mother will jump out of the gateway and bite you properly.

* * *

Actors discuss at a troupe meeting of a comrade who is accused of homosexuality:
“This is the corruption of youth, this is a crime!”
“My God, an unfortunate country where a person cannot dispose of his ass,” Ranevskaya sighed.

* * *

Explaining to someone why the condom is white, Ranevskaya said: “Because White color full."

* * *

“I don’t drink, I don’t smoke anymore, and I never cheated on my husband because I never had one,” Ranevskaya said, anticipating possible questions from the journalist.
- So, - the journalist does not lag behind, - does it mean that you do not have any shortcomings at all?
“In general, no,” Ranevskaya answered modestly, but with dignity. And after a short pause, she added: - True, I have a big ass, and sometimes I lie a little!

* * *

The real name of Ranevskaya is Feldman. She was from a very wealthy family. When Faina Georgievna was asked to write her autobiography, she began like this: “I am the daughter of a poor oilman ...”
Things didn't go any further.

* * *

The following entry remained in the Ranevskaya archive: “They pester, ask to write, write about yourself. I refuse. I don't want to write about myself badly. Okay - indecent. So, we must be silent. Besides, I again began to make mistakes, and this is shameful. It's like a bug on the shirtfront. I know the most important thing, I know what to give, not to take. So I live with this return. Memories are the wealth of old age.”

* * *

In her youth, after the revolution, Ranevskaya was very poor and at a difficult moment turned to one of her father's friends for help.
He said to her:
“It’s not enough to give Feldman’s daughter—I can’t. And a lot - I no longer have ...

* * *

- The first season in the Crimea, I play in Sumbatov's play the Pretty Woman, seducing a handsome young man. The action takes place in the mountains of the Caucasus. I stand on a mountain and say in a disgustingly tender voice: “My steps are lighter than fluff, I can glide like a snake ...” After these words, I managed to knock down the scenery depicting a mountain and hurt my partner painfully. There is laughter in the audience, my partner, moaning, threatens to tear my head off. When I got home, I made a promise to myself to leave the stage.

* * *

About her life, Faina Georgievna said:
- If I, yielding to requests, began to write about myself, it would be a mournful book - "Fate is a whore."

* * *

At one time, it was Eisenstein who gave the shy, stuttering debutante, who had just appeared at Mosfilm, advice that had a significant impact on her life.
“Faina,” said Eisenstein, “you will perish if you do not learn to demand attention to yourself, to force people to obey your will. You will die and you will not be an actress!
Soon Ranevskaya showed her mentor that she had learned something.
Upon learning that she was not approved for the role in Ivan the Terrible, she became indignant and, in response to someone's question about the filming of this film, shouted:
- I'd rather sell the skin from the ass than shoot with Eisenstein!
The author of "Battleship" was immediately informed, and he beat off an enthusiastic telegram from Alma-Ata: "How is the sale going?"

* * *

For many years, Ranevskaya lived in Moscow in Staropimenovskiy Lane. Her room in a large communal apartment rested with a window against the wall of a neighboring house and was illuminated by electricity even during daylight hours. To those who came to her for the first time, Faina Georgievna said:
“I live like Diogenes. See, a day with fire!
Maria Mironova she said:
- This is not a room. This is a real well. I feel like a bucket that was dropped there.
“But you can’t live like that, Faina.
Who told you that this is life?
Mironova resolutely went to the window. She pulled the handle and stopped. The window leaned against a blank wall.
- God! You don't even have a window open...
- For the young lady, beef, for shit, a shard ...

* * *

This eerie room with a glassed-in bay window was a witness to historical dialogues and absurd scenes. Eisenstein called here one night. The already unnaturally high voice of the director sounded with a painful shrillness:
- Faina! Listen carefully. I have just come from the Kremlin. Do you know what Stalin said about you?!
It was one of those famous night viewings, after which the "leader of the peoples" made a short speech:
- Here Comrade Zharov is a good actor, he sticks on a mustache, sideburns or puts on a beard, and all the same it is immediately clear that this is Zharov. But Ranevskaya does not stick anything and is still always different ...

* * *

– How do you live? Ia Savvin once asked Ranevskaya.
- At home, cockroaches crawl over me, like spectators on Genk Bortnikov, - Faina Georgievna answered.

* * *

Ranevskaya, when asked how she feels today, replied:
– Disgusting passport data. I looked at my passport, saw what year I was born, and just gasped ...

* * *

“Third hour of the night ... I know I won’t fall asleep, I’ll think about where to get money to rest during my vacation, and not alone, but with P.L. (Pavla Leontievna Wulf. - Ed.). I rummaged through all the papers, searched all my pockets and did not find anything resembling banknotes ... 48th year, May 30th.
(From the notebook of the People's Artist).

* * *

– A mixture of steppe bluebell with rattlesnake, she said about one actress.
just discussing dead actress friend:
“I wish I had her legs—she had lovely legs!” Too bad they're gone now...

* * *

Ranevskaya and Maretskaya are walking along Tverskaya. Ranevskaya says:
“That blind man to whom you gave the coin is not pretending, he really does not see.
- Why did you decide so?
- He told you: "Thank you, beauty!"

* * *

“Tell Faina Georgievna,” director Varpakhovsky turned to his assistant Nelli Molchadskaya, “tell her, let her come out the way she is, with combed hair, with a tail.
He still had the naivety to think that someone was able to influence Ranevskaya.
Mindful of the advice of the cautious, he carefully chose his words after the run:
- Everything you do is amazing, Faina Georgievna. Just one note. There is a place in the second act - I would ask, if you, of course, agree ...
The lowest request followed.
In the evening Ranevskaya called:
- Nelochka, give me your word that you will speak to me sincerely.
- I give you my word, Faina Georgievna.
“Tell me, am I not the lousiest actress?”
- Lord, Faina Georgievna, what are you talking about! You are amazing! You are great at rehearsing.
- Yes? Then answer me: how can I work with a director who said I'm shit?!

* * *

Seeing actress X play the role Uzbek girl in the play “Kakhara” in the branch of the “Mossovet” on Pushkinskaya Street, Ranevskaya exclaimed: “I can’t when a whore pretends to be innocent.”

* * *

Once, looking at Galina Sergeeva, the performer of the role of "Dumpling", and appreciating her deep neckline, Ranevskaya said with her marvelous bass, to the delight of Mikhail Romm, the director of the film: "Oh, don't have a hundred rubles, but have two breasts."

* * *

In a conversation, Vasily Katanyan told Ranevskaya that he had watched Hamlet at Okhlopkov's.
- And how is Babanova in Ophelia? Faina Georgievna asked.
- Very interesting. Beautiful, plastic, the voice is the same ...
- Well, you can see a kind person. I was told that this is a lapdog in menopause, - Ranevskaya quipped.

* * *

“Come, I will show you photographs of unknown people's artists of the USSR,” Ranevskaya called to her.

* * *

Ranevskaya was constantly late for rehearsals. Zavadsky was tired of this, and he asked the actors that if Ranevskaya was late again, just ignore her.
Runs in, out of breath, to the rehearsal Faina Georgievna:
- Hello!
Everyone is silent.
- Hello!
Nobody pays attention. She for the third time:
- Hello!
Again the same reaction.
– Oh, there is no one?! Then I'll go possu.

* * *

- Doctor, in Lately I am very concerned about my mental faculties, - Ranevskaya complains to a psychiatrist.
- What's the matter? What are the symptoms?
- Very disturbing: everything that Zavadsky says seems reasonable to me ...

* * *

Upon learning that her friends were going to the theater today to see her on stage, Ranevskaya tried to dissuade them:
- You shouldn't go: the play is boring and the staging is weak ... But since you're going anyway, I advise you to leave after the second act.
- Why after the second?
- After the first one, there is a very big crush in the wardrobe.

* * *

Ranevskaya repeated: “I have only forty-five minutes left to live. When will I still be given an interesting role?
She was sent a play by Jean Anouille "Supper at Senlis", where there was a small role of an old actress. Soon Ranevskaya called Marina Neelova: “Imagine that a hungry man was offered a montpensier. Do you understand me? Hello!"

* * *

At the Mossovet Theatre, where Ranevskaya worked last years, she did not stop arguing with the main director Yuri Zavadsky. And then she gave free rein to her sharp tongue.
When Ranevskaya was asked why she did not go to Zavadsky's talks about the profession of an actor, Faina Georgievna answered:
“I don't like Mass in a mess.

* * *

During the rehearsal, Zavadsky was offended by the actors for something, could not restrain himself, shouted and ran out of the rehearsal room, slamming the door, shouting "I'm going to hang myself!" Everyone was crushed. Ranevskaya's calm voice rang out in the silence: “Yuri Alexandrovich will be right back. At this time, he goes to the toilet.

* * *

In "Storm" by Bill-Belotserkovsky, Ranevskaya played the "speculator" with pleasure. It was a text composed by her - the author allowed it. After the Ranevskaya scene, there was an ovation, and the audience immediately left. "Storm" had a long life in different options, and Zavadsky removed her "speculator" from the performance. Ranevskaya asked him: “Why?”
Zavadsky replied: “You play your role of a speculator too well, and for this she is remembered almost as the main figure of the performance ...”
Ranevskaya suggested: "If necessary for the cause, I will play my role worse."

* * *

Once Zavadsky shouted to Ranevskaya from the audience: “Faina, you gobbled up my whole idea with your antics!” “That’s why I feel like I’ve eaten shit,” Faina muttered quite loudly. "Get out of the theater!" the master shouted. Ranevskaya, approaching the proscenium, answered him: “Get out of art !!!”

* * *

Ranevskaya called Zavadsky a senile entertainer, discounted by Meyerhold, perpetum male.

* * *

Somehow, she and other actors were waiting for Zavadsky to come to the rehearsal, who had just received the title of Hero of Socialist Labor on his birthday.
After a long wait for the director, Ranevskaya said loudly:
“Well, where is our Gertrude?”

* * *

Ranevskaya was generally a lover of abbreviations. Once a start dress rehearsal moved first by an hour, then by another 15 minutes. They were waiting for a representative of the district committee - a middle-aged lady, an honored worker of culture. Ranevskaya, who had not left the stage all this time, in great irritation asked into the microphone:
– Has anyone seen our ZasRaKu?!

* * *

The creative searches of Zavadsky were attested by Ranevskaya only as "the vagaries of a pregnant kangaroo."
Making a mournful face, Ranevskaya remarked:
- The family is not without a director.

* * *

Ranevskaya said to the novice composer who composed the lullaby:
- Dear, even a lullaby needs to be written so that people do not fall asleep from boredom ...

* * *

Once Ranevskaya was stopped in the Actor's House by a poet who holds a leading position in the Writers' Union.
- Hello, Faina Georgievna! How are you doing?
“Very good of you to ask. At least someone is interested in how I live!
Let's step aside and I'll tell you everything with pleasure.
No, no, sorry, but I'm in a hurry. You know, I still have to go to the meeting ...
“But you wonder how I live!” Why do you immediately run away, you listen. Moreover, I will not detain you for a long time, forty minutes, no more.
The leading poet began to flee.
– Why then ask how I live?! Ranevskaya called after him.

* * *

For the performance of works on the stage and in the theater, writers and composers receive royalties from the box office.
Ranevskaya once said about this:
- And the playwrights have settled down quite well - they receive royalties from each performance of their plays! Nobody else gets anything like this. Take, for example, the architect Rerberg. According to his project, the building of the Central Telegraph on Tverskaya was built in Moscow. Even a board hangs with an inscription that this building was erected according to the project of Ivan Ivanovich Rerberg. However, he is not paid deductions for the telegrams that are served in his house!

* * *

“Take an example from me,” one soloist of the Bolshoi Theater once said to Ranevskaya. – I recently insured my voice for a very a large sum.
“Well, what did you buy with that money?”

* * *

Ranevskaya roamed the theaters. Theater critic Natalya Krymova asked:
- Why all this, Faina Georgievna?
- I was looking for ... - Ranevskaya answered.
- What were you looking for?
- Holy Art.
- Did you find it?
- Yes.
- Where?
- In the Tretyakov Gallery ...

* * *

Olga Aroseva said that, already being in old age, Faina Georgievna walked down the street, slipped and fell. Lying on the sidewalk and screaming in his inimitable voice:
- People! Pick me up! After all folk artists don't lie on the street!

* * *

A fan asks for Ranevskaya's home phone number. Ranevskaya:
"Honey, how do I know him?" I never call myself.

* * *

Valentin Markovich Shkolnikov, managing director of the Mossovet Theatre, recalled: “On tour in Odessa, some lady ran after us for a long time, then asked:
- Oh, are you her?
Ranevskaya calmly answered in her bass voice:
Yes, I am her.

* * *

Once, in a park near the house, a woman turned to Ranevskaya:
“Sorry, your face is very familiar to me. Are you not an artist?
Ranevskaya sharply retorted:
Nothing like that, I'm a dental technician.
The woman, however, did not calm down, the conversation continued, the conversation turned to age, the interlocutor asked Faina Georgievna:
- And how old are you?
Ranevskaya answered proudly and indignantly:
The whole country knows about it!

* * *

Once Ranevskaya, picking up the phone, heard the voice of one of her fans, which was very annoying to her, and said:
Sorry, I can't continue the conversation. I'm talking from a machine, and there's a big line here.

* * *

In the carriage compartment, an annoying fellow traveler tries to talk to Ranevskaya:
“Allow me to introduce myself. I am Smirnova.
- But not me.

* * *

Brezhnev, presenting the Order of Lenin to Ranevskaya in the Kremlin, blurted out:
- Mulya! Don't make me nervous!
“Leonid Ilyich,” Ranevskaya said offendedly, “either boys or hooligans address me like that.
The General Secretary was embarrassed, blushed and mumbled, justifying himself:
“I'm sorry, but I love you very much.

* * *

A reception was held in the Kremlin and many distinguished and famous people. Ranevskaya also got there. It was assumed that the great actress would make the guests laugh, but she herself did not want this. The owner was disappointed
- It seems to me, Comrade Ranevskaya, that even the biggest fool in the world would not be able to make you laugh.
“Just try it,” suggested Faina Georgievna.

* * *

After the performance, Ranevskaya often looked at flowers, a basket with letters, postcards and notes full of admiration - offerings from fans of her game - and sadly remarked:
- How much love, but there is no one to go to the pharmacy.

* * *

Ranevskaya told one lady that she was still young and looks great.
“I can’t give you the same compliment,” she said defiantly.
- And you would, like me, lie! Faina Georgievna advised.

* * *

In a rest house for a walk, a friend heartily declares:
- I love nature.
Ranevskaya stops, carefully examines her and says:
“And this after what she did to you?”

* * *

Ranevskaya approaches actress N., who imagines herself to be an irresistible beauty, and asks:
Have you ever been told that you look like Brigitte Bardot?
“No, never,” answers N., expecting a compliment.
Ranevskaya looks at her and concludes with pleasure:
“And it’s right that they didn’t say so.

* * *

The mistress of the house shows Ranevskaya her photograph of her childhood. It shows a little girl on her knees elderly woman.
This is how I was thirty years ago.
- Who is this little girl? - Faina Georgievna asks with an innocent look.

* * *

Even loving a person, Ranevskaya could not resist barbs.
Lyubov Orlova also got it. Faina Georgievna told, or rather, played miniatures, before her eyes turning into an elegant beauty-Lyubochka.
Lyubochka examines her new coffee-beige gloves:
- Absolutely not the right shade! Again you have to fly to Paris.

* * *

Ranevskaya once dined with a lady who was so economical that Faina Georgievna got up from the table completely hungry. The hostess kindly told her:
“Please come and have dinner with me sometime.
- With pleasure, - Ranevskaya answered, - even now!

* * *

Rina Green said:
- In the sanatorium, Ranevskaya was sitting at the table with some kind of bore, who always blamed food. And the soup is cold, and the cutlets are not salty, and the compote is not sweet. (Perhaps, indeed.) At breakfast he said with disgust: “Well, what are these eggs? Laughter alone. As a child, my mommy, I remember, had eggs!”
“Aren’t you confusing her with daddy?” – inquired Ranevskaya.

* * *

On tour abroad, a colleague enters the Barbie and Ken doll store with Faina Georgievna.
My daughter loves Barbie. I would like to buy her some set...
“We have the widest selection,” says the saleswoman, “Barbie in the country”, “Barbie in Hawaii”, “Barbie in the skiing"," Barbie divorced "...
– What are the prices?
- All for 100 dollars, only "Barbie Divorced" - two hundred.
- Why is that?
“Well, how about it,” Ranevskaya intervenes. “She has Ken’s house, Ken’s car, Ken’s pool…

* * *

A friend tells Ranevskaya:
- Yesterday I was visiting N. And I sang for them for two hours ...
Faina Georgievna interrupts her with an exclamation:
- That's what they need! I can't stand them either!

* * *

An obscene sound was heard in the overcrowded bus carrying the artists after the performance. Ranevskaya leaned over to her neighbor's ear and in a whisper, but so that everyone could hear, gave out:
Do you feel it, dove? Someone got a second wind!

* * *

Artist "Mossovet" Nikolai Afonin lived next to Ranevskaya. He had a “humpbacked” Zaporozhets, and sometimes Afonin drove Faina Georgievna home from the theater. Once, three people squeezed into his Zaporozhets from behind, and in front, next to Afonin, the village of Ranevskaya. As she drove up to her house, she asked:
- K-Kolechka, how much is your car worth?
Afonin said:
- Two thousand two hundred rubles, Faina Georgievna.
“What a whore on the part of the government,” Ranevskaya concluded gloomily, getting out of the humpbacked apparatus.

* * *

Faina Georgievna Ranevskaya once noticed Vano Ilyich Muradeli:
– But you, Vano, are not a composer!
Muradeli was offended:
Why am I not a composer?
- Yes, because you have such a surname. Instead of "mi" you have "mu", instead of "re" - "ra", instead of "do" - "de", and instead of "la" - "li". You, Vano, do not fall into the notes.

Faina Ranevskaya - I won't go (Wick, 1965)

FAINA RANEVSKAYA - Queen Margo - Easy life

Faina Georgievna Ranevskaya (1896-1984). Interview 1979

The legendary Faina Ranevskaya (real name Fanny Girshevna Feldman) was born into a wealthy Jewish family at the end of August 1896. At that time, the Feldman family lived in their own house in Taganrog. In addition to Faina, four more children grew up: sister Bella and three brothers (one of them died in infancy). Faina's mother was a housewife, raised five children. My father was an influential manufacturer. He owned a paint factory, had a shop, several houses, and even a steamboat.

Faina did not feel happy in her parents' house. On the contrary, she suffered from loneliness. Most likely, the reason was extreme vulnerability due to a congenital defect - stuttering. The girl had little contact with her peers and even begged her parents to take her away from the elite women's gymnasium, where she felt uncomfortable and did not like to study. Since then, the teachers came to the Feldmans at home, and Fanny received a very decent education. The girl played the piano, sang, knew well foreign languages and read avidly.

Faina Ranevskaya (lower left) with her governess, brother and sister

After ten years, Faina became interested in cinema and theater. She was greatly impressed by the performance she saw at the age of thirteen. The Cherry Orchard". The impression was so great that Faina passed the gymnasium exams externally and began attending classes at the theater studio. Soon the daughter told her parents that she was going to study as a professional actress. This was the reason why Faina had a break with her parents. The father did not communicate with his daughter for many years. In 1915, Fanny Feldman left for the capital.

Theater

Fanny arrived in Moscow lightly - her father did not give her daughter a penny to live in the capital, because he considered her desire to become an artist a stupid whim. My mother secretly gave me some money. The girl rented a tiny room on Bolshaya Nikitskaya and immediately felt completely happy and free. During these years, Faina met legendary personalities, cult poets even at that time,. Then she met the great artist Vasily Kachalov and even fell in love with him.

Unfortunately, Faina was not accepted into the capital's theater schools, and she had to find a private school. But there was no money to pay for education. The well-known artist Geltser did not let Faina abyss. She took care that the girl was taken to one of the theaters of the Moscow region. In the Malakhov Summer Theater, Fanny was able to watch the game famous actors Sadovskaya, Petipa and Pevtsov. The aspiring actress herself appeared only in extras. When the summer theater season ended, Ranevskaya had to look for another place. She managed to work a little in small theaters in Kerch, Kislovodsk, Feodosia, Baku, Rostov and Smolensk.

The spring of 1917 brought Faina a final break with her family. The Feldman family emigrated. But there was also a happy moment: the girl was accepted into the capital's Theater of the Actor. Finally, the young actress was appreciated. The theatrical biography of Faina Ranevskaya began from the play "Roman", where Ranevskaya played the prominent role of Margarita. This was followed by many productions, where the artist played more or less prominent roles. Ranevskaya considered her work in the play The Cherry Orchard, where she played Charlotte, to be the most significant for herself. Faina Georgievna served in this theater until 1931. Then she moved to the more famous Metropolitan Chamber Theater, where she soon made her debut in the Pathetique Sonata.

Four years later, Ranevskaya goes to work in the theater of the Red Army, where he stays until 1949. Here, Faina Georgievna is also involved in many productions, but the most famous of them is Vassa Zheleznova, where the actress played the main role.

At the very beginning of the 50s, Faina Ranevskaya moved to the Mossovet Theater, where her stay was accompanied by frequent scandals. The talent of the actress often surpassed the talents of the directors. Ranevskaya had her own vision of the game, and it often did not coincide with the director's. For example, playing a cameo role in the play "Storm", Faina Georgievna completely rewrote it and played it in her own way.

Faina Ranevskaya in the play "Storm"

At the same time, she overshadowed even the performers of the main roles, which was not included in the plans of either the performers themselves or the directors of the play. Bickering and skirmishes with the director Zavadsky were later reflected in anecdotes and aphorisms attributed to Faina Georgievna's sharp tongue. Nevertheless, the artist appeared on this stage for almost a quarter of a century. Here she played her most prominent roles. The audience enjoyed watching Mrs. Savage performed by Ranevskaya, gave a standing ovation to Lucy Cooper in the play "Further - Silence".

Faina Ranevskaya graduated from her theatrical path at the Pushkin Theatre, which used to be the Chamber Theater. Her theatrical biography began from this theater, and finished here in 1963.

Movies

For the first time, viewers saw Faina Ranevskaya in the role of the colorful Mrs. Loiseau in Romm's drama "Pyshka". It was 1934. The actress even managed to visit France with this performance, where the theater troupe was invited by Romain Rolland, who highly appreciated the performance.

Faina Ranevskaya in the film "Pyshka"

In general, Faina Ranevskaya did not play so many roles in the cinema, but such is the property of television that it is precisely this that makes the artist famous and recognizable throughout the country. The actress herself very little valued work in the cinema, putting it much lower than the theater. About working in films, she said that "the money is eaten, but the shame remains." And yet, to most of her fans, Ranevskaya is known precisely for her work in cinema.

At the very end of the 30s, Ranevskaya played in three films that made Faina Georgievna legendary. The actress appeared as a wife in all these tapes: in the film "The Man in a Case" she became the wife of an inspector, in "The Mistake of Engineer Kochin" - the wife of the tailor Gurevich. Well, the most popular wife appeared in "The Foundling", where Ranevskaya uttered an unforgettable and now catchphrase"Mulya, don't annoy me."

Faina Ranevskaya in the film "Foundling"

During the war years, Ranevskaya, along with the theater troupe, was evacuated and until 1943 she worked in Tashkent. Upon her return to Moscow, she was offered to play Mother in Annensky's "Wedding". In this picture, Ranevskaya starred with famous artists, Mikhail Yanshin, Vera Maretskaya, and many other recognizable actors.

And in 1947, the famous comedy film Spring appeared on the screens, in which Ranevskaya played her magnificent Margarita Lvovna. and Cherkasov, who played the main roles in the film, and Faina Georgievna herself instantly turned the film into one of the most popular and box office.

Faina Ranevskaya in the movie "Cinderella"

In the same year, the actress played a stepmother in Kosheverova's Cinderella. The screenwriter of the picture was Evgeny Schwartz, who adored Ranevskaya. He allowed great artist insert your incomparable phrases. This work is considered the best of all played by Faina Georgievna. Yes, she herself considered the Stepmother her most successful work.

The last role of Ranevskaya in the cinema is the tape "Today is a new attraction." The actress played the director of the circus, but before that she set a number of conditions for the director. Since Faina Georgievna was already very famous at that time, then, of course, the director agreed to everything, just to get a star in his film.

Faina Ranevskaya in the film "Today is a new attraction"

Faina Ranevskaya received the title of People's Artist of the USSR and three Stalin Prizes.

The great Faina Georgievna Ranevskaya died in July 1984 in the capital from a heart attack, aggravated by pneumonia. Contemporaries call Ranevskaya the "queen of the second plan" and recognize that she was the greatest Russian actress of the 20th century.

Aphorisms

Many statements by Faina Georgievna, sharp on the word, turned into idioms. Often, the artist caustically made fun of others, and everyone got it from her, without taking into account ranks and positions. But she also joked about her very difficult life. For example, Ranevskaya owns the words:

“If I, yielding to requests, began to write about myself, it would be a plaintive book“ Fate-whore.

As for the creative and stage name - Ranevskaya, here too there is a sad and at the same time "proprietary" manner of the actress to make fun in all situations. One day, the actress, along with a colleague from the theater, looked into the bank.

Occasionally, a mother, secretly from her husband, sent small money transfers to her daughter. Faina Georgievna recalls: “When we left the massive bank doors, a gust of wind snatched the banknotes from my hands - the entire amount. I stopped, and, following the flying banknotes, said:

- It's a pity for the money, but how beautifully they fly away! - But you are Ranevskaya! exclaimed the companion. Only she could say that! When I later had to choose a pseudonym, I decided to take the name of the Chekhov heroine. We have something in common with her, although not everything, not everything at all.

One of the few true friends of Ranevskaya was director Solomon Mikhoels. She dedicated the words to him:

“There are people in whom God lives, there are people in whom the devil lives, and there are people in whom only worms live. God lives in you! Mikhoels then replied: "If God lives in me, then He has been exiled into me."

A few months before her death, Ranevskaya, with her usual bitter sarcasm, wrote:

“When I die, bury me and write on the monument: “Died of disgust.”

Personal life

Faina Ranevskaya's personal life was unhappy. She never married. Most likely, she avoided men because of the considerable psychological trauma received in early youth. Fanny was in love with one of the actors in her troupe. She seemed to like him too. When the girl invited him to visit, he came, but not alone, but with a woman. And he asked Faina to take a walk. Since then, Ranevskaya began to avoid all connections that could hurt her in the long run.

Faina Ranevskaya in recent years

Faina Georgievna did not feel lonely for a very long time. Moved in in the 60s Native sister Bella, deciding to pass the loneliness after the death of her husband with a loved one. But soon the sister fell ill and died.

Figurine of a beloved dog on the grave of Faina Ranevskaya

Faina Ranevskaya was left completely alone. The only creature that brightened up her loneliness was a mongrel named Boy. After the death of the actress, a figurine of her beloved dog was installed on her tombstone.

Filmography

donut
Engineer Cochin's mistake
Foundling
Elephant and rope
Spring
Cinderella
Meeting on the Elbe
They have a motherland
Easy life
Further - silence ...
Comedy of bygone days

Hair/Hairstyles

1 0 0

If you find an error, please select a piece of text and press Ctrl+Enter.

Ranevskaya about the birthday. Faina Ranevskaya's birthday: the most witty quotes from the actress. Early career: the path to recognition

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

* * *

Theater

Movies

Aphorisms

Personal life

Filmography

Editor's Choice