82 Zuzana Spodniaková 83 European Journal of Media, Art & Photography Media / Art / Culture Vladimir Vysotsky: A Hamlet with a Guitar instead of a Sword
It has been four hundred Understanding Hamlet means un- of the 1970s. He has inspired and Zuzana Spodniaková and fifteen years since William derstanding the era. (...)3 influenced a number of Hamlet gen- Shakespeare (1564 – 1616), English Hamlet became a witness of his erations to come, even beyond the so playwright and poet, wrote one time in one of the most important borders of the time. Vladimir Vy tsky: A Hamlet with of the world’s most brilliant works productions of the second half of Vysotsky who performed Hamlet of dramatic literature at the turn the 20th century4 of the Moscow two hundred and twenty-one times ns of 1603 –1604, which is among the Theatre of Drama and Comedy in nine seasons, became one with a Guitar i tead of a Sword most staged and most translated on Taganka Square, with Vladimir him and slipped into the character: theatre pieces in Western culture. Vysotsky (1938 – 1980), foremost “Sometimes, it seems that it is not For over four centuries, the story Russian actor, poet, and performer the actor rendering Hamlet, but of the Prince of Denmark has been of his own songs,5 in the lead role. rather the Prince of Denmark is be- shedding light on changes and de- Though loved both as a man and an ing reincarnated in Vysotsky – actor, velopments in the theatre, in the artist by the people, he was banned poet, menestrel.”8 In the history of Abstract approach of its creators to its inter- and stifled by the leaders of the rul- the theatre, such an intense connec- The study focuses on the re-enactment pretation and to staging concepts, ing political regime, because in his tion between the actor and his role of the acting interpretation of the role its reception by viewers or critics, creation he would speak the truth which merged into a single soul and of Hamlet based on the eponymous whilst alerting to the transformation about the regime, and in his lifetime, body, with the bond persisting even tragedy of William Shakespeare, as of both society and the values of he was considered a symbol of the off stage, has perhaps not been wit- rendered by Vladimir Semyonovich Western culture. “Shakespeare’s era, a “singing nerve of an era.”6 The nessed and, therefore, it deserves Vysotsky (1938 – 1940), Russian actor, play Hamlet is what the audience, staging of Hamlet “has always been our attention today. poet, and performer of his own songs, critique, publishers, translators, a barometer of Soviet society”7, and Lyubimov’s production was pre- staged by the Moscow Theatre of readers have made of it. There are the theatre’s chief director and artis- miered on 29 November 1971. It was Drama and Comedy on Taganka Square. The role is portrayed as what the tens, hundreds, thousands of Ham- tic director Yuri Lyubimov was well a theatrical and social event and the 1 history of the theatre reckons to be an lets...” Over time, the main hero’s aware of what Vysotsky as Hamlet fact that Hamlet was to be rendered the generations of other performers character has been transformed into would mean to the Soviet audience by Vysotsky had been long spoken extraordinary inherent linkage between of Hamlet who, through theatre art, a symbol of his time. In his produc- of.9 He was cast in the role after the actor-poet and his role to which have reflected the transformations of tion,2 contemporary Russian director seven years of performing with the he was transfigured in his perception Western culture for over four centuries. of society, even off stage. The study Yuri Butusov had the actors (includ- Taganka Theatre. For years, Vysot- 3 BUTUSOV, Y. In ABAKSHONOK, reflects on this merging in the light Key words ing the actress) alternate in the role sky had been pleading Lyubimov to of the artist’s personal relationship N., TSAREVSKAYA, E. (eds.): Zolotaya maska. William Shakespeare, Hamlet, Vladimir of Hamlet. He claims that “Hamlet Rossiyskaya nacionalnaya teatralnaya premiya stage Hamlet with him in the title with his role, through his own quest Semyonovich Vysotsky, Yuri Lyubimov, has long been a myth, not a human i festival. 25. [Festival programme booklet ]. role. However, the stage director for Shakespeare’s interpretation in Moskva : Zolotaya maska. Rossiyskaya nacionalnaya the Moscow Theatre of Drama and being. It is a spiritual substance, void teatralnaya premiya i festival, 2019, p. 45. was reluctant to list the play in the collaboration with the director, down to Comedy on Taganka Square, the Soviet of age or sex, of no weight or scent. 4 In 1977, the production was awarded repertory as he was unable “to see” the final stage form of the production Grand Prix de la critique for the best foreign era He is among the main protagonists Vysotsky in the lead role. Unless and its period meaning in artistic and performance at the Paris Festival d’Automne. historical-social contexts. The study of the world culture, an eternal 5 In 1976, Vysotsky was awarded Grand thinker, an eternal victim – Hamlet Prix at The Belgrade International Theatre Festival provides an overview of numerous BITEF, for his rendition of Hamlet and in 1980, he testimonies of the then critics and of will remain a mystery forever. He was also awarded a prize at the Theatre Encounters Festival in Warsaw. the opinions of theatre scientists and is the one who challenges the era. 8 LYUBOMUDROV, M.: Princ Gamlet 6 YEVTUSHENKO, Y.: Poyushchiy i starshina Fedot Vaskov. In Vecherniy Leningrad, theoreticians reflecting on Vysotsky’s nerv nashey epokhi. In SAFRONOV, A. (ed.): 6 July 1972. Cit. according to KUZNETSOVA, acting. It highlights innovative trends Vospominaniya Vladimira Vysotskogo. Moskva : E.: Vysotsky v teatralnoy kritike. In KRYLOV, A., Sovetskaya Rossiya, 1989, p. 356. in acting and directorial approach SHCHERBAKOVA, V. (eds.): Mir Vysotskogo: 7 TUROVSKAYA, M.: Hamlet: la mort Issledovaniya i materialy. Moskva : GKCM V. S. which tied into the traditions of the 1 BŽOCHOVÁ-WILD, J.: Malé dejiny est là, elle est à l‘oeuvre. In PICON-VALLIN, B. Vysotskogo, 2000, p. 86. 20th century Russian school of acting Hamleta. [A Short History of Hamlet]. Bratislava : (ed.): Lioubimov. La Taganka. Paris : CNRS Éditions, 9 The premiere commenced with a fifty- Slovenské národné divadlo a SLOVART, spol. s. r. o., 1997, p. 324. Cit. according to LINDOVSKÁ, N.: minute delay, after bringing order in the auditorium, while modernising them with their own 2007, p. 13. Príbeh režiséra, príbeh Taganky, príbeh divadla a as the number of theatre-goers had by far exceeded artistic methods. They have affected 2 Teatr im. Lensoveta (Lensoviet Theatre), spoločnosti... In Slovenské divadlo, 1999, Vol. 47, No. the theatre seating capacity, despite that, many Petersburg, premiered on 22 December 2017. 1, p. 100. prospective visitors refused to leave. » 84 Zuzana Spodniaková 85 European Journal of Media, Art & Photography Media / Art / Culture Vladimir Vysotsky: A Hamlet with a Guitar instead of a Sword
the stage director was able “to see” theatre as a largely comic actor – in- of the play. Vysotsky prepared for al principles and theatre aesthetics be performed by an actor known as an actor in a role, he would not be itially, I performed comic roles and his role seriously. He would study – Hamlet “was put on, or, perhaps a man with the guitar, as someone cast in it. While Stanislavsky used sang all sorts of humorous songs materials about Shakespeare and more accurately, regained the na- who writes verses and sings himself, to tell the actors “ne veryu” (“I don’t with the guitar, because it’s possible Elizabethan theatre and he had ture of town squares.”17 Vysotsky so he’d already be the vehicle of an believe”), Lyubimov, for a change, in our theatre – was suddenly cast a great number of books covering went further in these traditions. It image.”21 The poet’s identity was an would say “ne vizhu” (“I don’t see”). in the roles of Galileo and Hamlet. I the topic housed in his private li- is through the connection between integral part of his being “in the very Eventually, Lyubimov reached don’t think I managed it all at once, brary. His goal was to render what Shakespeare and street and square psychology of his being, he is a poet. out for Hamlet because the State but rather by the director watching he believed to be “the best role of theatre that theatrologist Natalya It is a trait of his human nature.”22 He Department of Culture did not me for a long time to see whether world drama”15 as brilliantly as no Krymova deliberates the reason was “a poet born out of theatre” 23 approve of his idea to stage a com- or not I could make it. There seem one else could: “I volunteered for for casting Vysotsky, “the author of and, at the same time, an actor born position of several of Shakespeare’s to be two reasons for this. For Yuri the role myself. I had wanted to play market vaudevilles,”18 in the role of out of poetry. A year after the pre- plays. By that time, Vysotsky had Lyubimov, the actor’s talent isn’t the it for long, I’ve seen almost all of our Hamlet, thereby linking up with her miere, he wrote his own poem Moy gained experience and he demon- most important thing, although the Hamlets. To play him not just differ- hypothesis of Vysotsky as the vehi- Gamlet [My Hamlet, 1972], which he strated a wide range of expressive actor’s talent is important, too, but, ently from others, but (what I be- cle of skomorokh heritage.19 never set to music for his feeling of means of acting, he asserted himself above all, he’s interested in human lieved then) as Shakespeare would At the same time, by staging reverence. as a distinctive artistic personality, personality,”13 because: “In our the- want him to be rendered. Appar- Shakespeare’s tragedy, the Taganka The production turned into a popular and controversial actor atre, an actor’s personality is more ently, every actor would be thinking Theatre continued the dramaturgic a meeting place of three great poets and poet, thereby offering suitable important than the role: an individu- the same way. (...) I think, I’ve found line of drama productions, but also – the author William Shakespeare, material for the portrayal of a con- al who performs is more intriguing, the necessary thought turning of poetic theatre: “The tragedy of the translator Boris Pasternak, and temporary Shakespearian hero. The that is, what he wishes to say, what William Shakespeare: Hamlet. Vladimir Vysotsky. point. The Hamlets I’ve seen, and Shakespeare, which was not common the main character rendered by Direction governing bodies contested his cast he comes up with – he’s not just an Yuri Lyubimov. The you could’ve seen, the whole per- on domestic scene, sounded in the Vladimir Vysotsky who, during the Five-year Plan House of Culture in Leningrad. The and argued that Vysotsky was “an actor who’s put on a role like a cos- Taganka Theatre tour, June formance, looked for the evidence power of the poetic word. The rhyme performance and in line with Lyubi- outlaw, not a prince.”10 Lyubimov tume.”14 1972. Photo by Alexandra Ukladnikova. Oleg Vasin of Claudius’ guilt, in order to kill and the stanza proved equally impor- mov’s “school of acting” became its archives. defended his choice: “I’ve cast Vy- The rehearsal process full of him, but they only found an excuse tant to the director as the general author: “Rather than reciting verses sotsky in the role of Hamlet. He’s explorations and challenging ex- for themselves and their revenge. conceptual intention. It goes without written more than three and a half a very earthly, humane actor. He’s periments took almost a year (the What I’m looking for, though, is an saying that only a poet must be a centuries ago, the actor seemed to all flesh and blood, right from the first stage rehearsal took place on 11 evidence of the king’s innocence. I hero of poetry theatre.”20 And it was be reciting verses he composed... street. He’s popularity is far-reach- January 1971). They kept on rehears- keep laying snares in the hope I’d the real poet Vysotsky who became here and now, in the very process of ing: from the physicists of Dubna ing for six hours a day. For example, get convinced of his innocence, of the poet on stage: “Therefore, when the play.”24 By doing so, he delivered research centre to vagrants. Which there were twenty-two variants of him not killing my father.”16 I started rehearsing, it had already means that his acting must appeal to the scene with the ghost of Hamlet’s Lyubimov staged the tragedy as been assumed that Hamlet would something in people’s inside...”11 father. Lyubimov made several mod- another modern parable of human- In Vysotsky’s acting biogra- ifications to the text – for example, ism. He followed the inspirations of 21 VYSOTSKY, V.: Dlya pesen net granits. phy this was only his second lead he deleted the crowd scenes and street and square theatre with pan- [An interview for the French broadcasting of the All- role, after Brecht’s Galileo Galilei Fortinbras was removed at the end tomime and humorous interludes Union Radio]. November 1977. In Muzykalnaya zhizn. 1986, No. 24. Cit. according to TOKÁR, M. (ed. and 12 17 ABELIUK, E., LEENSON, E.: Taganka: in Zhizn´ Galileya [Life of Galileo] : inherently contained in his directori- Lichnoye delo odnogo teatra. Moskva : Novoye transl.): Taký bol Vysockij. Bratislava : Obzor 1990. p. 51. “Somehow, it turned out that some- literaturnoye obozreniye, 2007, p. 91. 22 NOVIKOV, V. (doctor of philology, 18 KRYMOVA, N.: O Vysotskom. In Avrora. literary critic, prose writer, author of works on one who had been engaged in the 1981, No. 8. Cit. according to KRYMOVA, N.: Imena. Vladimir Vysotsky): Sound recording of an interview 13 VYSOTSKY, V.: A TV interview of 1972 – 1986. Vol. 2. Moskva : Trilistnik, 2005, p. 250. with Vladimir Ivanovich Novikov by Zuzana the programme head Mati Talvik with the author. 15 VYSOTSKY V.: A TV interview. Moscow, 19 Skomorokhs were Russian medieval Spodniaková (authoress) [MP3]. Recorded on 6 June Recorded on 18 May 1975. Tallin: Estonian television 1975. (Vladimir Vysotsky: Sofia – Moscow, 6-Disc roaming actors, singers, dancers, and musicians, 2017. Moscow : The private archives of the authoress. studio, 1975. (Vladimir Vysotsky: Tallin – Moscow, Edition). [DVD]. Moskva : Bomba Miuzik, 2005. authors of narrative, music and drama pieces, which 23 KRYMOVA, N.: O Vysotskom. In Avrora. 6-Disc Edition). [DVD]. Moskva : Bomba Miuzik, 2006. 10 MIKHALOVA, E.: V granitsakh krasnogo 16 VYSOTSKY, V.: Dlya pesen net granits. they personally performed. They gave performances 1981, No. 8. Cit. according to KRYMOVA, N. 2005. Imena. 14 VYSOTSKY, V.: Dlya pesen net granits. kvadrata. Mokva : Izdatelskiy Dom Rodionova, 2007, p. 157. [An interview for the French broadcasting of the All- in streets and town squares, and they were in 1972 – 1986. Vol. 2. Moskva : Trilistnik, 2005, p. 254. [An interview for the French broadcasting of the All- Union Radio]. November 1977. In Muzykalnaya zhizn. constant interaction with the audiences which they 24 KRECHETOVA, R.: Vladimir Vysotsky. 11 SMEKHOV, V.: Zolotoy vek Taganki Union Radio]. November 1977. In Muzykalnaya zhizn. 1986, No. 24. Cit. according to TOKÁR, M. (ed. and engaged in their performances. In Teatr. 2005, No., 1. Cit. According to ABELIUK, E., (vosem vecherov). Mosckva : Staroye kino, 2012, p. 81. 1986, No. 24. Cit. according to TOKÁR, M. (ed. and transl.): Taký bol Vysockij. Bratislava : Obzor, 1990. p. 20 MIKHALOVA, E.: V granitsakh krasnogo LEENSON, E.: Lichnoye delo odnogo teatra. Moskva 12 Direction Yuri Lyubimov, premiered on transl.): Taký bol Vysockij. Bratislava : Obzor 1990. p. 51-52. kvadrata. Moskva : Izdatelskiy Dom Rodionova, 2007, p. 163. : Novoye literaturnoye obozreniye, 2007, p. 84. 17 May 1966. 51. » 86 Zuzana Spodniaková 87 European Journal of Media, Art & Photography Media / Art / Culture Vladimir Vysotsky: A Hamlet with a Guitar instead of a Sword
on what Krymova believed to be young man was born to love and wings of bricks, as if being addition- a sword stuck in the ground and tied sword nearby, to demonstrate that “crucial” in Hamlet’s staging tradi- sing, but he must fight back and give al smaller crosses protruding from them around their wrists as a token the guitar was his sword. tion, i.e. “whether Hamlet remains out blows.”29 Although he knows his the ground somewhere in the dis- of mourning for the dead king. Ho- A modern image of Hamlet a purely theatrical character, or he end in the struggle for truth and the tance. Vysotsky sat beneath it – on ratio, Ophelia, Polonius, Laertes, amazed the audiences and Lyubi- genuinely expresses the spirit of his spiritual values of life, he kept fight- his “Golgotha”32 (Stanislavsky33 also Rosencrantz, and Guildenstern fol- mov’s concept triggered a variety of nation and his time.”25 ing during every performance until referred to the Danish royal court as lowed suit. In the spirit of Vakhtan- opinions – he was regarded as “one Unlike previous poetry theatres he perished in “the military way.”30 Hamlet’s “Golgotha”). He was sing- gov’s early productions when actors of the main achievements of the on Taganka Square, Hamlet was not At the beginning of each perfor- ing and strumming the guitar while slipped into their characters right production”38 and also as a decline about the fate of several poets or mance he would speak up for him- the audience kept streaming in. before the audience, the actors in- belittling the “noble beginning” due about one poet rendered by several self as Vysotsky, poet and performer Hamlet, rendered by Vasily Kachal- troduced themselves in the opening to which “the viewer does not see a actors, such as, for instance, five of his own songs, while leaning ov, in the opening scene of the pro- act of Hamlet and announced they ‘great thinker’ but rather a ‘variety characters of the poet Mayakovsky against the rear wall of the backdrop duction Hamlet directed by the Eng- would play the tragedy of life and show bard’.”39 in the production Poslushayte! of white bricks. The stage designer lish theatre maker Edward Gordon death. On his way from the Cross of [Listen!].26 This time, several poets of Hamlet, David Borovsky-Brodsky, Craig (1911) at the Moscow Art Thea- Vysotsky got up and walked Golgotha to the excavated grave became one – Vysotsky. The poetic referred to the denuded backdrop tre sixty years ago, also experienced toward the proscenium, to sing the on the proscenium Vysotsky, sim- concept also contained a reference wall on Taganka as “the seagull of his own prologue. Unlike Vysotsky, poem Hamlet from Pasternak’s Dok- ilarly to Jesus Christ, set out on to the then top poetry theatre the Taganka Theatre,”31 since (apart he would be seated in front “by tor Zhivago [Doctor Zhivago].35 In a journey between life and death, on Taganka Pavshie i zhivye [The from the very first season when it a stone palace balustrade, immersed the prologue he introduced the au- to fulfil his father’s wish (at the time Fallen and the Living]27 about the alerted the general public to a lack in his gloomy thoughts and flashing dience to the story that followed the Hamlet was premiered, Vysotsky fates of the poets who perished in of funding the theatre had to strug- back on the foolish, debauched, spirit of the theatre of the streets was thirty-three years of age, i.e., he war, however, this time, the war was gle with) it had always been inclined meaningless luxury of his life at the and squares of Shakespeare and was the age of Jesus). For the last waged amidst family and friends. to represent the artistic and ethical court of the hated king.”34 Lyubimov: “it starts off the way drift- time, uttering Pasternak’s verses, In it, there was only one “fallen and direction of the Taganka Theatre After the spectators took their ers and comedians would start off.”36 he requested the task assigned be alive” poet fighting. Being “alive” toward portraying the truth, while seats, a live white rooster crowed The poem was not a depersonalised withdrawn from him: “If only it is made him sad as he had survived digressing from the creation of in the upper left window of the por- address of an actor to the viewers. It possible, Abba, Father/May this cup and was bound to fight as a grieving a realistic setting of productions tal and grave diggers with shovels was a confession of man, an “actor,” be carried past me.” He knows he survivor in a war of ordinariness in and accentuating the rejection of entered the stage, acting as clowns who had to deliver the role assigned cannot escape his fate: “But the plan which he was drafted rather than film illusion and actual reality, much (along with Polonius, Osric, and a to him by the stage director on the of action is determined/and the end making it a choice of his own: “I do like the seagull on the curtain of the group of actors). They began dig- grand stage of life, where death irrevocably sealed.”40 my utmost to prevent blood from Moscow Art Theatre designed by ging into real ground to recover the always lurks. The banned bard Vy- According to the witnesses, the shedding.”28 – “Vysotsky renders a Feodor Shekhtel which epitomised skull of Yorick (which was also part sotsky sang the verses of the then opening part drew the audience into young man at war, a drama of youth the theatre’s creative principles. of the buffoonery). The King and the prohibited novel he set to music,37 the atmosphere of the tragedy and brought to sacrifice. This glamorous In Hamlet “the seagull” carried Queen came out and approached standing over a grave with a big the weight of a gigantic wooden the grave to remove black-and-red cross, equivalent to the almost its mourning straps from the handle of entire width. Beneath it, big metal 38 KHAYCHENKO, G.: Scena i vremya. 25 KRYMOVA, N.: O Vysotskom. In Avrora. swords leaned against its white In Znaniye. 1975, p. 120. Cit. according to 1981, No. 8. Cit. according to KRYMOVA, N: Imena. 35 The same poem had been recited by KUZNETSOVA, E.: Vysotsky v teatralnoy kritike. 1972 – 1986. Vol. 2. Moskva : Trilistnik, 2005, p. 250. Irina Kuznetsova in the performance Pavshie i zhivye In KRYLOV, A., SHCHERBAKOVA, V. (eds.): Mir 26 Direction Yuri Lyubimov, premiered on 32 The name was given to this part of the [The Fallen and the Living] on the Taganka Theatre Vysotskogo: Issledovanyja i materialy. Moskva : 16 May 1967. scene by Ella Mikhalova in her book, in the chapter stage six years earlier. GKCM V. S. Vysotskogo, 2000, p. 84. 27 Direction Yuri Lyubimov, premiered on on Hamlet: Gamlet. In V granitsakh krasnogo 36 KOZINTSEV, G.: Iz rabochikh tetradei: 39 KUZNETSOVA, E.: Vysotsky 4 November 1965. kvadrata. Moskva : Izdatelskiy Dom Rodionova, 2007, 1949 – 1973. Sobrannye. sochineniya: v pyati tomakh. v teatralnoy kritike. In KRYLOV, A., 29 GAYEVSKY, V.: O Gamlete. In NIKULIN, p. 156-163. 28 VYSOTSKY, V.: Dlya pesen net granits. 1983. Vol. 2, p. 387-388. Cit. according to ABELIUK, SHCHERBAKOVA, V. (eds.): Mir Vysotskogo: S. (ed.): Vysotsky na Taganke. Moskva : Soyuzteatr, 33 STANISLAVSKY, K.: 1954. Môj život E., LEENSON, E.: Taganka: Lichnoe delo odnogo Issledovaniya i materialy. Moskva : GKCM V. S. [An interview for the French broadcasting of the 1988. p. 55-56. All-Union Radio]. November 1977. In Muzykalnaya v umení [/My Life in Art/Moya zhizn v iskusstve]. teatra. Moskva : Novoye literaturnoye obozreniye, Vysotskogo, 2000, p. 84. zhizn. 1986, No. 24. Cit. according to TOKÁR, M. (ed. 30 MIKHALOVA, E. V granitsakh krasnogo Bratislava : Vydavateľstvo krásnej literatúry, 1954, p. 2007, p. 108. 40 PASTERNAK, B.: Doktor Zhivago. and transl.): Taký bol Vysockij. [This was Vysotsky]. kvadrata. Moskva : Izdatelskiy Dom Rodionova, 2007, p. 162. 495. 37 The author of the music was Yuri Translation Zora Jesenská – Laco Novomeský. Bratislava : Obzor 1990, p. 53. 31 Ibid, p. 40. 34 Ibid, p. 493. Markovich Butsko. Bratislava : Tatran, 1969, p. 496. » 88 Zuzana Spodniaková 89 European Journal of Media, Art & Photography Media / Art / Culture Vladimir Vysotsky: A Hamlet with a Guitar instead of a Sword
foreshadowed its fatality: “The pro- Theatre, the king and the queen left, as well as back and forth. The It was “a huge shapeless force.”48 tain follows me again, it pushes me duction started off at an emotional had no descriptive crowns. The curtain facilitated the connection It was scheming and physically ma- past the wings, with them resuming elevation that is usually put to use costumes of all actors were made between the backstage and the nipulating the characters, it could their dialogue. And, again [ Ham- in the finale of a drama play. Vysot- of modern material, of wool. Ham- stage, to break it up and to develop determine the direction of their let – authoress’ note] returns and in sky’s voice, picking up strength and let was dressed up in a black wool parallel events as in a movie. The movement and throw them off their a resolute and straightforward way power from stanza to stanza, set the sweater42 and a pair of black cordu- curtain changed the space of the feet, which is seen in the prologue – it is brilliantly solved there – sud- bottom, the ‘start-off’ limit of the roy jeans. Gertrude and Claudius story and it was a proxy for a variety after the declamation of Pasternak’s denly, Hamlet becomes very rational tragedy, which from this very minute were clad in white (they were not in of sets (for example, one could sit poem and also in the epilogue when and his speech becomes straight- will continue to tamelessly rise to its mourning), the others were dressed on it like on a throne). David Bor- its “deadly flight”49 off the stage forward. And then [in the third climax.”41 in earthy brown. Wool as a costume ovsky-Brodsky thus introduced the swept away the dead bodies “as if monologue – authoress’ note] he Side by side, life and death were material was a mediator between first tangible curtain to the Taganka flipping through the page of human loses control and goes flat out and present on the stage all the time. the past and the present, a transi- Theatre, which became the domi- existence.”50 in an almost agitated state of mind, Throughout the tragedy, the grave tion from the past to the present. nating element of the production Before the monologue “To be, as if incidentally, commits man- diggers kept walking up and down Lyubimov decided to put a mod- and its emblem. He found an ideal or not to be…”51 takes place, Ham- slaughter.”52 During the third mon- the stage, carrying a chest of old ern Hamlet on stage – “a Hamlet paravent Spanish wall that Craig had let stands behind the curtain and ologue he did not distance himself wooden boards. The open grave of the nuclear age”43, a loner with been looking for in vain at the Mos- listens to the king and queen’s from the character. He would say: was there waiting for anyone, but at an uncovered neck (voice), while cow Art Theatre. conversation with Rosencrantz, Guil- “Sometimes, I feel I won’t be able the same time, the coffin served as others had their necks covered in At its metaphoric core, the cur- denstern, and their suite, discussing to declaim the entire text, I won’t an ordinary bench. The directorial turtleneck sweaters. Vysotsky’s tain on the stage was a distinct char- how to get rid of him. Hamlet seems be strong enough.”53 He would not concept translated into the work of sword-guitar no longer appeared acter that shaped the story. It never to be pushing it before him; he stop repeating it even when the actors reflected two artistic levels, throughout the performance. Ham- took anyone’s side, it lived “a life points his hand at the curtain, while monologue was over “to make it i.e. the stylized (outer – the actor’s let’s, i.e. Vysotsky’s, throat became of its own.”45 The theatre and film asking “To be, or not to be?” He clear that I’m tantalised by it all the body) and the realistic (inner – the an autonomous musical instrument. scientist and theatre critic Tatyana would start the monologue three time.”54 When the monologue was actor’s emotions) ones. The same Struggling with the “scum of Bachelis, capitalised the word in her times (only to finish it the third time) repeated for a third time, he would principle applied to the stage de- hypocrisy in the rotten State of Den- study Gamlet – Vysotsky [Hamlet and each time, it was started differ- come to the proscenium to switch sign. All elements and materials had mark“ illuminated by “Rembrandte- – Vysotsky]. In her opinion, as the ently: “I start declaiming him as if he from a monologue to a dialogue with their realistic, but also metaphorical, an chiaroscuro effects,” 44 Hamlet story evolved, the curtain played the [Hamlet – authoress’ note] had been the viewers, while looking into their symbolic meaning. Real clay was the was challenged, metaphorically and role of “History, Tragedy, Destiny, long trying to resolve the question eyes and pointing his finger at the ground to cover the grave, but it physically, with the curtain having Faith, and Death.”46 Paradoxical- “To be, or not to be...” (...) The cur- grave on the proscenium in token of also epitomised dust that one would the colour of earth, of scum, the size ly, its softness and pliability aptly his “fallacious belief, as he would be turn into after death, and at the same of 9 x 5.5 metre, made of a coarse captured a hardy character – “anon- thinking of a murder all the time.”55 time, a life-bearing force from which undyed woollen fabric, which could ymous and indifferent. (...) It was every living entity could grow again. move across the stage from right to impossible to destroy or break it,”47 48 BACHELIS, T.: Gamlet – Vysotsky. In A live rooster stood in contrast to the no matter what forces were exerted. FROLOV, V. V. (ed.): Voprosy teatra 11. Moskva : grave. The materials were not theat- Vserossiyskoye teatralnoye obshchestvo, 1987, p. 128. 52 VYSOTSKY, V.: [A videorecording by Yuri Drozdov for Warren Beatty, American, actor, rical or overly pompous, but rather 49 KRYMOVA, N.: O Vysotskom. In Avrora. 1981, No. 8. Cit. according to KRYMOVA, N. 2005. Imena. producer, scriptwriter, and director]. Moskva : genuine – wood, metal, wool – much 1972 – 1986. Vol. 2. Moskva : Trilistnik, 2005, p. 251. Fakultet zhurnalistiky MGU. (Vladimir Vysotsky. 42 Allegedly, Vysotsky had four such Grozny – Moscow, 6-Disc Edition). [DVD]. Moskva : like what mankind has been using 50 BEREZKIN, V.: Chudozhniki Bomba Miuzik, 2006. sweaters, which he kept changing during the v postanovkach Shekspira. In Shekspirovksiye since time immemorial. performance, as he was too hot in them and had to 45 BACHELIS, T.: Gamlet – Vysotsky. chteniya. 1978. Moskva : Nauka, 1981. p. 273. Cit. 53 SIDORINA, S. (ed.): Yuri Lyubimov: 80 As was customary at the Taganka change them several times. In FROLOV, V. (ed.): Voprosy teatra 11. Moskva : accoding to ABELIUK, E., LEENSON, E.: Taganka: let v mirovom stsenicheskom iskusstve. Moskva : Tri 43 MARTÍNEK, K.: Mistr divadelní magie. Vserossiyskoye teatralnoye obshchestvo, 1987, p. 127. Lichnoe delo odnogo teatra. Moskva : Novoye kvadrata, 2014, p. 192. Příspěvek k portrétu režiséra Jurije Petroviče 46 Ibid. literaturnoye obozreniye, 2007, p. 95. 54 Ibid. Ljubimova. [The Master of Modern Magic. On the 47 BEREZKIN, V.: Chudozhniki 51 SHAKESPEARE, W.: Hamlet. Transla- 55 VYSOTSKY, V.: [A videorecording by Portrait of Stage Director Yuri Lyubimov]. Praha : v postanovkach Shekspira In Shekspirovskiye tion. Jozef Kot. Bratislava : HEVI, 1994, p. 68. [online]. Yuri Drozdov for Warren Beatty, American, actor, Divadelní ústav, 1980, p. 26. chteniya. 1978. Moskva : Nauka, 1981, p. 273. Cit. Available at:
For Vysotsky’s Hamlet, the perceives the breaks and cracks never lived it. The essence of Ham- notwithstanding, as he said at the who despised the earthly world and “Sure, he that made us with such question “To be, or not to be…” is of the times, a leader who builds a let’s interpretation – identical to the beginning: “I want to perform my chose “not to be”). However, he is large discourse, not “a philosophical quandary. In his path at the cost of his own life.”59 essence of the actor-poet Vysotsky role again.” His knowledge is accom- not afraid of physical death: “The Looking before and after, gave us mouth, it does not sound like a ques- Vysotsky’s Hamlet set up a mirror – was dialogism. panied by fear: “… regardless of his death of his soul tantalised his rea- not tion, but rather like a scream having to an era whose rules he was reluc- In his interpretation it was very knowledge and, more accurately, son and heart. To be or not to be, if That capability and godlike reason a common intonation: How to be?”56 tant to play by, but he still wanted important that he was “a hero who largely thanks to it, he is more fear- you are forced to play by the dirty To fust in us unused. Hamlet does not ask “To be, or not to live freely: “Our Hamlet is, above knows everything.”63 Apart from ful than other Hamlets of making a and godless rules of time? (...) To live What is a man to be?”, but rather “to take action, all, a man. A man who was brought knowing his fate, he also knew who mistake.”66 by the different rules of the universe If his chief good and market of his or to run away, to fight, or to flee the up in cruel times. But he was also killed his father. The encounter with Instead of a monologue “To be, was the destiny of Hamlet”70 “dying time battlefield?”57 According to Bachelis, a student, much smarter than all his father’s ghost only solidified his or not to be” which was “sidelined”67 for the redemption of sins”71 in the Be but to sleep and feed? A beast, he does not address the problem of his peers. He was prepared for the belief, which is evidenced by his in Lyubimov’s directorial interpre- finale. At the very end of the play no more.”72 being and non-being with respect to throne, he was to run the state. The affirmatory head-nodding when the tation, the idea crucial to Hamlet Hamlet dies by the white wall on himself, but rather with respect to throne, however, was seized by a murderer’s identity was disclosed to was uttered in a conversation with the backdrop, at his Golgotha, from In his acting, Vysotsky linked mankind. Theatre and literary critic king killer. Hamlet is all set on re- him. An inconspicuous line, which is the Ghost: “Raspalas svyaz vremen“ where he set out on his way of the up two schools of acting – the Vadim Gayevsky regards the three venge, but he is opposed to murder, not usually of great significance: “O, (“The time is out of joint”68), because cross. He utters his last words: “Dal- School-studio of the Moscow Art times and ever more ferociously which torments him brutally.”60 The moyi prozreniya!” (“My premonition it is his lot to fix the time: “The time she – tishina.” (“And silence thereaf- Theatre and the “school” of the repeated “To be, or not to be” as the most difficult struggle was the one did not fail me!”64), was crucial for is out of joint: O cursed spite / That ter.”) Taganka Theatre under Lyubimov’s best acted scene of “incorrigible” with himself. Vysotsky’s Hamlet (Bachelis adds ever I was born to set it right!”69 An His recorded voice uttering Ham- stage direction. He demonstrated Hamlet, as “a monologue about life This “intellectual drama”61 that these “premonitions” were also emphasis put on this motif would, let’s words from Scene 4, Act 4 cuts his mastery of psychological ex- declaimed by the reader, a singular gushed out from the very essence highlighted by theatre scientist and contrary to what is usual, affect the through the “silence” (the sequence periencing: “It is was this mutual voice that school failed to correct of Vysotsky- an actor who had a kind Shakespeare expert, Alexei Barto- main monologue in Act 3 – “To be, or of lines is reversed), leaving a mes- bonding, the “radiation” of the and theatre was resentful of correct- of divided consciousness the whole shevich, in his first review of Hamlet not to be.” sage to progeny that the biggest of actor’s will that Stanislavsky may ing.”58 time. He had never been “a mere” staged by the Taganka Theatre). Vysotsky’s Hamlet accepts tragedies is a life without a purpose: have once dreamt of.”73 He linked up Theatre scientist Ella Mikhalyova actor in the productions of the Ta- Vysotsky upheld the importance death, although he knows that the the veracity of inner psychological also expresses her opinion on the ganka Theatre. When on stage, part of Hamlet’s premonitions: “Hamlet answer is “to be” and that to live is experiencing with stylisation. His rebelliousness of Vysotsky’s Hamlet, of his consciousness would never knows much more than all the other better than to die (unlike Kachalov entire organism constantly worked which she keeps mentioning even cease to contemplate, to philoso- Hamlets I’ve seen. He knows what with rich expressiveness, movement many years after: “He saw the im- phise about the questions asked. He will happen to him, what’s happen- plasticity, and a wide vocal range. possibility of changing the universe, did not just create an outer image ing to the country. He understands In his monologue “To be, or not to but reserved the right of a personal of the intellect like, for instance, that he has nowhere to flee from Bratislava : Obzor 1990, p. 51. be” Vysotsky “kept vigorously ro- 66 SHCHERBAKOV, K.: Gamlet: rebellion, personal redemption. He Innokentiy Smoktunovsky in the film his fateful end. He was bound to Tragediya Shekspira na stsene Teatra na Taganke. tating around his axis and upon the was a poet – one who matures ear- Hamlet,62 who only portrayed the live an era that was cruel.”65 That In Komsomolskaya Pravda. 26 December 1971, words “To be” he made an angry p. 198. Cit. according to KUZNETSOVA, E.: lier than others, who more painfully image of a wise man, but actually Vysotsky v teatralnoy kritike. In KRYLOV, A., gesture, as if driving a dagger in the SHCHERBAKOVA, V. (eds.): Mir Vysotskogo: ground. His eyes glowed with “To Issledovaniya i materialy. Moskva : GKCM V. S. 74 Vysotskogo, 2000, p. 88. be!” Bachelis gives the following 67 KUZNETSOVA, E.: Vysotsky 63 BACHELIS, T.: Gamlet – Vysotsky. In v teatralnoy kritike. In KRYLOV, A., 56 ANIKST, A.: Tragediya: garmoniya, 59 MIKHALOVA, E.: V granitsakh krasnogo FROLOV, V. V. (ed.):. Voprosy teatra 11. Moskva : SHCHERBAKOVA, V. (eds.): Mir Vysotskogo: kontrasty. In Teatralnaya gazeta. 12 December kvadrata. Moskva : Izdatelskiy Dom Rodionova, 2007, p. 162. Vserossiyskoye teatralnoye obshchestvo, 1987, p. 125. Issledovaniya i materialy. Moskva : GKCM V. S. 1972. Cited according to ABELIUK, E., LEENSON, 60 VYSOTSKY, V.: Dlya pesen net granits. 64 SHAKESPEARE, W.: Hamlet. Translation Vysotskogo, 2000, p. 87. E.: Taganka: Lichnoe delo odnogo teatra. Moskva : [An interview for the French broadcasting of the Jozef Kot. Bratislava : HEVI, 1994, p. 38. [online]. 72 SHAKESPEARE, W.: Hamlet. Transla- Novoye literaturnoe obozreniye, 2007, p. 103-104. All-Union Radio]. November 1977. In Muzykalnaya 68 In Lyubimov’s staging the line was [2019-07-04]. Available at:
description of his dynamic work with Since the text was challenging declaims the text as both Hamlet ple of modern acting.”89 The literary played nothing but his fate. (...) This the body “swift gait, vigilance, swift- technically and dramaturgically, Vy- and Shakespeare.”85 “In his mouth, scientist and acclaimed expert on was beyond what is called theatre.”92 ness, and unforeseen reactions – all sotsky’s voice, i.e. his “tool” boasting the verse has acquired the pliability Shakespeare Alexander Anikst For years, the role had lived to- this suggested that he made a firm a wide range and rich colour that of metal. His unique mastery of ac- wrote the following about Vysot- gether with Vysotsky: “An exposed decision: win first, then die.”75 In a “sets the tone of the performance,”79 celerating an emotion, his ability to sky‘s Hamlet: “There have been robust neck, which had gotten wid- stylized battle with Laert, before proved to be Hamlet’s essential hear the rhythm of a verse, to find many different Hamlets in world art. er over the years, it became more which they did a jump rope exercise, means of expression. He lengthened the momenta for action in the very Every era has been laudating its own relief-like, resembling a musical in- he first has a sip of a poisoned drink, the consonants and “it appeared as music of the verse were also found Hamlet. Amidst all the interpreta- strument, an organ with veins-whis- but after a dramatic pause while if the fire bell was sounded.”80 In the enjoyable. Vysotsky’s ability to free- tions of the great tragedy, the inter- tles...”93 “In his Hamlet, and together holding it in his mouth, he starts to scenes with other actors, his voice ly find his way through the alternat- pretation by Lyubimov and Vysotsky with him, Vysotsky grew and ma- gargle and then spits it out. Most was composed and he would talk ing currents of high and low rhetoric is an unparalleled gem of world tured as a drama actor, as a tragedi- of the time, his stylised movement to them “in a brotherly manner, as if styles, to immediately move from a culture. No one has ever rendered an of contemporary theatre.”94 and unpredictable gestures were in they were on an equal footing,”81 in dry statement of fact to a prophetic Hamlet as Vysotsky has. He has On 18 July 1980, it was the last contrast with his stern, concentrat- a dialogue with Ophelia, he would divination – to my eyes and to my been portrayed as a Hamlet-warrior, time he rendered Hamlet on the ed, and almost motionless face: “… switch from a balanced to a mock- hearing – ideally matched Shake- as a tragedy of a split personality, Taganka stage. The performance it was a roughly sketched face, as if ing tone, which he alternated with spearean language setup.86 “This is but no one has ever unveiled the scheduled for 27 July was never put carved of wood”, which “very rarely, a menacing roar, with Yorick, he Vysotsky’s way of verse declama- torn soul of a young intellectual with on. He died early at an age of for- as a last resort, gave permission would engage in an amicable and “a tion, he stands exactly at the edge such a tragic strength. A suffering, ty-two, of a supposed heart failure in to a wasteful lavishness of facial mournful conversation,”82 in a scene of a tipping point. He flings back his maimed soul that will not be broken his apartment on the Malaya Gruzin- expression.”76 Several preserved with the flute with Rosencrantz head, he is about to fall down. Vy- in the gusts of mind and emotions. skaya Street No. 28(exactly one year fragments of video recordings (of and Guildenstern, his “deep voice sotsky plays the withering energy of This image is created by a wounded after a second clinical death during a rehearsals and performances) show was resounding ominously and it a soul that has taken off by a miracu- heart, the life-bearing force of un- performance in Bukhara, Uzbekistan, Vysotsky’s utter inner and physical seemed that its low tones would lous effort and is about to nose-dive. daunted reason, struggling through 25 July 1979), on 25 July 1980. concentration.77 His stern facial burst the theatre building apart.”83 Vysotsky plays this moment when to truth.”90 Instead of a cancelled Shake- expression is in sharp contrast with His endeavour to become an his soul rejoices, it is filled with the Hamlet and Vysotsky merged speare’s performance, Vysotsky, the expression in his eyes that show actor worthy of a Shakespearian glory of its take-off, even though it into one human being: “… in this clad in Hamlet’s costume,95 “per- a deep and rich mental world of text was unanimously appreciated anticipates the pain and shame of its case, the image and the actor be- formed” his last monodrama on his character: “My Hamlet loves his by critique: “Poetry and simplicity! fall. Vysotsky’s monologues are like came one whole”91 “He entered the Taganka stage a day later, on 28 father so much that he can see him They are congruent.”84 “Vysotsky a cracking vibrating string.”87 stage being his true self. And he July 1980. The staging of this “ti- any time he pleases. He calls him – The role of Hamlet rendered by tle” was not easy for the Taganka and he appears. But all of this takes Vysotsky was thought to be “the Theatre due to the intervention of place in Hamlet’s imagination. To my actor’s greatest victory”88; “an exam- mind, this is a very clear and under- zhizn. 1986, No. 24. Cit. according to TOKÁR, M. (ed. No. 50, p. 18-19. Cit. according to KUZNETSOVA, and transl.): Taký bol Vysockij. [This was Vysotsky]. E.: Vysotsky v teatralnoy kritike. In KRYLOV, A., standable rendition. And I believe it Bratislava : Obzor 1990, p. 52. SHCHERBAKOVA, V. (eds.): Mir Vysotskogo: 78 to be a Shakespeare’s rendition.” 79 GAYEVSKY, V.: O Gamlete. In NIKULIN, Issledovaniya i materialy. Moskva : GKCM V. S. 92 KRYMOVA, N.: O Vysotskom. In Avrora. S. (ed.): Vysotsky na Taganke. Moskva : Soyuzteatr, Vysotskogo, 2000, p. 89. 1981, No. 8. Cited according to KRYMOVA, N.: Imena. 1988, p. 52. 85 KRECHETOVA, R.: Poiski yedinstva. 89 KRECHETOVA, R.: Poiski yedinstva. 1972 – 1986. Vol. 2. Moskva : Trilistnik, 2005, p. 251-252. In Teatr. 1973, No. 2, p. 65. Cit. according to 80 BACHELIS, T.: Gamlet – Vysotsky. In In Teatr. 1973, No. 2, p. 65. Cited according to 93 DEMIDOVA, A.: Begushchaya stroka KUZNETSOVA, E.: Vysotsky v teatralnoy kritike. KUZNETSOVA, E.: Vysotsky v teatralnoy kritike. pamyati. Moskva : Exmo-press, 2000. p. 17. Cit. FROLOV, V. V. (ed.): 1987. Voprosy teatra 11. Moskva : In KRYLOV, A., SHCHERBAKOVA, V. (eds.): Mir Vserossiyskoye teatralnoye obshchestvo, 1987, p. 130. In KRYLOV, A., SHCHERBAKOVA, V. (eds.): Mir according to ABELIUK, E., LEENSON, E.: Taganka: Vysotskogo: Issledovaniya i materialy. Moskva : Vysotskogo: Issledovaniya i materialy. Moskva : Lichnoe delo odnogo teatra. Moskva : Novoye FROLOV, V. V. (ed.): 1987. Voprosy teatra 11. Moskva : 81 Ibid, p. 135. GKCM V. S. Vysotskogo, 2000, p. 87. Vserossiyskoye teatralnoye obshchestvo, 1987, p. 134. GKCM V. S. Vysotskogo, 2000, p. 89. literaturnoe obozreniye, 2007, p. 92. 82 Ibid, p. 139. 86 BACHELIS, T.: Gamlet – Vysotsky. In 75 Ibid, p. 126. 94 MIKHALOVA, E.: V granitsakh krasnogo 83 Ibid, p. 136. FROLOV, V. V. (ed.): 1987. Voprosy teatra 11. Moskva : 90 Cit, according to MIKHALOVA, E.: kvadrata. Moskva : Izdatelskiy Dom Rodionova, 2007, 76 Ibid. Vserossiyskoye teatralnoye obshchestvo, 1987, p. 130. 84 GUGUSHVILI, E.: V zashchitu V granitsakh krasnogo kvadrata. Moskva : Izdatelskiy p. 158. 77 He said, he would lose as much as two “Gamleta”. In Vechornyi Tbilisi. 4 October 1979, p. 87 GAYEVSKY, V.: O Gamlete. In NIKULIN, Dom Rodionova, 2007, p. 160. 95 Vysotsky was not dressed in the kilograms during a single performance. 4. Cit. according to KUZNETSOVA, E.: Vysotsky v S. (ed.): Vysockij na Taganke. Moskva : Sojuzteatr, 91 KUZNETSOVA, E.: Vysotsky v costume from the production, as was written by Alla 78 VYSOTSKY, V.: Dlya pesen net granits. teatralnoy kritike. In KRYLOV, A., SHCHERBAKOVA, 1988, p. 57. teatralnoy kritike. In KRYLOV, A., SHCHERBAKOVA, Demidova later on. In her book Vladimir Vysotsky, [An interview for the French broadcasting of the V. (eds.): Mir Vysotskogo: Issledovaniya i materialy. 88 KHANIUTIN, E.: Gamlet epokhi V. (eds.): Mir Vysotskogo: Issledovaniya i materialy. kakim znayu i lyublyu... she explained he had a dress All-Union Radio]. November 1977. In Muzykalnaya Moskva : GKCM V. S. Vysotskogo, 2000, p. 89. kinematografa. In Nedelya. 6 – 12 December1971, Moskva : GKCM V. S. Vysotskogo, 2000, p. 86. resembling Hamlet’s costume. » 94 Zuzana Spodniaková 95 European Journal of Media, Art & Photography Media / Art / Culture Vladimir Vysotsky: A Hamlet with a Guitar instead of a Sword
the public authority. There was not life and work of a poet who “grew to an era.”101 Bibliography kakim znayu i lyublyu. Moskva : a single poster announcing farewell as an actor at the Theatre on Ta- The study was supported by the Soyuz teatralnykh deyateley RSFSR, to Hamlet which took place during ganka.”98 However, he first had to Slovak Research and Development ABAKSHONOK, N., TSAREVSKAYA, 1989. the opening of the Summer Olympic painstakingly apply for an approval Agency within SRDA project No. 15- E. (eds.): Zolotaya maska. Rossi- Games in Moscow.96 Yet, everyone from the General Secretary of the 0764, Slovak Theatre and Contem- yskaya nacionalnaya teatralnaya GAEVSKY, V.: O Gamlete. In NIKU- knew about it. Mounted police failed Central Committee of the Commu- porary European Theatre Culture, premiya i festival. 25. [Festival pro- LIN, S. (ed.): Vysotsky na Taganka. to disperse the crowd carrying nist Party of the Soviet Union, Yuri Continuity and Discontinuity. gramme booklet]. Moskva : Zolotaya Moskva : Soyuzteatr, 1988. p. 49-61. flowers that kept streaming into Vladimirovich Andropov, to put up maska. Rossiyskaya nacionalnaya the theatre building and its wide a poetic “commemorative” composi- teatralnaya premiya i festival, 2019. GUGUSHVILI, E.: V zashchitu neighbourhood. This time, everyone tion Vladimir Vysotsky,99 to at least 313 p. “Gamleta”. In Vechornyi Tbilisi. 4 was let in and attended Vysotsky’s mark the 1st anniversary of Vysot- October 1979, p. 4. Cit. according performance. sky’s death on 25 July 1981. The pro- ABELIUK, E., LEENSON, E.: Tagan- to KUZNETSOVA, E.: Vysotsky v The audiences who came to see duction was officially premiered as ka: Lichnoye delo odnogo teatra. teatralnoy kritike. In KRYLOV, A., this tragic piece experienced the late as 25 January 1989,100 on the Moskva : Novoye literaturnoye oboz- SHCHERBAKOVA, V. (eds.): Mir Vy- fate of their prince more deeply than day of the actor’s and poet’s unlived reniye, 2007. sotskogo: Issledovaniya i materialy. ever, as they realised it would never fifty-first birthday and ever since, it Moskva : GKCM V. S. Vysotskogo, be repeated. “Silence thereafter” and has been performed (with a changed ANIKST, A.: Tragediya: garmoniya, 2000. only Vysotsky’s recorded voice was cast) until today. This goal is aptly kontrasty. In Teatralnaya gazeta. heard. It was heard this time, too, just pinned down in the subheading to 12 December 1972. Cit. according YEVTUSHENKO, Y.: Poyushchiy like in the finale of Hamlet. It kept the production – Gamlet bez Gamle- to ABELIUK, E., LEENSON, E.: Ta- nerv nashey epokhi. In SAFRONOV, streaming from every corner. People ta ili poslednyaya rol poeta [Hamlet ganka: Lichnoe delo odnogo teatra. A. (ed.): Vospominanyja Vladimira brought tape recorders and played without Hamlet, or, the Poet’s Last Moskva : Novoye literaturnoe oboz- Vysotskogo. Moskva : Sovetskaya and sung his songs... Role] which has been on the thea- reniye, 2007, p. 91-104. Rossiya, 1989. tre’s repertory ever since. A true poet meets a tragic culmina- Vladimir Vysotsky has never left BACHELIS, T.: Gamlet – Vysotsky. In KHAYCHENKO, G.: Scena i vremya. tion.97 the Taganka Theatre – he fell but FROLOV, V. (ed.): Voprosy teatra 11. In Znaniye. 1975, p. 120. Cit. accord- stayed alive. “Hamlet has become Moskva : Vserossiyskoe teatralnoye ing to KUZNETSOVA, E.: Vysotsky Several days after the farewell part of the myth of Vysotsky, just obshchestvo, 1987. p. 123-142. v teatralnoy kritike. In KRYLOV, A., ceremony with Vysotsky which was like Vysotsky has become a symp- SHCHERBAKOVA, V. (eds.): Mir Vy- held on 28 July 1980, Lyubimov tomatic part of the legend about BEREZKIN, V.: Chudozhniki v pos- sotskogo: Issledovaniya i materialy. came up with an idea to preserve the Taganka Theatre. In that sense tanovkach Shekspira. In Shekspirovs- Moskva : GKCM V. S. Vysotskogo, Vysotsky’s live presence at the Ta- the death of the Prince of Denmark kiye chteniya. 1978. Moskva : Nauka, 2000. ganka Theatre and, in the spirit of underscored the importance of Vy- 1981. Cited according to ABELIUK, previous poetic compositions, to sotsky for Russia and it put an end E. – LEENSON, E. 2007. Taganka: KHANIUTIN, E.: Gamlet epokhi develop a poetry theatre about the Lichnoe delo odnogo teatra. Moskva kinematografa. In Nedelya. 6 – 12 : Novoye literaturnoye obozreniye, December1971, No. 50, p. 18-19. 2007, p. 94-96. Cit. according to KUZNETSOVA, E.: Vysotsky v teatralnoy kritike. In
96 On 25 July 1980, the daily Vechernyaya 98 Ibid. BŽOCHOVÁ-WILD, J.: Malé dejiny KRYLOV, A., SHCHERBAKOVA, V. Moskva informed of Vysotsky’s death in a laconic and 99 Initially, the production’s name was Hamleta. [A Short History of Ham- (eds.): Mir Vysotskogo: Issledovaniya formal way. No mention was made of the farewell Moskva proshchaetsya s poetom (Moscow bids 101 TUROVSKAYA, M.: Hamlet: la mort ceremony and no obituary was published either. farewell to a poet). est là, elle est à l‘oeuvre. In PICON-VALLIN, B. let]. Bratislava : Slovenské národné i materialy. Moskva : GKCM V. S. 97 An excerpt from Vladimir Vysotsky’s 100 In the late 1980s, Lyubimov moved (ed.): Lioubimov. La Taganka. Paris : CNRS Éditions, divadlo a SLOVART, spol. s. r. o., Vysotskogo, 2000. song O fatalnykh datakh i tsifrakh. (On Fatal Dates the original production of Shakespeare’s Hamlet to 1997. p. 324. Cit. according to LINDOVSKÁ, N.: and Figures, 1971). In linguistic collaboration with Leicester Haymarket Theatre in the UK (the renewed Príbeh režiséra, príbeh Taganky, príbeh divadla a 2007. Milan Tokár translated by Ľubomír Feldek. Cit. premiere took place on 14 September 1989) and he spoločnosti... [The story of a director, the story of KOZINTSEV, G.: Iz rabochikh according to TOKÁR, M. (ed. and transl.). 1990. Taký dedicated it to Vysotsky, which is also evidenced by Taganka, the story of a theatre and society...]. In DEMIDOVA, A.: Vladimir Vysotsky, tetradei: 1949 – 1973. Sobrannye bol Vysockij. Bratislava : Obzor, 1990, p. 175. the text on the cover of the programme booklet. Slovenské divadlo. 1999, Vol. 47, No. 1, p. 100. » 96 Zuzana Spodniaková 97 European Journal of Media, Art & Photography Media / Art / Culture Vladimir Vysotsky: A Hamlet with a Guitar instead of a Sword
sochineniya: v pyati tomakh. 1983. NOVIKOV, V. (doctor of philology, 1997. Cit. according to LINDOVSKÁ, Translated by Mária Švecová Author No. 2, p. 387-388. Cit. according to literary critic and prose writer, au- N.: Príbeh režiséra, príbeh Taganky, Mgr. art. Zuzana Spodniaková, PhD. ABELIUK, E. – LEENSON, E. 2007. thor of works on Vladimir Vysotsky): príbeh divadla a spoločnosti... In Edited by Oľga Ruppeldtová Institute of Theatre and Film Re- Taganka: Lichnoe delo odnogo te- An audio recording of an interview Slovenské divadlo, 1999, Volume 47, search atra. Moskva : Novoye literaturnoye by Zuzana Spodniaková (authoress) Vol. 1, p. 121-141. ISSN 0037-699X. The author is grateful to Art Research Centre of the Slovak obozreniye, 2007. with Vladimir Ivanovich Novikov Tvorcheskoye obyedineniye Rakurs Academy of Sciences [MP3]. Recorded on 6 June 2017. VYSOTSKY, V.: [A television inter- in Moscow for providing the photos. Bratislava KRECHETOVA, R.: Vladimir Vysot- Moscow : The private archives of the view of the programme head Mati Slovak republic sky. In Teatr. 2005, No. 1. Cited ac- authoress. Talvik with the author]. Recorded on [email protected] cording to ABELIUK, E. – LEENSON, 18 May 1975. Tallin: Estonian Televi- E.: Lichnoe delo odnogo teatra. PASTERNAK, B.: Doktor Zhivago. sion Studio, 1975. (Vladimir Vysotsky: Moskva : Novoye literaturnoye oboz- Translated by Zora Jesenská – Laco Tallin – Moscow, 6-Disc Edition). Profile of the author reniye, 2007. Novomeský. Bratislava : Tatran, 1969. [DVD]. Moskva : Bomba Miuzik, Zuzana Spodniaková is a graduate 2006. of theatre direction and dramatur- KRECHETOVA, R.: Poiski yedin- SHAKESPEARE, W.: Hamlet. Trans- gy of the Theatre Faculty of the stva. In Teatr. 1973, No. 2, p. 65. lation Jozef Kot. Bratislava : HEVI, VYSOTSKY, V.: [A videorecording Academy of Performing Arts (2011) Cited according to KUZNETSOVA, 1994. [online]. [2019-07-04]. Dos- by Yuri Drozdov for Warren Beatty, and of doctoral studies at the Insti- E: Vysotsky v teatralnoy kritike. In tupné na:
MIKHALOVA, E.: V granitsakh kras- TUROVSKAJA, M.: Hamlet : la nogo kvadrata. Moskva : Izdatelskiy mort est là, elle est à l‘oeuvre. In dom Rodionova, 2007. PICON-VALLIN, B. (ed.). Lioubimov. La Taganka. Paris : CNRS Éditions, »