Mochalov Pavel Stepanovich, actor of the Maly Theater: biography, creativity

Pavel Stepanovich Mochalov, whose biography is the subject of this review, is the largest representative of the romantic trend in the Russian theater art of the first half of the 19th century. His creativity and mastery of reincarnation made a strong impression on his contemporaries and largely determined the development of the romantic direction at the specified time.

Biography

Mochalov Pavel Stepanovich was born in the family of serf artists in Moscow in 1800. His parents played in the home theater of N. Demidov, then his father began performing at the Moscow Theater, whose troupe, after a while, became a member of the Imperial Theaters group. The latter circumstance contributed to the fact that six years later the family was redeemed and received a free one. The future famous actor received a good education, studying in a private boarding house, he also studied French. He had a good memory since childhood. According to the memoirs of his daughter, Mochalov Pavel Stepanovich studied for a while at Moscow University, but he was not listed in the lists of students.

Carier start

He began to play since 1817 at the Mokhovaya Theater, but then the Maly Theater stage became his permanent stage. The end of the 1830s became decisive in the life of the actor, as it was at this time that he played his crowning role of Hamlet, the significance of which was immortalized by VG Belinsky in his famous article devoted to the analysis of the play of the artist. But already in the mid-1840s Mochalov Pavel Stepanovich was unclaimed in connection with the change of direction in culture. In place of romanticism came realism, in which the impulsive emotional game of the artist was out of place. The artist died in 1848 from a cold in Moscow.

Features of the game

It has already been said above that the flowering of the stage activities of the artist fell on the epoch of romanticism. In accordance with this direction, the actor's game was built. Mochalov Pavel Stepanovich built his game on the contrasts, which led the audience into emotional delight. He created sharp transitions from violent emotional explosions to the so-called "Mochalov minutes", in which he sharply interrupted speech, after which he again began to pronounce his cues, which led spectators to delight with such an unexpected and spectacular change. Mochalov Pavel Stepanovich played mainly in the romantic repertoire, although at the beginning of his creative career he paid tribute to classicism, having played several roles from ancient tragedies.

Images

The actor created on the stage a number of heroes-singles, rebels by nature, who confront society and challenge social and moral vices. Mochalov (actor) embodied on stage people with strong characters and passions. For example, he played Georges de Germani on the play "Life of the player", where he showed a man who spent his entire life in the game. This character is completely absorbed by her and is no longer able to stop. At the same time he plays Hamlet for the first time, but has not yet achieved the triumph that will come to him in a decade. However, already at this time, the main principles of his acting are outlined: the image of rebellion, protest, the hero's rejection of injustice, lies and deception. According to the memoirs of contemporaries, Pavel Stepanovich Mochalov (1800-1848) himself interpreted his images and roles, commensurating them with his temperament.

The top of creativity

The most important and best role of the actor is the role of Shakespeare's Hamlet in a new translation, carried out by NA Polev. This image fully corresponded to the creative principles and settings of the actor, as well as his temperament. In addition, it was this character that best expressed the rebellious principle that attracted him so much. This work, as mentioned above, is devoted to a special article by Belinsky. According to the critic, Mochalov with extraordinary energy conveyed the dramatic story of the Danish prince.

It should be said that it was the Maly Theater that became the place that glorified the artist. Another important work was the role of Chatsky. This was a real event in the cultural life of Moscow. According to the memoirs of his contemporaries, the actor played this hero as a lone rebel, who challenged the entire FAMUS society. He uttered the final phrase with contempt, as if defying the conservative circles of the modern environment.

Other jobs

The roles of the artist were multifaceted, but they are all united by one characteristic common feature: a picture of a protest, rebellious beginning in a person who alone opposes the whole of society. It was in this spirit that Mochalov embodied other iconic Shakespearean images: Othello, Richard III, and others. It was in these games that the actor could more than ever display his multifaceted character and talent as an outstanding master of reincarnation. He was also interested in other historical figures. Thus, he appeared in the image of Don Carlos, the main character of the play of F. Schiller of the same name. The rebellious spirit of the works of this famous playwright perfectly corresponded to the nature of the artist. He also played a major role in the author's most famous play The Robbers. This work has a frankly rebellious character, so Mochalov's speeches produced a revolutionary impression.

The work of the poets also attracted the famous actor: he played Aleko in the production of the play "Gypsies", as well as in the play based on the poem "The Fountain of Bakhchisarai". From the above repertoire it can be seen that the actor was primarily interested in romantic roles. The news is that he really wanted to play the main role in the Lermontov drama "Masquerade," but because of the loud and noisy popularity caused by the rebellious spirit, the performance never took place, did not allow censorship.

Reasons for success

The secret of the phenomenal popularity of the actor's work is their relevance and harmony of time. The fact is that Mochalov adapted the plots of the plays to the demands and aspirations of the people of his era and his circle. In the 1820s and 1840s, rebellious ideas and protest against social Russian reality were in vogue among young people and educated circles, so Mochalov's emotional, in some cases even audacious attacks by Mochalov came to a place and by the time. The artist, in addition to talent, also had an amazing ability to catch the interests of the public, which was waiting for the image of strong dramatic personalities. In each image, the artist, in fact, played contemporaries, in the most diverse characters the audience literally recognized themselves. Such an arrangement was consistent with the temperament of Mochalov himself, who could not play simple people from the crowd with their everyday interests and worries. He was interested in strong and bright personalities, reincarnation in which always found its audience in the first half of the 19th century. Small theater is often recalled in literature precisely in connection with his work.