Musil Nicholas Ignat'evich (1841 – 1906). In the Maly Theatre in 1866 after the main piece is "for Leaving the" one-act farce, laughter are heard in the hall, and especially the laughter is so nice, nice "grandpa", old fuddy-duddy (playing his Musil), his gesture, every intonation laugh and stored, after the play is not always remember "the main piece, and a paltry" Checkers "(Timkovsky) acquire an unexpected meaning: one feels that the problem of" fathers and sons "can not be resolved either by mutual love, or goodwill parties. .. This ability is immeasurably enriched material provided by the text of the play – one of the main features of Musil, anticipating in this respect, the later style of play time.
Hence the number of genuine masterpieces created by this actor in the film "without strings". He – Sovereign cook in "False Dmitry Ostrovsky, just one scene, and for her performance the whole theater is Musil (and himself Ostrovsky exclaims:" What a tone! Life itself! "). He is – Holy Fool in Pushkin's "Boris Godunov, and the attention of the hall is focused on him, rattling and whining voice is horrible belief in the inevitability of the death of the king-" regicide ".
In the old cook ("Fruits of Enlightenment"), mysteries, full of tragic social neglect lishivshemusya disability excellent once the employee (not in vain Leo Tolstoy, not disapproved of his performance pieces at the scene, liked Muzyal). Sallai Saltanovich ("The Last Victim") grew into a symbolic figure of the terrible usurer, who from their greed retractors, "spider" techniques iznichtozhaet fallen into his hands. It is the ability to reveal a role is what you will not find in the content of the text itself, Musil allowed to play, for example, Mitrofanushka a "minor" so that the viewer felt it first and foremost a future monster (Bazhenov).
Musil at school serves students' performances under the direction of Apollon Grigoriev, a famous literary and theater critic, whose name is inextricably linked with Ostrovsky. Hence – the theater of passion and love for Ostrovsky, then very tsenivshemu his talent (Ostrovsky gave many of his plays for the Benefit performances Musil). He performs in numerous amateur productions and is working in 1865 debut on the stage of the treasury at the theater in Petrovsky Park, was adopted "without salary" in the company of the Maly Theatre, and only after a year's leave, within a fraction of which he was a great success playing in Tiflis, it becomes equal member.
Speaking first in vaudeville, one-act comedies, and even an operetta, in which the liveliness, comedy and fun Musil hit the key ("Well, tadpole, – said the famous Zhivokini, who saw his debut – the data you have there, a lot of hilarity, it remains to be work and work tirelessly "), Musil, thanks to its observation, his ability to find a genre and psychological detail has become one of the greatest exponents of artistic realism on the stage.
They played a gallery of images Ostrovsky: balsam, Plato ("Truth is good, but happiness is better"), Dormidontov ("Late Love"), Korkunov ("My heart is stone"), Steeps ("Every Wise Man"), iron (" Wolves and Sheep "), most of these roles have been assigned to him by the playwright. Among them should be highlighted: Robinson (Dowry), Shmaga ("Guilty Without Guilt") and Myron ("slave") – images that Musil reproduced with skill inherent in episodic roles. In the words of Michael, it is – "the first row of the best prints and well-executed scenic prints.
Inscribed in the history of the theater its name as the creator of line "character comedian," Musil, however, could and he burst into tears on stage and force audience to tears in the theater: his sobs as Narokova ("Talents and Admirers"), he not only was moved, but made and cry.