Gorev Fedor Petrovich (1850 – 1910).
In the Maly Theatre from 1880 to 1897 and from 1904 to 1910
Chekhov in a letter written in 1897 remarked on Gorev: "Of the five times he has played a very good, even great. He has a bad habit to raise your shoulders and shoot phrases, but his ability to sometimes some pieces rise to such a nervous pod'ema on what can not a single Russian actor.
A similar view on Goreva common in those who wrote about him. There is a common opinion that this "actor-poet," actor moment of inspiration, "the actor mochalovskogo type. With unquestionable loyalty to these arguments, they bring with them some misunderstanding: it is undeniable that Gorev – Actor intuition, unconscious creativity that with a fiery temperament lacked work on themselves, their development and improvement of that sense of it all, but there was no rationality in his game.
But Gorev, unlike Mochalova, always played well enough in those roles, which from the outset failed on him – in this regard, the role of the classical repertoire: Chatsky Hernani, King (Hamlet), Ivan ("Vasilisa Melentyeva" ), Lear – or contemporary repertoire, which due to its subject demanded rational work, painstaking analysis or knowledge of literature and modern fiction. Conversely, if the role of anything excited him, he was clear, close, the road, he first played with her performance is equally amazing, anywhere not only reducing its emotional coloration, but from a performance in the performance of its new usnaschaya particulars, details , pauses, which he found "the inspiration", fixed, and also their expressive played on repeat performances.
It was possible to observe the performances of "Father" Strindberg, "Othello" in which he played Brabantio, "old master" Palma (his crown role to play them more than three hundred times every artistic expression of the growing external and internal paints).
The famous back in the province of Armand Duval (La Dame aux Camelias "), the famed Max Holmin (" Wandering lights "), Gorev reached impressive effects, in addition to" old master ", starring Marques de Tremouille (" The Count de Reesor ") and especially Tomilin ("Dash Rokshanina). Legends Theater tovoryat us that Gorev made the audience cry that dying on the stage, he takes his game to the utmost realism.
Eyewitnesses have kept our memories of how the audience gasped in deathly silence, listening to the passionate declarations of love Goreva, or listening to the full the profound suffering of his speech, or looking to mimic his game in the famous "gorevskih" pauses that lasted several minutes (Dash, "Father"), when the actor opened his inner torment endured embodied by him, with extreme emotional intensity.
But there was another and a significant difference from the actors 'insides' are always subjective and playing himself in every way. Gorev possessed diverse talent. His Repetilov, frivolous and an elegant, helpless, hungry for sympathy, for which he was lying, and his brazenly cynical Gregory ("Fruits of Enlightenment"), his Krechinsky, which clearly has been combined cardsharp high marks and exquisitely social lion; peculiarly pathetic and comical with Zhevakin; Russian marrow Prince Belsky ("Dmitry the Pretender") and narrow-minded conservative, a true Englishman, Lord Caversham ("An Ideal Husband Wilde) – all these roles, which reveals the brilliant talents FP Goreva.
The son of a Jewish cantonist and daughters of the priest, he spent his childhood in small-town "tavern, then was in the service of the landlord, continue to be a clerk in a trendy store, worked in the printing, the photographs and eighteen years became a provincial actor. After successes in the Moscow theater Brenko, artistic circles, in St. Petersburg at the Imperial stage again in Moscow, again in the provinces, touring abroad with M. Savina and again Maly Theatre – this is the scenic route this actor-nugget always relied only its "guts" and has not reached due to this fact situation on the world stage, which rightfully would belong to him.