L. V. Nelskaya, V. N. Dostovalov, I. A. Ivarfэ
The Russian Drama Theater named after Ch. T. Aitmatov is one of the leading theaters in the Kirghiz Republic. It has a well-equipped foyer, rehearsal halls, dressing rooms, and facilities for hairdressing and other workshops.
The artistic director and chief director, the honored artist of the Kirghiz SSR M. Moiseevich Malamud, was a temperamental and demanding artist. Educated in the spirit of the realistic school of the Moscow Art Theater, he upheld good traditions in the troupe that stemmed from the principles of Stanislavsky and Nemirovich-Danchenko. His unwavering pursuit of vibrant theatricality aimed at creating dynamic, exciting performances that captivated the audience. The director sought high creative understanding among all the creators of the performance, striving for the unity of all components, which ensured collective success.
Honored artist of the Kirghiz SSR M. M. Malamud, chief director of the theater
Among the many performances staged by M. Malamud, not all were, of course, at the same level. However, his productions such as "Kremlin Chimes," "Sarynjy," "Stone Nest," and "Filumena Marturano" belong to the best achievements of the theater.
Vyacheslav Ivanovich Molchanov established himself as a thoughtful and inventive director. The staging of "The Merchants" immediately showcased the characteristics of his creative style: a subtle understanding of the author's intent, good taste, and accuracy in psychological portrayals. The new director earned recognition and respect from the ensemble; the creative understanding between the actors and the director was established right away.
The work of director Nikolai Alekseevich Belyakov left a significant mark on the theater. A number of his productions, especially "Personal Case" and "The Last Victim," achieved serious success with the audience. In N. A. Belyakov's works, one could always feel the firm hand of a leader, a unique concept, and inventiveness in staging.
Theater director V. I. Molchanov
The acting ensemble included people of different generations, experiences, and work backgrounds. The People's Artist of the Kirghiz SSR Vyacheslav Fedorovich Kazakov long associated his fate with the life of the theater. He grew from a modest performer to a leading artist here. Kazakov's range of characters is vast: Shakespeare's Hamlet — and Nil from "The Merchants," Celestine from "Intervention" — and Sarynjy from the play of the same name by the Kirghiz playwright, V. I. Lenin from "Kremlin Chimes" — and Mitrofanushka in "The Minor." His ability to grasp the psychological key to a character, mastery of technique, and vibrant temperament allowed the artist to successfully tackle the most diverse tasks.
In A. Popov's play "Family," Kazakov played the young Lenin for the first time and achieved undeniable success. Recreating the image of a Kirghiz youth, a fairy-tale hero acting in the dark times of the Middle Ages, was also no easy task. V. F. Kazakov approached this new challenge with his usual enthusiasm. It was necessary to find the "zing" of the role. It was found — not only in the civic pathos of a fighter against injustice but also in his exceptionally pure, reverent love for Bermet.
Much later than Kazakov, the Honored Artist of the Kirghiz SSR Klavdiya Alexandrovna Guryieva joined the troupe. The first period of her creative life is associated with theaters in the Urals. Since 1946, Klavdiya Alexandrovna has been working continuously in our theater.
G. I. Solovyev, S. K. Kocheyev
The strong and unique talent of the actress was most convincingly manifested in her roles in recent years: the hostess of Niskavuori in "Stone Nest," Filumena Marturano in the eponymous play, Madame Xidius in "Intervention" — these are Guryieva's most convincing achievements.
The image of the hostess of Niskavuori, authoritative, with a tough, unyielding character, will long be remembered by the audience. In contrast to the woman raised in the harsh valleys of Finland, Filumena Marturano appears before us as a woman with an indomitable, truly Italian temperament. What different roles! They are united by one thing — strength of character, unwavering will.
Alexander Fedorovich Kuleshov, the People's Artist of the Kirghiz SSR, is remembered by the audience for his role as Khlebnikov, the main character in A. Shtein's play "Personal Case." This sharp, truly party piece immerses the audience in the thick of events surrounding an honest communist. The struggle against opportunists and tricksters, who use loud phrases about vigilance to deal with undesirable people, lies at the heart of the play's plot.
A. Kuleshov created the image of a true communist, brave, principled, and temperamental. A heavy trial does not bend him; he fights — and wins. Everything in this character is authentic, everything is convincing.
Kuleshov's temperament manifests itself quite differently in "Kremlin Chimes" in the role of Zabelin. In the first half of the play, he is a broken, life-bent, not-so-young professor. Yet a hidden strength lives in this tall, strong man. What a burst of strength and energy occurs later, after meeting Lenin and Dzerzhinsky!
Zabelin is reborn; he is all movement, a surge forward. That is why the overflowing energy of the old professor sometimes spills over into bravado. Such a significant change has occurred in his life that making such a transition easily is not possible.
Kuleshov is an artist of bright impulse. He truly excels in large-scale roles with grandeur.
The audience remembers Leonid Lazarevich Yasinovsky well in the role of the spy Omodei from "Angelo" by V. Hugo, the anarchist Filka from "Intervention" by L. Slavin, and the watchmaker from "Kremlin Chimes." However, perhaps the most significant of L. Yasinovsky's works is the role of Aesop from the eponymous play. Aesop embodies humanity's inherent desire for freedom. By bringing to the stage the people of ancient Greece, the author sought to embody the eternal and quite modern conflict between the forces of dull reaction and the forces of light, progress, and movement forward. The words of the philosopher Xanthus that slaves "have not grown up to freedom" resonate remarkably with the statements of imperialists.
And Yasinovsky created a remarkable image of Aesop, full of strength. Before us stands a lively, sparkling intellect, an immense, untamed desire for freedom. Aesop is beautiful, beautiful in his intellect, in his fierce aspiration. It is enough for Aesop to utter a word — and the audience's attention is entirely focused on him. In rags, humiliated and oppressed, he never ceases to be a human being, so much so that even Xanthus, embodying all that is inert, dark, and hypocritical, cannot help but acknowledge the great strength of this spirit.
V. S. Bondarenko, A. N. Zarnitskaya
The abilities of Tamara Alexandrovna Varnavskikh, who has been working in the ensemble for five years, were most fully revealed in the last two performances — Elena in "The Merchants," and Yulia Tugina in "The Last Victim."
The oldest actor in Kyrgyzstan Evgeny Venediktovich Zhenin (Tomenko-Tomitsky) is well known to the audience. Every appearance on stage, even in a minor role, is met with unwavering success. The seasoned veteran of the theater has spent sixty years on stage. "Uncle Zhenya" is always ready to help the younger generation with advice; his sharp eye and constant intuition always come to the rescue in difficult moments.
The actors listed here, as well as A. M. Kramer, the Honored Artist of the Kirghiz SSR O. D. Dussan, actor G. G. Karkotsky, Honored Artist of the Kirghiz SSR V. S. Officers, Honored Artist of the Yakut ASSR E. P. Stolypina, actors T. P. Artamonova, G. L. Ilyicheva, V. P. Sobolev, K. V. Kozmenko, S. K. Kocheyev, and others formed the leading core of the troupe.
