Nikulin, Kositskaya Lyubov P. (1829 – 1868).
In the Maly Theatre in 1846 – 1867 г.
Username Nikulina-Kositskoy firmly interwoven with that group of actors Maly Theatre, which led to the Provo Sadouski feeling in the works of Ostrovsky's life truth were able to reveal his characters with a tremendous force behind the translational motion the actor's art.
The first piece Ostrovskoto ("Not in his sleigh would not sit down"), set on the stage, was given by 14/27 January 1853 in a benefit Nikulina-Kositskoy. The brightness of the image Rusakov established P. Sadowski, sincere sincerity and unprecedented ease before Borodkin embodied S. Vasilyev, and poetry, spontaneity and great sense of power Nikulina-Kositskoy, who played Avdotya Maximovna shocked the audience. For the first time on stage came a "new word", and sounded it, not only in the text of the playwright, but in the game actors.
Nikulin, Kositskaya first and great Katerina in "Thunderstorm", the first Grunya in "Can not Live as you want," Anna in "Poverty Is No Crime". She was close Ostrovsky close because she "wandered up to fourteen years on the provincial and city fairs, and conducted his early youth on the banks of the Volga, in the same" merchant and middle-class environment, which provided material for works of the great playwright, and heavy impressions childhood have left traces on her life allowed her to reveal images Ostrovsky with a genuine and, moreover, a tremendous feeling.
She left their memories.
"We – she wrote – were servants, serfs a gentleman, whom the people called a dog. We, being a child, afraid even of his name, and he himself had been enshrined fear. I was born in the house of the master, on the ground, bathed in blood and tears of poor peasants. "
Not every family is re-selling from one landlord to another – there she saw the suffering of others. But when her father redemption will, she happened to experience extreme poverty and humiliation and ill … "Rogue dreamy, as it was called, accidentally falls into the theater (at that time she served as a" maid, girl "from a rich merchant's wife), and a girl of thirteen performance produces an overwhelming impression that all her dreams are focused on the desire to go to the actress. Threats to the mother, who believed that service in the theater "a disgrace, worse than that there is nothing in the world", do not stop the girl, and she goes on stage.
Playing it in Lower, Yaroslavl, Rybinsk and achieves revenues in 1844 in the Moscow Theatre School, two years later she's an actress of the Maly Theatre, where it immediately begins to enjoy success. In an infinite number of trivial pieces of this repertory, she knows how to excite the audience, and a melodrama delights ("Parasha-Sibiryachka, and especially Maria in" mother's blessing "), she plays and Schiller (Lusha -" Intrigue and Love ") and Shakespeare ( Retana – "King Lear, Desdemona – Othello, Ophelia -" Hamlet "), and subsequently shakes the audience the strength of his feelings in a" cruel fate "Pisemsky.
If in the beginning stage road Nikulina-Kositskoy critics noted that it is distinguished "graceful simplicity, sincerity, vitality, a sense of openness", then later in Ostrovsky's comedies, it "was above all praise. When she read to enroll in school, shy, was mistaken in his words, a teacher of drama classes, SP Solov'ev did not dare to stop it – so much feeling in her words, so much in her voice sounded something moves you, I listened to her talk, both pleasant music "- adds Soloviev.
And contemporaries noted, as well as in Mochalov, the impact force of her voice, able to "move and delight only a slight change, and that's the voice are all the mysterious forces of its success." If we add to this the fact that "the place where you want to feel the soul, the passion that went with it perfectly," she forgets herself, her game – nature, but nature sublime, poetic, "we will be understood as contemporaries appreciated it. Her partner on the "Thunderstorm" Rykalova said that "Kositskaya knew the secret tears and was able to call them in the audience.
After serving twenty years, she left the scene, but to live outside the theater, she could not: less than a year Kositskaya died.