Vysotsky's creativity. Vladimir Vysotsky: short biography. Vladimir Vysotsky: brief biography and work of the poet Which direction does Vysotsky’s work belong to?
Vysotsky Vladimir Semyonovich (1938-1980) – genius poet, who lived and worked in the Soviet Union, film actor, author of prose works; was a leading actor in the Taganka Theater, performing his own songs on a Russian seven-string guitar. In 1987 he was posthumously awarded the USSR State Prize.
Parents
Vladimir was born on January 25, 1938. This happened at 9:40 am. morning in the Dzerzhinsky district of the capital of the USSR, on Third Street Meshchanskaya there was maternity hospital No. 8. Now much has changed its name, now it is Shchepkina Street, and the building of the maternity hospital belongs to the MONIKI Institute. But there is still a sign there that on January 25 a great man was born here - Vladimir Vysotsky.
His dad, Semyon Vladimirovich Vysotsky, was from Ukrainian capital, city of Kyiv. He was a military signalman, went through the Great Patriotic War, had about 20 medals and orders, and rose to the rank of colonel. Vysotsky’s paternal grandfather’s name was also Vladimir Semenovich, he was originally from Brest and at one time received three higher education– lawyer, chemist and economist. The poet’s grandmother, Daria Alekseevna, worked as a nurse and later as a cosmetologist; she adored her grandson Vladimir and was a passionate fan of his work.
Mom, Nina Maksimovna (maiden name Seregina), had a diploma from the Moscow Institute foreign languages about higher education. She worked as a reviewer-translator from German, and later as a guide at Intourist.
Both father and mother far outlived their brilliant child. Semyon Vladimirovich died in 1997, Nina Maksimovna in 2003.
The Vysotsky family lived in a huge communal apartment, located in an old house on 1st Meshchanskaya Street. Many years later, in “The Ballad of Childhood,” the poet will write about his first apartment: “There is only one restroom for 38 rooms.”
Childhood
With the beginning of the war, dad went to the front, and little Volodya and his mother were evacuated to the village of Vorontsovka near the city of Buzuluk, Orenburg region. They lived there for two years and in 1943 returned to Moscow.
Vladimir's father met the young widow Evgenia Likhalatova at the front, and when he returned home, Vysotsky's parents divorced. Mom soon got married for the second time, but little Volodya’s relationship with his stepfather did not work out, and Nina Maksimovna herself, due to her busy work, did not have any time left to raise her son.
Then the father decided to take the child with him to Germany, where he was sent to serve. Volodya, of course, missed his own mother, but he also really liked his stepmother. Evgenia Stepanovna is Armenian by nationality, and to show how respectfully he treats her, Vladimir was baptized in the Armenian Apostolic Church. He called her mother Zhenya, and the woman was practically raising her stepson alone, because Semyon Vladimirovich disappeared for days at a time at work. In the future, it will be she who will come to Volodya’s defense when he decides to connect his fate with creativity; his own mother and father will be categorically against this.
Vladimir began his schooling at Moscow school No. 273, where he studied for two years. Then he studied in the German city of Eberswalde, where his father served. It was there that he first began to master riding a bicycle and playing the piano. In the fall of 1949, he came with his father and mother Zhenya to Moscow, where he went to study at secondary school for men No. 186. He continued his studies in the 5th grade at his place of residence, and father and mother Zhenya settled on Bolshoy Karetny Lane, which he later will write his most famous song. It is here, at house number 15, that the first memorial plaque to the national idol will be installed.
Studying at institutes
Volodya's artistic abilities manifested themselves during his school years; he studied in a drama club under the guidance of the Moscow Art Theater actor V. Bogomolov. And as a teenager, Vladimir spent all his evenings in the company of street youth, whose main entertainment at that time was strumming the guitar and singing heart-warming songs about Kolyma, Murka and Vorkuta.
In 1955, Volodya received a certificate of secondary education and, at the insistence of his parents, became a student in the mechanical department at the Moscow Institute of Civil Engineering. But he did not study here for even a year. On New Year's Eve, when all the students were celebrating the holiday, Volodya and his friend Igor Kokhanovsky made drawings, without which they would not have been allowed to take the exams. When everything was drawn, Vladimir took the ink and poured it onto whatman paper with the finished drawing, saying: "Enough. I have 6 months left to prepare for entering theater school. And all this is not for me...”. He wrote a statement to the dean's office and was expelled from educational institution at your own request.
In the summer of 1956, Volodya entered the acting department at the Moscow Art Theater School. In his third year he played on the theater stage for the first time. It was a training production of “Crime and Punishment”, he got the role of Porfiry Petrovich. His first film work occurred at the same time. In the film “Peers”, Vladimir played a small role as student Petya.
Theater
After graduating from the Moscow Art Theater, Vysotsky went to work at the Pushkin Theater. Here he played a little, about 10 characters, mostly minor. The most significant role was Leshy in " Scarlet flower».
Vysotsky’s next place of work was the theater of miniatures, but even here he did not receive much joy; he was given episodic roles or was even involved in crowd scenes. Many openly laughed at his low, hoarse voice, which later became his signature feature. The actor worked here for less than two months.
Vladimir also tried to get into the Sovremennik Theater. From 1960 to 1964 he was in search until he ended up at the Taganka Theater. From now on, the two words “Taganka” and “Vysotsky” will forever be inextricably linked; he will work here until his death, despite the fact that his relationship with the director of the theater, Yuri Lyubimov, did not always work out.
Very little time passed, and people were already going to the Taganka Theater only because of Vysotsky. He worked the audience furiously, to the point of groaning and exhaustion, as only the greatest actors can do.
It is impossible to beat him; the roles he performed will remain the best forever:
| Title of the performance | The role of Vysotsky V.S. |
| "Life of Galileo" | Galileo |
| « a kind person from Szechwan" | Second God |
| "Mother" | Vlasov the father |
| "Hero of our time" | Captain Dragunsky |
| "Pugachev" | Khlopusha |
| "Hamlet" | Hamlet |
| "The Cherry Orchard" | Lopakhin |
| "Crime and Punishment" | Svidrigailov |
At the Taganka Theater, Vysotsky had envious people, but he also had true, loyal friends - Lenya Filatov, Alla Demidova, Valery Zolotukhin. Together with the team, Vladimir often went abroad on tour: to Bulgaria and Poland, Hungary and Germany, France and Yugoslavia.
Movie
Viewers especially loved and continue to love Vysotsky’s roles in films.
He played in almost 30 films, sang his own songs in 6 films, and in another 11 his songs were performed by other people.
| What year was the film released? | Movie title | The role of Vysotsky V.S. |
| 1961 | "Career of Dima Gorin" | Sofron (high-rise erector) |
| 1962 | "The 713 is asking to land" | American sailor |
| 1963 | "Free kick" | Yuri Nikulin (gymnast) |
| 1965 | "Cook" | Andrey Pchelka |
| 1965 | "On Tomorrow Street" | Pyotr Markin (foreman) |
| 1967 | "Short Encounters" | Maxim (geologist) |
| 1967 | "Vertical" | Volodya (radio operator) |
| 1968 | "Intervention" | Voronov/Brodsky |
| 1968 | "Master of the Taiga" | Ryaboy (raftsman foreman) |
| 1968 | “Two comrades served” | Brusentsov |
| 1975 | "Mr. McKinley's Escape" | Bill Seeger (singer) |
| 1976 | “The Tale of How Tsar Peter Married a Blackamoor” | Ibrahim Hannibal |
| 1979 | "Little Tragedies" | Don Guan |
Well, and, of course, the most famous film “The meeting place cannot be changed,” where Vladimir brilliantly played the Moscow police captain Gleb Zheglov. It was not easy for director Stanislav Govorukhin to work with the actor. Vladimir did not like second takes; if he had already played once, he had carried everything through himself, had already experienced these emotions and was not going to repeat them again. And he wound up his partners in such a way that they also played everything out on the first take.
Songs
Vysotsky wrote more than 850 poetic works (poems and songs).
It is difficult to name a side of life that he would not touch upon in his work. He wrote about love and politics, humorous and satirical poems, in which he sharply criticized the social system, he composed ballads, fairy tale songs, and monologue songs. He sang about how mere mortal people relate to life, about their honor and dignity, about the strength of human character, about the hardships of fate.
At that time, reel-to-reel tape recorders began to appear in Soviet apartments, and there was probably not a single family in which Vysotsky’s recordings were not listened to. The government banned him, and the people made an idol out of Vladimir. His “songs on the edge” especially touched the soul:
- “About Paradise Apples”;
- "Two Fates";
- “Horses are picky”;
- "Giraffe";
- “Sauna in white”;
- "I do not like";
- "Pacer's Run";
- "Sail";
- "Wolf Hunt";
- "Song about a friend";
- "Big Karetny"
- “He did not return from the battle”;
- "Save our souls";
- "Ships".
Unfortunately, the great poet was recognized after his death. In 1981, a collection of Vysotsky’s poetic works “Nerve” was published.
Personal life
Vladimir met his first wife, Iza Zhukova, during his student years. They got married in 1960, but their life together was very short.
In 1961, Vysotsky met the most beautiful artist Soviet Union, that’s how he described his future wife to his friend. It was Lyudmila Abramova. Their union produced two sons: Arkady in 1962 and Nikita in 1964.
Vladimir divorced Lyudmila Abramova in 1968. Nevertheless, many years after his death, she founded and is the custodian of the V.S. Vysotsky Memorial Museum.
His third wife and muse was Marina Vladi, an actress from France.
Vladimir knew her from the film “The Witch,” in which she played at the age of 17. Then men all over the world were in love with the beautiful Marina. Vladi also heard a lot about the actor Vysotsky and his songs from her French colleagues.
Their meeting took place in 1967. Marina came to the Soviet Union for work, came to the Taganka Theater, to the play “Pugachev,” where Vysotsky screamed and tore so furiously, chained, playing Khlopusha on stage. She was shocked by this power. After the performance, they met each other for the first time in a restaurant.
She left for Paris, but an incomprehensible melancholy haunted her; at first Marina could not figure out why her heart ached so much. When the phone rang and she heard a hoarse voice on the other end of the line, she immediately understood why she felt so bad. Marina Vladi disappeared because she fell in love.
The Soviet leadership was favorable to them and allowed them to get married in 1970. But they didn't have enough time to be happy. Marina was constantly looking for some kind of loophole to come to her husband in the USSR. It was impossible for her to go to the Soviet Union for permanent residence; her sons from previous marriages lived in Paris.
Endless visas and vast distances tormented them, but those days when they were together became a real holiday for Volodya and Marina. The only sad thing was that every time she noticed how much Vysotsky was becoming dependent on alcohol. Vladi constantly fought for him, tried to win him away from this addiction. She almost succeeded: on his last visit to Paris, Vladimir promised her that he would quit this business forever.
Yes, he's done. Forever... On July 25, 1980, in Paris, a telephone rang in Marina’s apartment at 4 o’clock in the morning. She immediately felt that she was about to hear; at the other end of the line they said: “Volodya has died.”
Death and funeral
He died in his Moscow apartment in his sleep. Relatives refused to perform an autopsy, so no one knows the exact cause of death (heart attack or asphyxia).
The country hosted the Summer Olympics. It was forbidden to report the death of the great poet and musician. At the box office window of the Taganka Theater they hung a small piece of paper, where they wrote that the performance would not take place, the actor Vladimir Vysotsky had died. Not a single person who bought a ticket to the performance returned it.
Despite the fact that neither radio nor television reported the poet’s death, the whole country learned, and it seemed that all of Moscow came to the Vagankovskoye cemetery. The people carried huge armfuls of fresh flowers and, on a scorching July day, hid them under umbrellas so that they would not wither. Vysotsky sincerely loved and pitied ordinary people, and they idolized him for it.
Vysotsky’s biography and his work still excite people’s hearts, although the cult actor and singer-songwriter passed away long ago. How did his star journey begin and why did it end so early?
Biography of Vysotsky. Summary. Childhood and youth
Vladimir Vysotsky was born in Moscow in 1938. During World War II, little Volodya’s father rose to the rank of colonel at the military communications headquarters. The boy looked like his father not only in appearance, but even in his voice. Mother - Nina Maksimovna - was a translator-referent by profession. Unfortunately, two years after the war, the parents of the future actor divorced.
After the war, Vladimir and his mother continued to live in a Moscow communal apartment; there was a catastrophic lack of money. When his father offered to go with his new wife, Evgenia, to Germany to his place of service, his mother let Volodya go. It was in Germany that Vladimir Vysotsky, whose brief biography is in one way or another connected with music, began to become familiar with the art of playing the piano.
Evgenia Stepanovna Vysotskaya managed to become more than just a stepmother to the boy. She took care of him and was close to the poet and actor until the end of his days. As a sign of his special respect for his second mother, Vladimir Vysotsky was baptized in the Armenian church (Evgenia was Armenian).
Civil Engineering Institute
Vysotsky’s biography is a clear confirmation that the actor was restless since childhood. He was acutely aware of injustice, so he often got into fights. He was tenderly attached to his family and friends. Vysotsky loved to read domestic and world literature. At the age of 15, he even attended a drama club led by actor V. Bogomolov. But it was necessary to decide on a future profession, and the strict father did not want to hear anything about the theater institute. This is how Vladimir Vysotsky ended up at the age of 17 at the Moscow Institute of Civil Engineering. Kuibyshev to the Faculty of Mechanics.
For six months Vladimir tried to cope with the institute program. The first session was approaching, it was urgent to complete the drawings, without which there could be no talk of admission to the exams. Having suffered with his friend until midnight, Vysotsky deliberately ruined his drawing and declared that “this is not his business.” Knowing that he had another six months to prepare for admission to a theater university, Vysotsky began selecting the repertoire.
Beginning of acting
The Moscow Art Theater School-Studio is where Vysotsky entered in 1956. His biography as an artist was just beginning. One of the teachers of the future actor was Pavel Massalsky, a famous Soviet actor.
Vladimir’s first theatrical role was the role of Porfiry Petrovich, a character from the student play “Crime and Punishment.” At the age of 21, shortly before graduating from studio school, Vysotsky received his first film role. He was involved in an episode of the film “Peers” by Vasily Ordynsky.
Then Vladimir entered the service of the Moscow Drama Theater named after A. S. Pushkin. But during 4 years of work there he did not receive a single leading role. Being content with little is not what Vysotsky was striving for; the actor’s biography is a clear confirmation of this. Therefore, he leaves the Pushkin Theater and goes to serve at the Taganka Theater. He was 26 years old. And three years later, Vysotsky played the main role in Stanislav Govorukhin’s film “Vertical”, and the entire Soviet Union started talking about him, not only as an actor, but also as a performer.
Vysotsky: short biography and creativity. Vysotsky - poet
It was after the release of “Vertical” that Vysotsky’s talent as a bard became widely known. Five songs of his authorship were performed in the film (the famous “Song about a Friend”, “Top”), and then were released as a separate album.
Vysotsky, whose brief biography cannot do without mention of his poetic gift, wrote poems since school. But in the 60s, Vladimir began to try to set his poems to music, and this is how his first songs began to appear.
At first, the so-called “thieves” theme was close to him. This is quite strange, because as a person from a good family, Vladimir Vysotsky had no contact with representatives of the criminal world.
Ultimately, the actor left behind 200 poems and 600 songs. He even wrote a poem for children. Since the texts still played a dominant role in his songs, we can assume that about 800 poetic works came from Vysotsky’s pen.
Vysotsky's musical talent
Vladimir did not immediately pick up the guitar. He knew how to play the piano, accordion, and then began to tap rhythms on the body of the guitar and sing his own poems or others’ poems to them. This is how Vysotsky’s first songs appeared. After his triumph in Vershina, the biography of the author-performer began to be replenished with new film projects, for which he wrote soundtracks.
Although Vysotsky was immediately classified as a bard, connoisseurs of musical art can confirm that his manner of performance cannot entirely be considered bardish. Vladimir Vysotsky himself was categorically against such a classification of his work. From his numerous interviews it is clear that he “does not want to have anything to do with them.”
The topics that the singer-songwriter touched on in his songwriting are replete with variety: politics and love lyrics; songs about friendship (“If a friend suddenly appeared”), about human relationships; about courage and perseverance (“Top”). And even humorous first-person stories about inanimate objects (“Microphone Song”) are found in his repertoire.
Film career
Vysotsky, whose biography and work are widely known not only within former USSR, but also abroad, he did not play many leading roles in films. In fact, until the age of 30, he played in episodes or supporting characters.
For the first time in the film “Vertical”, Vladimir got one of the main roles. This was followed by the melodrama “Brief Encounters,” where, in tandem with Nina Ruslanova and Kira Muratova, Vysotsky becomes the central hero of a love triangle.
Then there were other notable characters: Brodsky from the tragicomedy “Intervention”, Ivan Ryaboy from “The Master of the Taiga”, Georges Bengalsky from “Dangerous Tours”, Ibrahim Hannibal from “The Tale of How Tsar Peter Married the Arab”. But the most colorful and striking role was to be played much later - in 1979.
"Meeting place can not be Changed"
The crowning achievement of Vysotsky’s acting career can rightfully be considered the legendary Gleb Zheglov from the TV series “The Meeting Place Cannot Be Changed.” Not only the character, but the film itself as a whole has become a cult favorite. The texts voiced by the actors turned into aphorisms. And the image of Zheglov, if you are careful, is still visible in many heroes of modern films about criminal investigation.
It is noteworthy that after the publication of the novel by the Weiner brothers (on which the film was based), Vysotsky personally came to visit them and confronted them with the fact that if a movie was made, he would play the role of Zheglov.
However, when the chaos swirled around the Weiners’ new novel, and Stanislav Govorukhin had already approved Vysotsky for the role, according to the director’s recollections, Vladimir came to him and asked him to find someone else: the actor admitted that he could not waste time, since he “didn’t have much time left.” Creative biography Vysotsky was nearing its end. Vladimir understood this and wanted to leave behind more songs and poems. But Govorukhin persuaded him, and filming began.
Thus, Soviet cinema acquired a new colorful hero - the principled and decisive Gleb Zheglov.
Vysotsky's directorial experience
Vysotsky's biography includes cases when the actor acted as a screenwriter ("Signs of the Zodiac", "Vienna Holidays"), but he did not make a single film as a director. Although there was a case in his life when he managed to prove himself in the director’s role - during the filming of the film “The Meeting Place Cannot Be Changed.”
Vladimir has a direct bearing on the fact that Stanislav Sadalsky’s character “Brick” appeared in the film. There was no lisping pickpocket in the Weiner brothers' novel. This image was created during filming after a corresponding proposal from Vladimir.
For reasons beyond his control, the director of the film, Stanislav Govorukhin, had to leave the set. At such moments, he left Vysotsky to lead the process. In particular, the scene of the interrogation of the suspect Gruzdev was completely staged by the actor.
First marriage
Vysotsky's biography - bright and rich - of course, could not do without women. The actor married early for the first time - at the age of 22 - to Iza Zhukova, with whom he studied at the Moscow Art Theater. She was a little older than him - a third year student. Moreover, Iza already had one marriage behind her.
Vladimir met a girl while participating in a joint student play. In fact, since 1957 they lived together. The wedding took place when both received diplomas.
But as in any early marriage, the spouses did not calculate their strength, or rather, Vladimir did not calculate. He was young, he was still drawn to noisy companies with gatherings until the morning and drinking. Iza, on the contrary, was counting on home comfort and a quiet family life. Thus began a series of endless quarrels.
They didn't live together for even four years. The divorce was not finalized immediately. Since Isolde bore the surname Vysotskaya, she recorded her illegitimate son, who appeared after their separation from the actor, under the surname of Vladimir.
Second marriage
Vysotsky’s student marriage did not end his family biography. Vysotsky is remembered with a certain amount of bitterness by his second wife, Lyudmila Abramova, who, by the way, gave him two sons.
Vladimir met Lyudmila in St. Petersburg during the filming of “The 713th Requests Landing” in 1961. Vysotsky was still officially married to Isolda Zhukova, and Abramova in 1962 already gave birth to his first son, Arkady. Two years later Nikita was born. The whole family lived in the same apartment with Vladimir’s mother, Nina Maksimovna.
But this marriage did not last more than five years. In 1970, the divorce was officially filed, and Vysotsky had a new lover.
Third marriage with Marina Vladi
One day, the famous French actress Marina Vladi saw Vysotsky playing on the stage of the Taganka Theater in one of the performances. Biography, personal life After the meeting in 1967, these people changed dramatically.
The novel between Marina Vladi and Vysotsky is one of the most discussed and famous. Marina Vladi, a world celebrity, was amazed by the self-confidence with which Vladimir sought her. In 1970, the defense collapsed, and Vladi became the actor’s wife. But family life in the full sense of the word, they failed. The main difficulty is the “iron curtain”, which did not allow the spouses to see each other when they wanted.
Marina Vladi did a lot for the career of her beloved man. She sought to have his poems published abroad, even organizing a musical tour for Vysotsky in America and Europe. But even then Vladimir suffered from alcohol addiction, and a little later - from drug addiction. Therefore, Marina had to face not only positive features her husband’s character, but also with very difficult trials.
Death
It is noteworthy that immediately before his death, Vysotsky was going to break up with Marina, who had endured inconvenience for 12 years for his sake, sacrificed her career, etc. When the actor was 40 years old, he became interested in eighteen-year-old Oksana Afanasyeva. Marina Vladi was in France and still considered herself his wife, while Vladimir had already bought wedding rings and agreed with the priest who was supposed to marry him and Oksana. But this did not happen - on July 25, 1980, he died of a myocardial infarction.
Since the 60s, Vysotsky suffered from alcoholism. The biography and photos of the popular actor and performer became more and more in demand, and his “inner restlessness” grew at the same time. Vysotsky was a very emotional person, he had many fears, he partially suffered from lack of fulfillment, and alcohol was a way to drown out everything that he did not want to show to other people.
Repeatedly, the actor’s kidneys failed and serious heart problems arose; once he suffered clinical death. Doctors saved Vladimir with the help of morphine and amphetamine. Vysotsky himself understood that he needed to stop drinking alcohol. But, unable to find the strength to give up ethanol-containing drinks, he found a replacement for them - drugs. It is reliably known that by the age of 39, Vysotsky began to inject himself regularly.
Numerous trips to hospitals did not help. Doctors noted that Vladimir had a psychological need for stimulants, so the treatment was not productive.
An autopsy was not performed after the death of Vladimir Vysotsky. Doctor Anatoly Fedotov, who was next to the actor at the time of his death, suggested that a myocardial infarction killed him.
So many people gathered for Vysotsky’s funeral that Marina Vladi involuntarily compared the procession to a “royal” one. Despite his addictions, Vladimir Vysotsky managed to win people's love.
The main secret of the charm of Vysotsky as a person, as well as his creativity, is the complete sincerity of the author. According to a survey conducted by the All-Russian Center for the Study of Public Opinion in 2010, modern Russians consider Vysotsky to be a person who stands on the pedestal of idols right after Yuri Gagarin. And this name can no longer be erased from the history of Russian culture.
Vladimir Vysotsky was born on January 25, 1938 in Moscow into a military family. The future poet spent his early childhood in a cramped communal apartment. In 1941 - 1943, during the Great Patriotic War, Vladimir and his mother were evacuated in the Orenburg region. Since 1947, Vysotsky has lived with his father in Germany. At the end of 1949 he returned to Moscow.
Training, first roles
In 1953, Vysotsky became a member of the drama club, under the leadership of the Moscow Art Theater artist V. Bogomolov. In the same year, the poet created his first poem - “My Oath”.
In 1955, Vladimir Semenovich graduated from school and entered the Civil Engineering Institute in Moscow. Six months later, he leaves the institute, deciding to enter the theater school.
In 1956, Vysotsky, whose biography abruptly changed direction, entered the acting department of the Moscow Art Theater School. In 1959, Vladimir Semenovich made his debut in a theater production (Porfiry Petrovich in Crime and Punishment) and a film (the film Gossip Girls).
Actor and musician
After completing his studies, since 1960 Vladimir Semenovich has been working at the Drama Theater named after. Pushkin in Moscow. In 1961, Vysotsky wrote his first song - “Tattoo”.
After working a little at the Theater of Miniatures, Vladimir Semenovich got a job at the Taganka Theater of Drama and Comedy. In 1968, the musician’s first album, “Songs from the movie “Vertical””, was released.
In 1970, something happened in Vysotsky’s personal life: an important event- the poet married actress Marina Vladi, who became his third wife and muse. In the fall of 1971, at the Taganka Theater, Vladimir Semenovich debuted with his most famous role - Prince Hamlet from Shakespeare's tragedy of the same name.
Last years
In February 1978, Vysotsky was awarded the highest category of pop vocalist. While touring with the Taganka Theater troupe, Vladimir Semenovich visited Bulgaria, France, Germany, Yugoslavia, Canada, the USA, Poland, Mexico, Hungary, and Tahiti.
IN brief Vysotsky The biography is worth mentioning that in the last years of his life the actor became addicted to drugs, smoked and drank a lot. In 1979, during a performance in Bukhara, Vladimir Semenovich experienced clinical death.
On July 18, 1980, Vysotsky played the role of Hamlet for the last time. A week later, on July 25, 1980, Vysotsky died of heart failure. The poet was buried at the Vagankovskoye cemetery in Moscow.
Vladimir Vysotsky is a poet and artist, a phenomenal phenomenon in Russian culture, which has no equal. Vysotsky’s creative legacy is not measured by the number of poems and songs written or the brightness of the roles he played and is something more than books and films, because it is part of the genetic code of every Russian. With his creativity, Vladimir Semenovich formed and continues to form moral guidelines, views, thoughts, and, of course, civic position, setting an example of patriotism and extreme honesty and sincerity.Childhood and family
Vladimir Vysotsky was born in Moscow on January 25, 1938 in the family of Nina Maksimovna Vysotskaya, nee Seregina, and Semyon Vladimirovich Vysotsky. The popularly beloved artist received his name in honor of his paternal grandfather, Vladimir (Wolf) Vysotsky, a native of Belarus, the son of a glass blower, who managed to graduate from three faculties of the Kiev Institute of National Economy. D.S. Korotchenko: legal, economic and chemical.In 1915, Wolf Shlemovich Vysotsky married Deborah Ovseevna Bronstein, who gave him two sons, Alexei and Semyon. In 1926, the poet’s grandparents moved to Moscow. Wolf changed his name, becoming Vladimir, and Deborah began to call herself Irina. After school, Semyon Vysotsky entered the Polytechnic College of Communications and shortly before graduation he met Nina Seregina, who worked as a translator at the Intourist Hotel.
Vladimir Vysotsky’s maternal grandfather, Maxim Ivanovich Seregin, came to Moscow from the Tula region and worked as a doorman for most of his life. Grandmother, Evdokia Andreevna, devoted herself to caring for her husband and children: two sons and three daughters, one of whom, Nina, was destined to become the mother of the Russian poet.
Semyon Vladimirovich and Nina Maksimovna got married in 1937. After marriage, the newlyweds settled in a room in a communal apartment on First Meshchanskaya Street. According to Nina Maksimovna’s memoirs, she gave birth to a son at 9:40 a.m. on January 25, 1938, at which time her husband was on a business trip and was unable to meet her from the maternity hospital.
The first three years of his life, the future poet lived in a communal apartment with his parents. In 1941, Semyon Vladimirovich was called up to the front, and Nina Maksimovna and little Volodya were evacuated to the Urals, from where they returned two years later, in 1943.
At the front, the poet’s father met Evgenia Stepanovna Likhalatova, who served in the Main Highway Administration of the NKVD, and fell in love with her, which became the reason for the divorce. Semyon Vysotsky never returned to the communal apartment on First Meshchanskaya Street; his new home was the apartment of Evgenia Likhalatova, located in Bolshoi Karetny Lane.
Nina Maksimovna arranged her life by marrying a teacher in English. His stepfather, Georgy Mikhailovich Bartosh, did not even try to become Volodya’s friend, and he also abused alcohol. The situation in which his son was forced to live worried Semyon Vladimirovich, but he failed to persuade Nina Maksimovna to give up her son. The situation was resolved in 1946; by court decision, Volodya moved to his father and his wife, Evgenia Stepanovna, whom he called “Mother Zhenya,” and a year later he went with them to his father’s destination, to Germany.
At the school in the town of Eberswald, where children of Soviet military personnel studied, Volodya was accepted into the pioneers. He began taking piano lessons, and his father and Evgenia Stepanovna gave him an accordion.
In 1949, Semyon Vladimirovich received a new appointment, to Kyiv, but at the family council it was decided that Evgenia Stepanovna and Volodya would not go with him to their place of service, but would return to Moscow. This difficult decision was made so that Volodya could properly prepare for entering the university.
In 1955, Vladimir Vysotsky graduated from the 186th Men's Secondary School, receiving a certificate in which he received “excellent” marks in five subjects and “good” in nine subjects.
Student years
In 1955, following his father’s advice, Vladimir entered the Moscow Institute of Civil Engineering. It took Vladimir only six months to understand that he could not waste time mastering a profession that he did not intend to connect his life with. Having collected his documents from MISS, Vladimir began preparing to enter the theater institute, resuming his studies in the theater club. 
It is believed that the environment of young Vysotsky greatly contributed to this decision. Young film director Levon Kocharyan, a good friend of Vladimir, who settled in a house on Bolshoi Karetny Lane, created a kind of closed club in which poets, writers and artists gathered; among them were Vasily Shukshin, Andrei Tarkovsky, Edmond Keosayan and Yuri Gladkov. 16-year-old Vladimir was one of the youngest in this company and bore the nickname “Schwanz” (“tail” in German), as he followed his older comrades with his tail, who were not at all burdened by his company, but treated him as an equal.
One of the group of friends, Anatoly Utevsky, later got a job at the Moscow Criminal Investigation Department and invited Vysotsky to work as an understandable person. It was then that Vladimir became interested in “criminal” characters. An analysis of the psychology of criminals brought him to the conclusion that not all “clients” of the criminal investigation department are scum at heart; many law-abiding citizens are pushed to commit a crime by circumstances. This theme will later become a leitmotif through Vysotsky’s “thieves’” lyrics.
In 1956, Vladimir became a student at the famous theater university, the Moscow Art Theater School. The teachers were quite concerned about the peculiarities of his voice, as evidenced by the surviving minutes of the department meeting, dated November 5, 1965. In the document, Professor Saricheva characterized Vladimir’s vocal abilities. According to an experienced stage speech teacher, student Vysotsky had a “bad and very small voice.” Two years later, Professor Saricheva suggested that Vysotsky’s hoarseness was a consequence of an organic defect. A year later, singing teacher Vishnevskaya suggested that strain and hoarseness were caused by a defect in the nasopharynx or excessive smoking. IN Last year training, one of Vladimir’s mentors, Pavel Vladimirovich Massalsky, also noted that his student did not have a voice, but he brilliantly compensated for this deficiency with his ability to feel the role and artistry. Many years later, many researchers will analyze Vysotsky’s vocal characteristics. Mark Zakharov said that it was his voice that largely influenced the development of Vysotsky both as an artist and as a poet. According to the director, if Vladimir Vysotsky’s voice had been different, then his roles would have been different, his poems and songs would have been different, and he himself would have been different.
Vladimir Vysotsky – Morning exercises
In 1960, Vladimir graduated from the famous university with a diploma in drama and film acting and was assigned a place at the Moscow Drama Theater named after A. S. Pushkin.
Theater
Vladimir Semyonovich served at the Pushkin Theater for only four years. At the beginning of 1964, he came to the director of the Moscow Taganka Theater Yuri Lyubimov and soon appeared on the stage of this theater for the first time, replacing the ill actor Vladimir Klimentyev in the role of the Second God in the production of “The Good Man from Szechwan”. In the theater archive, Vysotsky’s name was first mentioned in 1964 as the name of the artist approved for the role of captain in the play “A Hero of Our Time” based on the work of Mikhail Lermontov. 
At the beginning of 1965, the premiere of the play “Anti-Worlds” took place, staged by Yuri Lyubimov based on the works of the poet Andrei Voznesensky. Viewers noted that Vysotsky read poetic texts in one breath, in his own special manner, unexpectedly highlighting dull consonants and making semantic pauses that made their hearts skip a beat in anticipation of the moment when the artist would speak again.
In the production of Antimirs, Vladimir appeared at least five times and participated in all general musical numbers. Especially for Vysotsky, Andrei Voznesensky wrote the poem “Akyn’s Song,” which was first performed as a song from the stage of the Taganka Theater. Subsequently, the artist will perform “Akyn’s Song” at each of his concerts.
Vladimir Vysotsky – Akyn's Song
An instant classic, the grotesque play, based on John Reed's book of the same name, 10 Days That Shook the World, was first performed in 1965. In it, Vysotsky played in several interludes, playing the roles of Alexander Kerensky, a soldier, a sailor sentry, a young daring anarchist and others. It was thanks to this production that Vysotsky gained fame as an original singer; many people came to the performance only to hear his extraordinary voice, which was once rejected by the teachers of the Moscow Art Theater School.
In this performance, Vysotsky performed his song, which he specially wrote for the role of a white officer, and began with the lines “The crown is scattered into pieces, there is no power, there is no throne.” His hysterical, hoarse voice desperately thirsted for truth, not retribution, and expressed doom: both social and human. The lyrics of the song, like most of the actor’s poems, remain topical today.
Fragment of the play “10 Days That Shook the World”
Both the role of Galileo and the role of the poet Vladimir Mayakovsky, which Vysotsky played for many years on the stage of the Taganka Theater, are considered significant. Many researchers recognize the role of Hamlet as the best of all his theatrical roles, and some critics call his Hamlet the best of all Hamlets ever played.
When asked why he entrusted the role of Hamlet to Vysotsky, Yuri Lyubimov often answered that he was sure that Vysotsky, like no one else, would be able to express the complex set of personal spiritual, philosophical and universal problems that Shakespeare generously endowed with his hero. The director said these words after Vysotsky’s death, but another interview with Lyubimov is also known, in which he said that the artist literally begged for this role, and at the first rehearsals Yuri got the impression that Vladimir did not understand the concept of the role of Hamlet and did not realize what he was doing on the stage.
Hamlet's monologue performed by Vysotsky
The explanation for such different statements by Lyubimov is very simple: only in the course of working on the role did Vysotsky, who had previously been far from religion and faith, begin to deeply understand the questions that tormented Hamlet’s soul. In addition, the director initially had a difficult relationship with Vysotsky: Lyubimov knew from the very beginning about the artist’s unhealthy addictions, but was never able to influence him.
Vladimir Semyonovich himself called the production “Fallen and Living,” dedicated to the memory of poets and writers who participated in the Great Patriotic War, his favorite performance. Patriotic War. Listening to Vysotsky furiously reading from the stage the poems of Mikhail Kulchitsky and Semyon Gudzenko, whose roles he played, the audience could not contain their emotions; It seemed to them that the poets who died in the war were speaking to them in the artist’s voice from the stage. It is believed that it was his participation in the play “Fallen and Living” that prompted Vysotsky to write a cycle of poems and songs about the Great Patriotic War.
Over the fifteen years of work at the Taganka Theater, Vladimir Semyonovich played in fourteen productions, enlivening each role with the breath of his soul. It is impossible to imagine Vysotsky in another theater or outside the theater; according to Yuri Lyubimov, once he came to the Taganka theater, he stayed in it forever and became part of it.
Film roles
Vysotsky’s personal contribution to the development of cinema cannot be overestimated; he was and remains a cultural phenomenon that has not lost its relevance. He first appeared on screen as a student at the Moscow Art Theater School. The young artist played a small role in the 1959 film “Peers,” in which Lydia Fedoseeva-Shukshina, Vladimir Kostin and Lyudmila Krylova played. In a few next years he played in the films “The Career of Dima Gorin”, “Shore Leave”, “Penalty Kick” and “The Cook”. 
The first wave of fame in the role of a film artist gave Vysotsky the film “Vertical” by two young directors Stanislav Govorukhin and Boris Durov. In the story about a group of climbers preparing to conquer another height, Vysotsky played the role of a signalman who hid a warning from his comrades about the approaching thunderstorm cyclone.
In this poignant film, Vladimir played in the company of Larisa Luzhina, Margarita Kosheleva and Alexander Fadeev, in which his songs “This is not a plain for you”, “Farewell to the Mountains” and “Song about a Friend”, which immediately became popularly loved, were performed for the first time, which can be compared with "Chanson pour l'Auvergnat", the legendary composition of Georges Brassens.
Vladimir Vysotsky – Song about a friend (from the film “Vertical”)
In Kira Muratova’s debut film “Brief Encounters” (1967), Vladimir Vysotsky played the romantic, but at the same time courageous geologist Maxim, and the artist’s next significant role was the role of the leader of the underground Bolshevik group Andrei Zharkov in the film “Intervention”, in which he collaborated with Valery Zolotukhin , Efim Kopelyan, Valentin Gaft and Olga Aroseva.
Bright and daring, the film is revolutionary not only for its time, but also for the present; it is an extraordinary phenomenon in Russian cinema. Director Gennady Poloka did not exploit buff aesthetics to influence the audience, but used it to create the desired tragic atmosphere, radically different from the patriotic-poster atmosphere to which Soviet citizens were accustomed. It was precisely because of its revolutionary audacity that the film was released on screen only many years later, during the perestroika years. Vysotsky’s performance and the death of his character came as a shock to the audience and added a tragic note to the film.
Released earlier than the film “Intervention,” the musical drama “Dangerous Tours” (1969) also became a striking event in the cultural space. The artist wrote several songs especially for this film, including “Bengalsky’s Couplet”, “Ballad of Flowers, Trees and Millionaires” and “Romance”. The image of chansonnier Georges Bengalsky has many similarities with the role of Andrei Zharkov, which he played in the film “Intervention”. Vysotsky’s performance amazes the audience with its naturalism, which is explained not only by his unique dramatic gift, but also by his deep understanding of the tragic fate of his characters. Together with Vladimir Semyonovich, Lionella Pyryeva, Georgy Yumatov, Bronislav Brundukov played in this film.
Vysotsky – Bengalsky’s Couplets (“Dangerous Tours”)
The artist brilliantly embodied the image of a White Guard officer in the film “Two Comrades Served” (1968) by director Evgeny Karelov. Vysotsky’s hero is not at all tormented by a feeling of nostalgia; he is decisive and ready to consciously lose everything that is important to him. The artist’s partner in this film was Iya Savvina; Oleg Yankovsky, Anatoly Papanov and Rolan Bykov also starred in the film.
In the film “Master of the Taiga” (1969), based on the detective work of Boris Mozhaev, Vysotsky plays the role of an artel foreman involved in a robbery. The role of the policeman who unraveled this case was played by Vysotsky’s best friend, Valery Zolotukhin.
Before the difficult moral choice Vysotsky’s hero also appears in the film “The Fourth” (1973), based on the play by Konstantin Simonov. The artist was able to brilliantly embody the image of a weak person, in which only a spark of decency glimmers. The role of a journalist who accidentally learns dangerous information and is not ready to act according to his conscience is considered one of the most difficult in Vysotsky’s filmography. Other roles in this film were played by Juozas Budraitis, Armen Dzhigarkhanyan and Margarita Terekhova.
The images embodied by Vysotsky on the screen forever remained in the memory of millions of people; during his cinematic career he managed to play many roles, but Vysotsky’s most beloved movie character for millions of people was, of course, Gleb Zheglov in the 1979 serial film “The Meeting Place Cannot Be Changed” directed by Stanislav Govorukhin, based on the work of the Weiner brothers “The Era of Mercy”.
Despite the fact that Zheglov literary work A very young, twenty-five-year-old man, Govorukhin did not see anyone other than Vysotsky in this role, and rewrote the script, taking into account the age of the artist, who was already forty at the time of filming.
Meeting place can not be Changed. Fragment
The image of Volodya Sharapov on the screen was embodied by Vladimir Konkin, Sergei Yursky, Armen Dzhigarkhanyan, Leonid Kuravlev, Larisa Udovichenko and Viktor Pavlov also played in the film. The role of Captain Zheglov is the last in Vysotsky’s filmography; the actor died two years after the release of the film “The Meeting Place Cannot Be Changed.”
Poems, songs and prose
Vladimir wrote his first poem in the year of Joseph Stalin's death, in 1953. The poem “My Oath” was preserved thanks to his mother, who published it in a wall newspaper government agency, in which she served.Vladimir learned to play the guitar, received as a gift from his parents for his seventeenth birthday. At first, his repertoire consisted of yard songs and so-called thieves, in which researchers of the poet’s work do not see anything strange. The generation of Moscow intellectuals, brought up in the post-war years, passed prison creativity through their cultural baggage, romanticizing it.
Poems and monologues by Vladimir Vysotsky
Some researchers claim that Vysotsky began writing songs under the influence of the work of Bulat Okudzhava. As a poet, Vladimir Semyonovich did not receive the recognition that overtook him after his death, but now his works are published in huge editions, some of them are included in the school curriculum.
Poems, as well as Vysotsky’s songs, are among those extremely rare phenomena that come from the soul of the Russian people and penetrate the consciousness of every person, becoming family to them. But during his lifetime, Vysotsky was upset that his poems were refused to be published, and he did not agree on principle to the edits proposed by the editors.
In 1975, the poem “The Wait Lasted...” was published in the collection “Poetry Day,” which became the only lifetime publication of a poem by Vysotsky in the Soviet Union, and in France, in the late 70s, about two hundred poems by Vladimir Vysotsky were published by the YMCA publishing house -Press", they were included in the collection "Songs of Russian Bards".
Vladimir Vysotsky - I don't like...
The literary heritage of Vladimir Vysotsky includes more than 200 poems and approximately 600 songs. Vladimir Semyonovich also wrote several stories and scripts and the work “A Novel about Girls,” which was discovered in the poet’s personal documents after his death.
Personal life of Vladimir Vysotsky
Vysotsky met Isolda Zhukova, who was destined to become his first wife, while studying at the Moscow Art Theater School. They played together in a student play, but even after rehearsals ended, Vladimir was always nearby. Isolde was in her last year of study, Volodya was in her third year. She was already married, but the status of her lover did not bother Vysotsky. He moved Isolde to a communal apartment on First Meshchanskaya Street. When she graduated from university and entered the theater. Lesya Ukrainka in Kyiv, then met Vladimir’s grandmother and charmed her.Life with Volodya was easy and sunny, despite the fact that we lived unsettled, “behind a screen,” without money.
A year later, Isolde returned to Moscow, and Vysotsky received his diploma. They immediately take the applications to the registry office. On April 25, 1960, a simple but cheerful and friendly wedding took place. Soon Iza realized that she was expecting a child. Unexpectedly, Vysotsky’s mother took the news with hostility. Due to stress amid a scandal with her mother-in-law, the girl had a miscarriage. 
The relationship has deteriorated. At this time, Isolde received an offer from the theater in Rostov-on-Don and accepted it. Vladimir went to see his wife, but the feelings were no longer the same. When Iza heard rumors that actress Lyudmila Abramova was expecting Vysotsky’s child, she decided everything for herself. In 1965, the couple divorced. Isolde kept her husband's surname. Her son Gleb, born from another man, bears this surname. Isolda Vysotskaya died in 2018
Close people remember Vladimir Vysotsky
Vladimir Vysotsky and VGIK student Lyudmila Abramova starred together in the drama “The 713th Requests Landing.” The first impression of her future husband was unpleasant: at the entrance to the hotel where Lyudmila, who had recently experienced the tragic death of her lover, was staying young man, for which she blamed only herself, the actress saw an unshaven and clearly drunk man in a bloody shirt. From the very first sentence, the stranger began asking to borrow money - he broke dishes in a hotel restaurant, and there was nothing to pay with.
Lyudmila gave the man a ring with an amethyst, a family heirloom. And an hour later, the stranger was already banging on the door of her hotel room and, without waiting for it to be opened, he knocked it down, entered the room with champagne in his hands and proposed marriage to Lyudmila. And she agreed, because on the grave of the boy who was in love with her, she vowed to marry the first one who proposed. “If I had told him yes, he would be alive...” Abramova reproached herself.
Well, it soon became clear that he and the unkempt stranger were playing together in the same film. Lyudmila was delighted with the young man’s talent and the depth of his voice. A romance began between the actors, which was not prevented by the fact that Vysotsky had an official wife. But they got married only in 1965, when Lyudmila and Vladimir’s youngest son, Nikita, turned one year old. The eldest Arkady is already two and a half.
The marriage turned out to be short. In 1968, Vladimir and Lyudmila filed for divorce. Even at the beginning of the relationship, Lyudmila was warned that Vysotsky was not distinguished by fidelity. But she couldn’t believe it for a long time, because even after the birth of children he showed himself to be loving husband, caring father.
In 1967, Vysotsky met Marina Vladi. Lyudmila saw that her husband was moving away every day, and soon filed for divorce. However, the bard’s next wife (albeit a civilian one) was not Vladi, but actress Tatyana Ivanenko, a fragile woman similar to Brigitte Bardot, with whom fate brought him together at the Taganka Theater. The poet's friends note that of all the relationships, these were the most painful and confusing for him. Vladimir could not make a choice and rushed between Tatyana and Marina Vladi, causing pain to both himself and his women.
The love story of Vladimir Vysotsky and Lyudmila Abramova
On the last day of 1971, Tatyana Ivanenko gave birth to his daughter Anastasia. It is known that the poet did not experience joy when he learned that Tatyana was expecting a child; he was already married to Marina Vladi. Ivanenko wanted Vysotsky to recognize her daughter, but he did not. According to the recollections of the poet’s friends, the situation weighed heavily on him, and he often reproached himself for lack of character.
Anastasia received her father's patronymic and mother's surname. Growing up, she was never able to find a little compassion in her heart for her father and did not forgive him. She gave birth to a daughter, Arina Sakharova. The girl lives a modest life, without advertising that she is the granddaughter of Vladimir Vysotsky.
The poet dreamed of marrying a charming Frenchwoman with Russian roots even before his personal acquaintance, which occurred in the summer of 1967 during her visit to Moscow. Marina first saw Vysotsky on stage, where he played the role of Khlopushi in the production of “Pugachev”. After the performance, Vysotsky and Marina Vladi met in a restaurant, which was the beginning of their relationship. According to the actress’s recollections, Vysotsky gave the impression of a rustic and very ordinary guy, but when he picked up the guitar, she could no longer take her admiring eyes off him.
Soon after meeting the actress, Vysotsky wrote his very first and probably most beautiful poem about love, “The Crystal House,” which became a beautiful lyrical ballad, which he dedicated to his new lover. The relationship between Vysotsky and Vladi lasted 12 years
In total, the Russian poet and French actress were together for 12 years, but, as Marina said bitterly, the hours of happiness won from the distance that separated them were overshadowed by Vysotsky’s illness, the battle with which she lost. In addition, for the last two years of his life, the bard was in love with Oksana Afanasyeva, a student at the textile institute (later the wife of Leonid Yarmolnik).
Shortly before his death, Vysotsky spent three summer weeks in Paris, and, as the actress recalls, he once again tried to convince her that he could quit his addiction - morphine.
Last years of life and death
It is known that in last days the poet felt extremely bad, and there were doctors next to him. It cannot be said with 100% certainty whether he suffered from drug addiction, but the fact that Vysotsky had problems with alcohol is not disputed by any of his friends and relatives. And the lines “I’m driving poison down my throat, into my veins” hint that drugs were still present in Vysotsky’s life.According to a common version, the bard became addicted to morphine in the mid-70s, when he suffered from severe pain in the kidneys. According to other sources, he was being taken out of a severe binge. Vladimir saw injections as a way to get rid of alcohol addiction, not suspecting that his new method of oblivion was much more dangerous than alcohol.
On July 25, 1979, Vysotsky experienced clinical death during filming in Bukhara. This was not the first time he “died”; ten years earlier, he had already experienced clinical death due to a vessel bursting in his throat. This time he unsuccessfully injected a painkiller into a vein, the name of which we do not give for ethical reasons. He did not know that the ampoule did not contain morphine.
Vladimir survived. He realized that he needed treatment, but it was too late. Nothing helped: neither painful blood purification, nor an escape from civilization into a French bear corner with Marina Vladi. There was no way to overcome the addiction.
In the USSR, due to the approaching Olympics, morphine was not available, so the poet used an available analogue - vodka, sometimes diluting it with cocaine. On July 14, 1980, Vladimir Semyonovich gave his last concert, and on July 18, he appeared on the stage of the Taganka Theater for the last time to play Hamlet.
Vladimir Semyonovich’s heart stopped on the night of July 24-25, 1980, at approximately three o’clock in the morning.
The poet died in his apartment on Malaya Gruzinskaya Street in Moscow. According to the official version, Vladimir Semyonovich died from acute heart failure, which could indeed have been the result of many years of alcoholism, as well as overwork and stress.At the insistence of Semyon Vladimirovich Vysotsky, an autopsy of his son’s body was not performed, which, in fact, became the reason for the emergence of several versions, among which the most common are heart failure and alcohol intake in combination with sedatives.
The death of the poet became a personal grief for citizens of the entire Soviet Union, but even decades later, the circumstances of the death of Vladimir Vysotsky remain unclear, which gives rise to various assumptions, including murder.
Yuri Lyubimov said that Vysotsky felt so keenly and lived so rapidly that he actually burned out from the emotional fire that he tried to throw out in his poems and songs.
Like many poets, Vysotsky had a presentiment of his imminent death, in one of last poems he wrote the lines:
I am less than half a century old - forty-something,
I am alive, for twelve years you and the Lord will protect you.
I have something to sing when I appear before the Almighty,
I have something to justify to him...
Vladimir Semyonovich meant the number of years in total he was with Marina Vladi.Vladimir's funeral took place on July 28, 1980; those who came to say goodbye to the poet filled the streets of the capital, where Summer Festivals were held on those days. Olympic Games. Later, Marina Vladi will say that she, who saw the funerals of the kings, did not expect so many people who considered it their duty to come to say goodbye to Vladimir Vysotsky.
Nikita Vladimirovich says that he will never be able to forget the day of his father’s funeral, there were so many people in whose eyes the grief of loss was visible. As the poet’s son notes, despite the fact that there were an incredibly huge number of people who came to say goodbye, there was no crush or scandals. In most flower shops in Moscow there were no flowers left on that day, people bought them all, and the line to the coffin with the poet’s body stretched for 9 kilometers.
The poet was buried at the Vagankovskoye cemetery, his grave is located at the entrance on the right and all year round buried in flowers. The monument, opened in the fall of 1985, was created by sculptor Alexander Rukavishnikov. On the monument, the poet is depicted trying to escape from the shackles that entangled his body. According to Mikhail Shemyakin, which, of course, is shared by all Vysotsky’s friends, the monument cannot convey all the inner strength of the poet, but reflects his desire for freedom and symbolizes a flight interrupted too early.
Seven years after Vysotsky’s death, the actress published the book “Vladimir, or Interrupted Flight,” the presentation of which took place in Paris, at the Globe bookstore. Vladi built her story on the contrast that supposedly existed between her and Vysotsky, focusing not only on his alcoholism, but also on drug addiction, from which, in her opinion, he died.
Friends and close acquaintances of Vysotsky greeted Vladi’s revelations negatively, many of them called the book a fiction and even an attempt to denigrate the poet’s memory. Among those who openly spoke out against the book of the famous Frenchwoman were Mikhail Shemyakin, Rolan Bykov and the poet’s mother Nina Vysotskaya.
The Vysotsky phenomenon
The phenomenon of Vladimir Vysotsky is studied by many researchers, and the reasons for his popularity are the unusual voice that penetrates the hearts of listeners, the depth of his poems, the uniqueness of his rhymes, and, of course, the energy that literally subjugated the people who came to his performances. However, the feeling that possesses everyone who was lucky enough to once touch Vysotsky’s work cannot be called popularity, because it is not popularity, it is unconditional acceptance and unconditional love, and, as we know, no one has yet been able to unravel the secret of love. It is precisely the love for the work of the poet and artist that constitutes the sociocultural phenomenon that, for several decades now, has united people of different ages, different origins, incomes and education.The poet's friends are sure that he showed admiration for the mentioned historical figures not because he was a product of the Soviet system, but because he was, first of all, a patriot. If Vladimir Vysotsky lived today, those who had the good fortune to know him personally are sure, he would say the same thing now, that is, he would act as his heart told him. When assessing the influence that the work of Vladimir Vysotsky had, one cannot limit ourselves only to the cultural aspect; this phenomenon is much broader, it lives in the heart of every Russian and unites us, being part of the genetic code.
VLADIMIR VYSOTSKY – THE GUY FROM TAGANKA
The full scope of talent Vladimir Vysotsky difficult or even almost impossible to convey in simple phrases. The significance of his personality in the cultural history of the 20th century is as limitless as his soul was deep.
He was lucky, most of his contemporaries Vladimir Semenovich understood his work and adored the poet himself, singer of original songs and actor. He is an idol of a bygone century, whose art is alive and relevant.
From the intelligentsia
Born on Tatiana's Day - 1938 in Moscow. His family was not ordinary and average. My paternal grandfather was also called Vladimir Semenovich, although at birth he was given the name Wolf Shliomovich. He was originally from Brest, then moved to Kyiv, received three higher educations - economics, law and chemistry. And the grandmother, Deborah Bronstein, worked as a cosmetologist and doted on her grandson. She was a passionate admirer of his work.
Father Vladimir Vysotsky born in Kyiv, became a military signalman, fought 
during the Second World War, he rose to the rank of colonel and became an honorary citizen of the cities of Prague and Kladno. Mother was no less educated and intelligent Vladimir. Nina Maksimovna graduated from the Institute of Foreign Languages, then worked as a translator and referent of the German language. When the war began, she was transferred to the transcription bureau of the Main Directorate of Geodesy and Cartography of the USSR Ministry of Internal Affairs.
On Bolshoi Karetny
Vladimir and his mother spent several war years in evacuation in the Orenburg region, but he already went to school in Moscow, in the year of victory. Unfortunately, it so happened that parents Vysotsky divorced. My father lived in Germany, where he was left on duty, and he took him there too. Volodya for a couple of hungry post-war years. The boy had an excellent relationship with his father's new wife. He called Evgenia Stepanovna “Mama Zhenya.” Under her watchful eye Vysotsky started learning to play the piano. In 1949 Vladimir returned to Moscow and went to school on Bolshoi Karetny Lane, which he later immortalized in his song called “Bolshoi Karetny”.
Craving for art
Theater Vysotsky got carried away during his school years, he attended drama classes under the leadership of the Moscow Art Theater artist Vladimir Bogomolov, but 
After the final exams, I listened to my parents and entered the Moscow Institute of Civil Engineering. Fortunately, after the first semester he realized that this was not his path and left the university.
One of the many stories connected with this decision, whether true or fictitious, is already difficult to understand. Before the winter session, I and my friend Igor Kokhanovsky prepared the necessary drawings. They were completed at night, but Vladimir suddenly he took mascara and poured it on his works, announcing that he would now try to enter a theater university.
The Moscow Art Theater School opened its doors to him, where he studied with the famous Boris Vershilov, Pavel Massalsky and Alexander Komissarov. Already in 1959 Vysotsky He performed his first theatrical role in the student “Crime and Punishment”, and soon followed his screen debut in a cameo role in the film “Peers”.
“Blatnye” songs of Vladimir Vysotsky
Having received a diploma from the Moscow Art Theater School, Vladimir came to serve at the Moscow Pushkin Theater, 
then he worked at the miniature theater for just a couple of months, unsuccessfully tried to get a job at Sovremennik, after which he went to the theater, which forever became “his own” for him. It was the newly opened Moscow Drama and Comedy Theater. When he came to hire Yuri Lyubimov, he asked what he would read to the theater director. Vysotsky Without undue modesty, he said that he had recently written several songs and would like to perform them. Lyubimov was determined to finish the interview in five minutes, but could not tear himself away from creativity Vysotsky an hour and a half.
Write poetry Vladimir started back in my school years. Then the reason for the first attempt at writing was the death of Stalin. With his poetic 
essay young Vysotsky decided to express a feeling of grief for the leader of the peoples. His first song is considered to be “Tattoo,” which he composed in the summer of 1961. It also became the basis of the cycle of “thieves” themes. Then he signed them with the pseudonym Sergei Kuleshov.
But those who have seriously studied his work argue that it was not “Tattoo” that became the first song Vladimir Vysotsky. A year before, he wrote the composition “49 Days,” which he dedicated to the feat of the soldiers who drifted and survived in Pacific Ocean. The author’s attitude towards this song is also known. Vysotsky spoke very critically of it and called it a manual for beginners and complete hacks, hinting that this template could be used to create poems on any topical topics, replacing only the names of the heroes.
Not form, but content
Wrote 100 poems and about 600 songs. He created several songs specifically for films. Unfortunately, most of these works 
for technical reasons and due to bureaucratic pressure were not included in the final version of the films.
The statement, of course, is very controversial, but connoisseurs of talent Vysotsky they say that songs are the brightest facet of creativity Vladimir Semenovich. He always performed them live, his hoarse voice captivating the audience so that they could not take their eyes off the artist. One day someone noticed that the stage seemed to be springing from the nervous kick of the foot, which Vysotsky beats the rhythm. His concentrated gaze always stopped in one place, and the audience listened with bated breath to their idol, because he sang exactly what occupied the minds of thinking people.
Songs Vysotsky It is customary to call them bardic, although both the theme and manner of performance of these compositions differed from the work of other bards. Just unlike many 
Soviet singers of art songs Vysotsky was a professional actor and that is why he never considered himself an amateur.
There probably wasn't a topic that Vysotsky did not touch upon it in his compositions - ballads, lyrical, satirical or humorous songs. He sang in an inimitable manner about the simple life of ordinary people, his contemporaries, which earned him wide popularity. The audience liked the special expressiveness of his performance, the sincerity and genuineness of the artist’s emotions, even the events from songs about the war seemed to them to be their own experience Vladimir Semenovich. Vysotsky did not focus on the form of his songs; the content was much more important to him.
Movie characters and unplayed roles
At his beloved Taganka Theater, he performed leading roles in productions of “Hamlet” and “The Life of Galileo”, participated in the performances “The Good Man from Szechwan”, 
“Fallen and Living”, “The Cherry Orchard”, “Pugachev” and “Crime and Punishment”. He played dozens of bright and memorable roles.
Each of his creative sides was inextricably linked with the other. Songs Vysotsky are small monologues on behalf of different characters. The same variability can be traced in the characters he created in theater and cinema - he was Galileo and Hamlet on stage, and on the screen he became a geologist in the film “Brief Encounters”, a White Guard officer in “Two Comrades Served” and the legendary Gleb Zheglov in the television series “The Place” meetings cannot be changed.” He participated in 30 feature and television films, and his first film fame came to Vysotsky after the release of "Vertical". The song “If a friend suddenly turned up” made the film popular.
But despite these images, talent Vladimir Semenovich I didn’t fully develop myself as a film actor. Many roles passed him by due to several reasons, the main one of which was the reluctance of power structures to allow 
artist on screen. Directors resorted to various tricks to get permission to film Vysotsky to the cinema. His name had the effect on officials like a trembling muleta on a bull during a bullfight.
One of the images that could add to the filmography Vladimir Semenovich, was Stepan in Andrei Tarkovsky’s film “Andrei Rublev”. Some say that the director was banned from Goskino, others are sure that Tarkovsky did not work with the actor because he once again began to drink heavily. In 1964, Vasily Shukshin wanted to film Vysotsky in the film “There Lives Such a Guy,” but the role went to Leonid Kuravlev.
The tragedy of Vladimir Vysotsky
It is impossible to talk about the creativity of such outstanding person, without mentioning his relationships with women. While still in his first year at the Moscow Art Theater School, he 
met Isolda Zhukova, who became his first wife in 1960. But a year later, on the set of the film “713 Requests Landing,” he began an affair with Lyudmila Abramova. She became the mother of his two sons - Arkady and Nikita. A few years later, the couple separated, and formalized the divorce when all of Moscow was already whispering that Vysotsky won the favor of the French actress with Russian roots Marina Vladi. Their relationship was not ideal - Vladimir Semenovich often went on a drinking binge, made scandals and showed aggression. He smoked a pack of cigarettes a day and was treated for alcohol addiction more than once. His kidneys were failing and he had serious heart problems, which he tried to treat with drugs - morphine and amphetamine. At first these were one-time injections, and then the doses began to increase and by the end of 1977 it became regular.
One day he had an attack, a vessel in his throat burst, and bleeding began. It was Marina who saved him from death. She called the doctors in time, who then fought for another 18 hours for his life at the Institute of Emergency Medicine.
with Marina Vladi
Marina Vladi said that her attempts to rid her husband of this addiction did not give the expected results, and during a tour in the summer of 1979 Vladimir Semenovich experienced clinical death.
His last public performance was on July 18, 1980 on the stage of the Taganka Theater. In seven days, Vladimir Vysotsky gone. This happened in a dream when he was in his apartment. The Olympics were in full swing in Moscow, but an incredible number of people came to say goodbye to their beloved artist, although his death was reported only in a small article in the Evening Moscow newspaper. A month and a half earlier, he wrote his last poetic lines:
“I have something to sing when I appear before the Almighty,
I have something to justify myself before Him.”
DATA
A death notice was hung above the box office of the Taganka Theater Vysotsky. A crowd of people immediately gathered around the building and did not disperse for several days, even filling the roofs of nearby houses. Nobody handed over tickets for the performance with his participation. During the funeral, Marina Vladi said that she had seen the funerals of princes and kings, but she could not even imagine so many people.
Updated: April 8, 2019 by: Elena
