Krymova Natalya Anatolyevna: biography, career, family

2024 Author: Leah Sherlock | [email protected]. Last modified: 2023-12-17 05:25

Krymova Natalya Anatolyevna is a legendary figure in the theater world. She, having absorbed the sprouts of humanism and social truth of the 60s, combined them in a unique way with deep professionalism. Oleg Efremov said wonderfully about this state of mind:

Sixties… "Sixties"… It was a time that helped to become a man. Whoever had the ability to become a man, he became. It would seem simple to the point of naivety, but true at the same time. What is important is not the "shop", not the questionnaire, but human features.

Natalya Anatolyevna sincerely believed in the development of the psychological nature of the theater, understood the need to saturate it with more and more new forms. She expressed her views in articles and books. She was a sought-after critic. People of creativity of her articles always expected, and the point of view was taken into account.

About that connoisseurtheater Natalya Krymova - the wife of Efros, an actor and director, everyone knew. However, her career is a matter of her personal efforts, talent, and principles. To a large extent, thanks to her, the playwrights Arbuzov, Rozov, Volodin took place, because unprofessional attacks on them were crushed to dust after her Word. The essence of her articles and speeches was to remove the sugary official gloss from the stage masters, necessary for art, to present them in all their depth and originality. Krymova noticed the positive sprouts of theatrical development and took care of them. To a large extent, thanks to her, the methodical literature so necessary for the actors was published: the two-volume M. Chekhov, books by M. Knebel, A. Popov.

She was respected. She, without lowering the bar of professionalism, had the rare courage to always tell the truth, never obeying the market situation.

Childhood. Youth

The biography of Natalia Krymova usually developed, like most Soviet citizens: birth, childhood, school, college. She was born on March 12, 1930 in Moscow. She lived with her parents on Leontievsky Lane. By the way, Stanislavsky's apartments were nearby. Little Natasha remembered his walk, smile, words of welcome addressed to the children.

The girl's parents were far from the theatrical world. The following can be found about them in the notes of Natalya Anatolyevna: “… My mother was the Commissar of the Iron Regiment, a communist with “pre-October experience”. About my father, I always wrote in the questionnaires “party worker” - he worked in the Cheka under Dzerzhinsky, and then was in chargeall sorts of "secret departments". Father left our house just in the year when Tolya appeared with us…”

Since childhood, she was spiritually filled with the poems of Vladimir Mayakovsky and considered the theater something extraordinary Natalia Krymova. Her biography testifies to a conscious choice of profession: she graduated from the theater department of the Lunacharsky Institute (Pavel Markov's course), and then a postgraduate student at GITIS.

Love

Natalia Krymova has been a very spectacular lady, photogenic and expressive all her life. Photos of her convincingly testify to this. Undoubtedly, an actor's gift of the highest standard played with colors in it, where everything is real, not feigned. Take a look at her pictures. At different ages - a soulful face, luminous eyes.

The theater seemed to the girl the whole world, she felt and understood it. The young critic Krymova wrote her first theatrical work based on the play by Virta, which was presented by the capital's theater of transport. Here she saw Anatoly Efros in the role of Malvolio in Shakespeare's comedy Twelfth Night.

Krymova herself writes the following about this bright page of her life:

…Meeting with Malvolio decided everything in my life – I fell in love with Tolya. How did he play Malvolio? This performance completely amazed and stunned me. Laughing and crying at the same time.

Could Anatoly Efros, in turn, not fall in love with her? Probably not.

Personality Traits

What do millions of viewers of the author's cycle about the theater remember in her appearance? Her characteristicbranded bangs with gray hair, eye-catching insight and, of course, a stylish silver ring.

She didn't sound like a critic, more like an old-school actress, with a slow, mesmerizing voice that wasn't vulgarized by shifting emotions. This was the default: the directors and actors accepted her opinion as final, as the decision of the arbitration theatrical court in one person.

The little woman had no courage. It was she who first created a theatrical production in memory of the disgraced great Russian actor Vladimir Semenovich Vysotsky. Contrary to the timidly bureaucratic “there is an opinion”, contrary to official propaganda, contrary to human misunderstanding of the role of this person in culture.

I wanted to listen to her speech without stopping. At the same time, Natalya Anatolyevna, as real actresses do, never used gestures. More eloquent than they were appropriate pauses, sometimes - expressive silence, and, of course, accurate and appropriate fixation of the gaze. She was the most influential theater critic of her time.

Work in the magazine "Teatr". Star years criticism

Krymova's first publication appeared in the Theater magazine in 1956. It was an analysis of the actor Provatorov playing the role of Jalil.

Two years later, Natalia Krymova, a theater critic accepted and understood by the creative community, became a literary collaborator and then editor of this publication. The editor-in-chief of the magazine, the famous playwright and screenwriter Nikolai Fedorovich Pogodin, appreciatedher vision of the dramaturgy of works. Natalia worked as the head of the criticism department. Her work in this publication has become stellar years of recognition and authority in the theater world.

"Theatre" was a real community of talents, such Personalities as Solovieva, Turovskaya, Krymova, Svobodin worked in it. Due to the unbiased views and adherence to classical theatrical canons, this publication in the Soviet Union was considered "a bastion of semi-dissident art criticism." In fact, the ideologist of the neoliberal movement was Natalia Krymova. She seemed to feel the theater almost physically, catching the slightest falsity.

In the early 70s, by decision from above, the Theater magazine was closed.

TV and radio presenter

Having received wide recognition and authority in the theater world, since 1972 Krymova Natalya Anatolyevna has been conducting specialized television and radio programs on theater issues. She created a series of television programs "Masters of the Screen" highly appreciated by the audience and actors, which tells about famous actors and directors. The plot of each such transfer was unhackneyed and unique. The voice of a female critic addressed to the audience helped them capture the unique beauty of the game, made them admire the manifestations of real talent, and reverently relate to the secrets of the theater.

How did she manage to do everything? Despite the significant communicative load, her theatrical articles still regularly appeared in almanacs, collections, and magazines.

Professor

Since 1989, Natalia Krymova has been workingprofessor at her alma mater (the Lunacharsky Institute, later renamed GITIS, which gave her a higher theatrical education). She released two courses. Her students remember the wide erudition of a female professor who did not need to emphasize key points with pathos, literary tricks, simplifying generalizations.

All this was not necessary for someone who, with the help of a specially bleached voice, was able to present such a phenomenon as the art of the game to a wide audience. She taught her students to love the theater without the slightest hint of snobbery, not blindly and recklessly, but, on the contrary, capturing all its nuances, to love with exactingness and integrity, and if necessary, showing rigidity.

Moscow Observer Magazine

From 1990 to 1998, Krymova worked as an editor for Moscow Observer. The journal was named after the capital's historical and literary publication, published twice a month from 1835 to 1839.

However, unlike the last one, the Soviet edition had a pronounced professional theatrical character. The magazine played a positive role in maintaining theatrical traditions in a transitional state.

Books

The works of Natalia Krymova are published in a three-volume collection. All three books are united by the title “Names. Stories about people of the theater. The object of comprehension of all the work of this critic was precisely the people who fully devoted their strength, intellect, consciousness to comprehending the art of Melpomene and Thalia. Natalya Anatolyevna has never been an ordinary extra on the life of the stage. Demonstrating delicate taste and adherence to principles in the evaluation criteria, she actually created a bright textbook filled with living examples for people trying to comprehend the very soul, the core of theatrical creativity.

Also known are her books "Names" and "Do you like theater?".

Reviews of criticism

It is noteworthy that when reading Krymova's articles, you understand: the critic does not distance himself from the theater in these works, he simply lives, breathes, is filled with it.

Natalia Krymova expressed her views in a light, not boring and entertaining style. Her books are designed not only for reading by specialists and humanitarians, they are also of interest to ordinary people - theater lovers. The collection includes 300 of the brightest works of literary criticism.

Family

In 1953 they married Efros, and the following year the couple had a son Dmitry, who later became a theater director and artist.

It is extremely rare in art to find an analogue of such a union of creative personalities, as the more than thirty-year marriage of Natalia Krymskaya and Anatoly Efros. Is that Mstislav Rostropovich and Galina Vishnevskaya and Rodion Shchedrin and Maya Plisetskaya.

A wise loving woman with a steely character arranged the way of life in her family in such a way that Anatoly Efros was always the leader. His wife constantly helped him, surrounded the creator with care and understanding. “Tolya has such a character,” she said, “the wounds inflicted on him never heal.” Contemporaries said about this couple that their relationship was rareunderstanding, help and compassion.

Marriages are made in heaven. Some admirers of their talent see the harmony that reigns in this family, even in the dates of the departure of these people: Anatoly Efros died on January 13, on the Old New Year, and Natalya Krymskaya on January 1, on the New Year.

Awards

In 1997, Natalya Anatolyevna Krymova was awarded the honorary title of Honored Worker of Culture of the Russian Federation by the Decree of the President. Indeed, she more than deserved it. However, when thinking about this award, a number of considerations and questions can be raised.

Unfortunately, the state appreciated her contribution to theater criticism only five years before her death. So what exactly is this award? Statement of fact or incentive to creativity? Should have been rewarded! After all, Natalya Krymova for many years, about thirty years, was considered the leader and tribune of theatrical thought, completely devoid of any snobbery and conjuncture, which is not at all common. In the theatrical world, Krymova was not an official, but she enjoyed real Power thanks to the Word.

The reward should inspire a person when he is still full of strength, but not when he is seriously and completely ill. In her last years, Krymova did not write anything. She, an amazingly whole person, simply lived in memory of her departed and beloved husband Anatoly Efros.

Conclusion

In the old days, if the theater knew that Krymova was present at the performance, the actors did not go on stage indifferently. They gave their best, played at full strength, and then waited in trepidation for the assessment. After all, for every creative person it is important to knowwhether God's spark of talent really lives in him. Natalya Anatolyevna, thanks to her incomprehensible instinct, saw its essence in any game, separated falsity from inspiration, distinguished creative burning from the mechanical repetition of what was learned by heart. Now you can relax: Krymova will not come.

Unfortunately, in our time there really is not enough theatrical criticism of this level. With her whole life she answered the question of whether such a Master is in demand by society, Natalya Krymova. The theater is now especially unfavorable, it really suffers from many negative phenomena: apostasy from the ideals of morality, permissiveness allowed by directors, lowering the bar of aesthetic and ethical standards.

Actors and directors in pursuit of the box office sometimes forget that they should treat their profession with trepidation, that the result of real, real creative activity should always be the creation of some kind of intangible miracle called art.