Faina Ranevskaya: biography, personal life, family, husband, children - photo. Faina Ranevskaya regretted all her life that she had not become a mother

21.04.2020

This wonderful actress, in fact, has always been “married” to the theater and unhappy in her personal life. From her caustic aphorisms regarding gender relations, a separate book can be compiled.

Theater and nothing else

The personal life of Faina Georgievna (Fanny Girshevna Feldman) is mostly known from her own words, and this is a sarcastic biography. In his book “Fate is a whore”, consisting of scattered memories, Ranevskaya openly writes about her “awkwardness”, angularity. She could not make a relationship even at the date of dates - the cavaliers chose others, and Faina's rivals were so insidious that even happened to throw stones at her.
Faina Georgievna from a young age was in love with the theater, the stage attracted her and soon became the meaning of her life. As a statistician, she once "in her role" fell in love with the main character of the play so much that she was hardly reassured after the play. The object of adoration of Ranevskaya as a result of this predicted her a great acting future.

“You walk for now”

Faina Ranevskaya was never pretty, and she knew it. Moreover, according to many actress biographers, self-doubt associated with appearance constantly haunted Faina Georgievna. In her personal life, she did not allow anyone, but, judging by the memoirs of Ranevskaya, the artist repeatedly, but each time unsuccessfully, tried to establish close relationships with representatives of the opposite sex.
Once she invited a young man she was in love with to her home, and he ... came with his passion and ... asked Ranevskaya to take a walk for a while. This love tragedy, according to the memoirs of Faina Georgievna herself, seriously hurt the artist’s pride and for a long time discouraged her from flirting with men.

Was she a lesbian

Judging by the autobiographical memoirs of Faina Georgievna and the memoirs of people who knew her closely, Ranevskaya never had any serious romance with men and she did not live in a civil marriage with anyone. The warm relations of the actress with the fairer sex have generated a lot of rumors about the alternative orientation of Ranevskaya. Faina Georgievna was friends with Akhmatova and Tsvetaeva, for many years she had close contact with actress Pavel Wulf, until the end of her days Ranevskaya remembered her with fondness.
There is no documentary evidence of Ranevskaya’s gay orientation. Moreover, biographers of Faina Georgievna convincingly refute this myth, including not without the help of the actress herself, who left behind a lot of caustic characteristics of situations of relationships with men, indicating that the opposite sex as a woman was not indifferent.
Ranevskaya herself explained her disorder in her personal life by disharmony: the actress who was inconsiderate with people and was sharp-tongued was lonely because she did not like those who looked after her, and those who liked Faina Georgievna, in turn, were indifferent to her.

The real name is Feldman.

08/27/1896, Taganrog - 07/19/1984, Moscow

Winner of USSR State Prizes (1949, 1951 - for theatrical work; 1951 - for participation in the film "They Have a Homeland")
Included in the top ten outstanding actresses of the 20th century (1992, “Who is who”, London)

Faina Ranevskaya was born on August 27 (15 - according to the old style) in Taganrog in 1896 in a wealthy Jewish family. Father - Feldman Hirschi Khaimovich - was the owner of the factory of dry paints, several houses, a store and the ship "St. Nicholas". Mom - Feldman Milka Rafailovna (nee Zagovailova (from some sources - Valova)). The family had four children - two brothers and an older sister, Bella. When Faina was 5 years old, the younger brother died.

As Faina Georgievna herself admitted, she was not happy in her parents' house: “I remember my bitter resentment against everyone around me in my lonely childhood ...” Why, living without any financial problems, in a family where she still had a brother and sister, beloved mother, did the girl feel unhappy and lonely? Perhaps the reason is her increased vulnerability due to the slight stutter that Faina suffered from birth.

Fearing ridicule, Faina avoided her peers, had no friends, did not like to study. Having hardly studied in the lower grades of the Mariinsky Gymnasium, the girl begged her parents to pick her up from there. “She studied poorly, arithmetic was a terrible torture. I never learned to write without errors. Count too. Perhaps that is why always, and to this day, always without money ... ”- later Faina Georgievna admitted.

At the same time, Faina received the usual upbringing for a girl from a wealthy family, she studied music, singing, foreign languages, and loved to read.

Ranevskaya

Passion for the movie came to Faina at age twelve. She described her first impression of what she saw as follows: “I was stunned. The film was in the colors, perhaps, “Romeo and Juliet.” I am in ecstasy, remember well my excitement ... "

A little later, the girl’s fascination with the theater began. The first visits to the city theater left an indelible impression in her soul, but she experienced a real shock in 1913 when she visited the play “The Cherry Orchard” by A.P. Chekhov at the Moscow Art Theater, where the stars of those years played. By the way, the pseudonym "Ranevskaya" is from this play. Once, on the way home to Faina, money fell out of her purse, the wind caught them, and she laughed and said: “How beautiful they fly!” Her companion then remarked: "You are just like Ranevskaya." So this last name remained behind her, later becoming official.

Decision to become an actress

As Ranevskaya admitted, she did not choose a profession - she hid in it. After what she saw on stage, she already knew that she would be an actress. Having passed exams for the gymnasium course as an external student, Faina began attending classes in the private theater studio of A. Jagello. The girl learned to move freely on stage, speak, stretching words to hide her stutter.

The father was condescending to her daughter's hobby until she announced her decision to become a professional actress. This caused a scandal and a break with the family. There was no question of going to work in a local theater. In addition, the girl understood that she still needed to seriously study stage skills. Therefore, in 1915 she left Taganrog and left for Moscow.

Provincial Actress

Faina's hopes were not destined to be fulfilled. She was not accepted into any of the best theater schools, and the girl got a job in a private school. But she soon had to be left, because Ranevskaya simply did not have the means to pay for her studies.

But lucky in another. Actress Gelzer reacted to the girl with the participation. It was she who recommended Ranevskaya to the Malakhov Summer Theater near Moscow. And although Faina had to play in the crowd, it was a real happiness for her to just be with famous actors. In those years, the great Olga Osipovna Sadovskaya, Petipa, and Singers played there. By the way, it was Singers who predicted that Ranevskaya would become a famous actress.

Having played the season at the Malakhovsky Theater, in 1916 Ranevskaya signed an agreement with the entreprise Ladovsky on the role of “heroine-coquette” and left for Kerch. But the performances of the troupe did not gather the audience, and Ranevskaya left the entreprise. Her wanderings in provincial theaters began - Feodosia, Kislovodsk, Rostov-on-Don ...

In the spring of 1917 the whole Feldman family emigrated, Faina was left alone in Russia. In Rostov, she met actress Pavel Leontyevna Wulf, in the person of whom Ranevskaya found a reliable friend for life. During the Civil War, Wulf sheltered Ranevskaya, and the famous playwright Max Voloshin helped them survive.

At the same time, Ranevskaya was accepted into the troupe of the “Theater of the Actor”, the main director of which was Pavel Anatolyevich Rudin. The actress successfully made her debut in the role of Margarita Cavalini in “Roman”, and then played in the performances: “The Living Corpse”, “The Last Victim”, “Guilty Without Guilt”, “For Any Sage ...”, “Thunderstorm”, “At the Bottom”, "The Examiner", "Marriage" and others. " One of the best works of the actress was the role of Charlotte in "The Cherry Orchard."

In 1925, Pavel Wolf and Faina Ranevskaya entered the Mobile Theater of the Moscow Department of Education (MONO). But, having existed for one winter season, the theater closed, and the actresses returned to the province again. They again begin from wandering - the Svyatogorsky Theater at the sanatorium of the Donbass miners, the Baku Workers' Theater. Then there were Gomel, Smolensk, Arkhangelsk, Stalingrad and again Baku ...

Again in Moscow

All these years, Ranevskaya did not leave the thought of Moscow. In 1930, she wrote a letter to the chief director of the Moscow Chamber Theater, Alexander Tairov, asking him to accept her. Initially, a refusal follows, but then the director changes his mind. And since 1931, Ranevskaya became an actress of this theater. Debuts in Moscow Ranevskaya role in the play "Pathetic Sonata." Moreover, she makes her debut successfully, but after a while the performance is removed from the repertoire ...

Since she had no other roles, Ranevskaya in 1935 left for the Central Theater of the Red Army. Here she had a chance to play her mother in the play Alien Child, the matchmaker in Ostrovsky’s play The Last Victim, Oksana in Korneychuk’s play The Death of the Squadron, and the main role in Gorky's play Vassa Zheleznova.

In 1939, Ranevskaya was invited to the Maly Theater. Perform on the stage where the great Ermolova played! Ranevskaya agrees, but then unexpected obstacles arise. They did not want to let her out of the theater of the Red Army, and the actress left with a scandal. At the same time, the elders of Maly turned out strongly against her joining the troupe. As a result, Ranevskaya was left without work ...

Movie debut

In the movie, Faina Ranevskaya made her debut in 1934, being then an actress of the Chamber Theater. The aspiring director Mikhail Romm, seeing her on stage, invited her to the role of Mrs. Luazo in the movie “Pyshka” based on the famous Maupassant novel.

As Ranevskaya admitted, the shooting was very difficult. The heating did not work - the pavilions kept the temperature refrigerator compartment, and the actors didn’t get a tooth on the tooth. Constant bustle, painfully long installation of light, noise of equipment, eternal confusion ...

The film was shot in a silent version. Nevertheless, in order to better feel the role, Ranevskaya took out the original of the Maupassant story and confirmed several phrases of Madame Luazo in the original language.

Arriving in the Soviet Union, Romain Rolland was delighted with the film. Among the actors, he singled out primarily Ranevskaya. At his request, "Donut" was demonstrated in France. And the picture was there with great success.

"Mulea, don't make me nervous!"

After “Pyshka”, despite the success, Ranevskaya decided not to appear in the movies anymore - “this is all too painful”. However, three years later, she accepted the proposal of the director Igor Savchenko to star in the role of a bootman in the film “The Duma of the Cossack Golota”. By this time, the actress was just left without a job in the theater, and the movie captured her.

In 1939, Faina Ranevskaya starred in three films at once. In the film “The Man in the Case”, directed by Annensky, she played the role of the wife of an inspector; in the film “Error of the Cochin Engineer,” directed by Macheret, she played the role of the wife of the tailor Gurevich - Ida. But the actress's real fame was brought by Tatyana Lukashevich's comedy “Foundling”.

In “Podkidysh”, Ranevskaya played a self-confident woman who commanded a henpecked husband. The actress specially for her role came up with a few biting phrases. One of them - Mulia, do not make me nervous - became truly winged. This phrase subsequently haunted her all her life. At the sight of the actress, the boys on the street started shouting: “Mulea, don’t make me nervous!”

All this unusually annoyed Ranevskaya, over time, she began to just hate the role that gave her popularity. Somehow, she even admitted this to Anna Akhmatova. “She squeezed her hands under a dark veil” - these are also my Muli, ”she answered.

Many, many years later, when Leonid Ilyich Brezhnev presented the Order of Lenin to Faina Georgievna Ranevskaya, he could not resist - he made a face and squeaked: “Mule, don’t make me nervous!” Faina Georgievna shrugged contemptuously and said: “Leonid Ilyich, only rude street boys speak to me like that!” Brezhnev was terribly embarrassed and answered quietly: "Sorry, I just love you very much." On which the incident was settled.

In 1940, Mikhail Romm invited Faina Ranevskaya to star in the socio-psychological drama "Dream." The actress said: “For all my long life I have not experienced such joy either in the theater or in the cinema, as at the time of our second meeting with Mikhail Ilyich. I didn’t know such an friendly director-teacher of such an attitude to the actor — I’m not afraid of the word “tender” —I haven’t met, never met. His advice, clues were accurate, necessary. "I forever kept gratitude to Mikhail Ilyich for the help he provided me in working on the role of Mrs. Skorokhod in" Dream ", and for the joy when I saw this beautiful film on the screen."

Mikhail Romm began to shoot this picture after having visited Western Ukraine, annexed to our country in the late 30s. Impressions of what he saw and formed the basis of the film. Ranevskaya played the role of the mistress of the furnished rooms - Madame Rosa Skorohod. This work opened a huge tragic beginning in the talent of Faina Ranevskaya. Her heroine paradoxically mixed compassion and fierce ruthlessness to those below her social status, all-consuming avarice and the same immeasurable love for her loser son, for whom she lives, works, commits baseness, realizing at heart all the futility of these efforts ... The outstanding playwright Theodore Dreiser praised the actress's game.

"Wedding"

After the outbreak of the war, Faina Ranevskaya was evacuated to Tashkent, where she stayed until 1943. In 1943, Ranevskaya returned to Moscow, and was accepted into the Drama Theater (now the theater named after Vl. Mayakovsky). She starred in several ordinary films, after which she was invited to the role of Mom in the film "Wedding".

Director Isidor Annensky has assembled a magnificent acting ensemble. In addition to Faina Ranevskaya, the following actors starred in the Wedding: Erast Garin, Zoya Fedorova, Alexey Gribov, Osip Abdulov, Mikhail Yanshin, Sergey Martinson, Vera Maretskaya, Nikolai Plotnikov, Mikhail Pugovkin and many others. Faina Ranevskaya later spoke out about the film and about the director very negatively, believing that Annensky, firstly, completely perverted Chekhov's prose, and secondly, did not use fully talented actors.

Faina Georgievna is right or not, but the comedy "Wedding" for many years has become one of the movie’s favorite viewers. How many phrases from the film became winged. Remember Osip Abdulov’s crowning expression “Everything is in Greece”, or the phrase of Faina Ranevskaya “They want to show their education”. Moreover, as an inexhaustible treasure trove of Russian wit, the Wedding unbiasedly describes human vices and fallacies. The despicable story of "wedding showdowns" in the family of bourgeois Zhigalovs, who are trying at all costs to get the capricious official Aplombov into the suitors, turns into a genuine encyclopedia of national characters.

Ranevskaya herself, creating the image, used observations from real life. “You won’t achieve similarities with makeup. I pulled on a dress, pulled my nose up, put on a wig and a hat and went out onto the set, almost without makeup. The thing is in the manner of speaking, listening, thinking. Walking and gesturing is only later, ”she admitted.

After the war, Faina Ranevskaya played several notable roles. In 1947, the comedy by Grigory Alexandrov “Spring” was released with Lyubov Orlova and Nikolai Cherkasov in the lead roles. Faina Ranevskaya in the script was given only one episode: her heroine Margarita Lvovna served breakfast to her famous niece.

Alexandrov suggested that the actress herself make a role. Ranevskaya came up with a lot of funny phrases and dialogues. Together with Rostislav Plyatt, they introduced a comedic, characteristic, vaudeville element into the picture. Remember the conversation on the phone: “Ambulance! Ambulance help! Who is sick? I am sick. Lev Margaritovich. Margarit Lvovich. " As a result, Faina Ranevskaya and Rostislav Plyatt, playing supporting roles, were remembered by the audience even more than the main characters.

"Cinderella"

In the same year, Ranevskaya played her stepmother in the famous fairy tale "Cinderella" directed by Nadezhda Kosheverova. This picture is one of the few that brought the actress real joy. Ranevskaya played with her inherent brightness, credibility. G. Skorokhodov in his book “Conversations with Ranevskaya” said: “In her stepmother, the audience recognized, despite the lush“ medieval ”clothes, today's neighbor-quarrelsome girl, a colleague who was just a friend who established the regime of her dictatorship in the family. This is a household role plan, quite angry and expressive. But there is a social subtext in Stepmother. Her strength, impunity, self-confidence lie in huge ties ... "

One of the most remarkable scenes in the film with the participation of Ranevskaya is, of course, the hunt for signs of attention of the king and prince at the ball. We return to Skorokhodov’s book: “Everything in it is ridiculous: both what the dear family does and how it does it. Ranevskaya here, we repeat, is the minimal co-author of Schwartz the screenwriter, but the full hostess of the role. According to the scenario, the daughters inform the mother of the signs of attention, and she, knowing the power of the document, immediately records every fact in a notebook ”.

Scriptwriter Yevgeny Lvovich Schwartz, like no one else who was painfully careful about every phrase, every word in the script, Ranevskaya gladly allowed a gag. Ranevskaya recalled: “There was still such a scene. I am preparing for the ball, trying on different feathers - I myself came up with it: it seemed to me very characteristic for Stepmother to complain about her fate and then look in the mirror, applying various feathers to her head and admire herself. But for the action I did not have enough text. Evgeny Lvovich looked at what I had composed, laughed and kissed his hand: "With God!"

The stepmother is one of the best comedic roles of Ranevskaya. Surprisingly, she - a purely negative character in a fairy tale - causes a real delight in the audience!

Other post-war work

Among the other works of Faina Ranevskaya in the postwar years, it is worth noting the role of grandmother in the film "Elephant and the rope", where the actress first starred with Natasha Zashipina - then still a six-year-old girl. Ranevskaya spoke highly of the young actress and talked to her as an adult.

Once again, they starred in 1949 in the drama "They Have a Homeland," staged by Sergei Mikhalkov. The film tells about how Soviet intelligence officers, having found an orphanage with Soviet children under the supervision of British intelligence in Western Germany, are seeking the return of children to their homeland ...

Faina Ranevskaya spoke so much about her role and about the film: “Yes, I got Frau Wurst. Wurst is a German sausage. I play such a thick sausage, pouring himself beer. She could not move from the thicknesses with which she overlaid. And under the cheeks and under the lips, too, crammed something. Not a mug, but an ass. But when I talk about Mikhalkov shit, I mean one thing: did he know that all the children who, after this film had achieved their return to their homeland, were sent directly to camps and colonies? If you knew, then thirty pieces of silver did not burn your hands? ”

The 50s. Theater work

In 1949, Ranevskaya leaves the Drama Theater and goes to work at the Theater. Moscow City Council. Here she played very little. The repertoire of the theater consisted of ordinary, and sometimes simply colorless and boring performances, timed to coincide with the next Soviet holidays. With great difficulty she was persuaded to play the role of an old woman in the play "Dawn over Moscow." Her character in the script was a sort of conscience mother, cutting the truth of the womb. The great actress, from boredom and irritation, turned her role into a skit on a given topic, and her every appearance on stage was accompanied by applause.

Once Ranevskaya got an episode in the play "The Storm." At the very first rehearsal, the actress brought a huge Talmud. Everyone knew: Ranevskaya rewrites the role by hand. But there was something else. She brought dozens of options for each piece, almost every replica of her role. She almost completely rewrote the text, Zavadsky froze. “Faina ... but the playwright, what will he say?” The playwright read, turned red, and began to laugh so loudly that everyone was frightened. “Nothing can be changed here,” he said, “to leave everything ... like Ranevskaya’s.” The next day, the actress brought several more options. “Leave her,” said the playwright, “let him play as he wants and what he wants.” Anyway, better than her, this role cannot be done. ”

Ranevskaya played her episode in Storm so beautifully that she overshadowed all the other actors, including the leading actors. Zavadsky did not want to put up with this, and soon deprived the actress of the role.

All this, of course, could not suit Faina Georgievna, and in 1955 she left the theater. She moved to the Pushkin Theater - the former Chamber Theater. One of the reasons was that it was in Kamerny that she once began her career. However, nothing remained of the old Tairovsky theater. Here she worked until 1963, but then she left and from here ...

Loneliness

Over the course of her life, Faina Ranevskaya never got married. Once she was asked if she had ever been in love. Ranevskaya told an episode from her youth. She was in love with a handsome actor who played with her in a troupe. One day, the actor told her that in the evening he would come to her house. Ranevskaya dressed up, laid the table ... The actor came drunk and with a woman. "Baby, take a walk somewhere for a couple of hours, my dear," he said. “Since then it's not that I fall in love - I can’t look at them: bastards and bastards!” - Faina Georgievna admitted.

However, in the early 60s Faina Ranevskaya had a period when she did not feel lonely. She received a letter from her sister Bella (Isabella Georgievna Apleen), who lived at one time in France, and then, having buried her husband, she moved to Turkey. My sister was also alone and asked for help to return to the USSR. The Minister of Culture E. Furtseva helped.

The sisters lived together for several years. Soon, Bella was diagnosed with cancer. Ranevskaya called the best doctors, spent the night with her - already hopeless. The hospital, the operation — it was all pointless. In 1964, Bella died ...

Movie. 50-60s

All this time, Ranevskaya practically did not act in films. Yes, and about those rare works, the actress responded like this: “... I am filming in nonsense. Filming is like hard labor. "A complete humiliation of human dignity, and in front of it is failure, disgrace, if the picture comes out on the screen."

The film "Caution Grandma!" (1960) Nadezhda Kosheverova, where Ranevskaya played a major role, turned out to be frankly a failure. Ranevskaya took this as a personal insult and quarreled with the director, who had been her friend for many years.

However, five years later, Kosheverova risked inviting Faina Georgievna to her new picture again. Ranevskaya was to play the role of the director of the circus in the film "Today is a new attraction." The role was not bad, and the actress, after much persuasion, agreed. True, she put forward a number of conditions. Firstly, double payment. Secondly, the actress said that she would come to the studio only once, which means that the scenery is built under her. In addition, she must ride in a separate compartment - not above the wheels, but in the middle of the car. To live - in the "European", and certainly with a view of the Russian Museum - in the wing where foreigners settle. Any contract with animals was completely excluded (according to the scenario, the director has a pathological passion for them), this was officially explained by an acute asthmatic reaction. Currently, the leading actors demand more than that, but at that time such requirements were simply unbelievable. Nevertheless, the director agreed, although in practice the conditions were barely half fulfilled.

The role in the film "Today is a new attraction" was the last work in the movie Faina Georgievna.

In the mid-60s, Ranevskaya returned to the theater to Zavadsky. In the theater of the Moscow Soviet, she worked until the end of her days.

Surprisingly, for many years she never played a single great role in the world repertoire. All screen and stage works of Ranevskaya can be counted on the fingers. “I have not made 99 percent of a hundred in my life,” she said. But even that little made her the greatest domestic actress. The London annual Who's Who included her among the ten best actresses of the twentieth century. And this is no coincidence. One of the major directors said about Faina Georgievna: “She can do anything!” The actress perfectly mastered all genres - from tragedy to farce. Ranevskaya did not play - she lived in her roles, how children live their games, to the end, in full truth, to happiness. And if she saw indifference, half-strength work, then she was merciless, just as children are merciless.

From the difficult character of Ranevskaya, those around him suffered. So with constant nitpicking, she brought to tears Iu Savvin. But then she called with an apology that shocked with magnificent frankness: “I am so alone, all my friends have died, my whole life is work ... I suddenly envied you. I envied the ease with which you work, and for a moment I hated you. But I work hard, I am haunted by the fear of the stage, the future audience, even the partners. I'm not acting up, girl, I'm afraid. This is not from pride. Not failure, not failure, I'm afraid, but - how do you explain? “This is my life, and how terribly wrong to dispose of it.”

A year before her death, Ranevskaya refused to play on stage. “Old age,” she said, “is a terrible thing.” All my bones hurt. Very tired, very. Eighty-seven years old! I am not Yablochkina to play until 100 years old. No, I won’t go on stage again! ”

FILMOGRAPHY:

1934 Donut
1937 Duma of the Cossack Golota
1939 Engineer Cochin's mistake
1939 Foundling
1939 man in the case
1940 Favorite Girl
1941 How Ivan Ivanovich quarreled with Ivan Nikiforovich
1941 Dream
1942 Alexander Parkhomenko
1943 New adventures of Schweik
1943 Three Guardsmen
1944 Wedding
1945 Heavenly slow-moving
1945 Elephant and rope
1947 Spring
1947 Cinderella
1947 Private Alexander Matrosov
1949 Meeting on the Elbe
1949 They have a homeland
1958 Girl with a guitar
1960 Beware, grandmother!
1964 Easy life
1965 Today - a new attraction
1978 Next - Silence

Faina Ranevskaya became known to the entire Soviet Union precisely under this surname. However, completely different data were indicated in her birth documents. The actress changed not only her last name, but also her middle name at a fairly mature age.

Real last name
Faina Georgievna Ranevskaya was born in 1896 in the city of Taganrog, Rostov Region. Her mother was Milka Rafailovna Zagovailova, and her father was Hirsch Haimovich Feldman. Thus, neither the middle name nor the last name, under which the actress subsequently became famous, were real. In her documents, until a certain point, it read: "Faina Girshevna Feldman."

The Feldman couple was very wealthy. Before the revolution, the head of the family owned a factory, several shops and apartment buildings, and even a steamer. When the Bolsheviks came to power, the Feldmans moved permanently to the Czech capital. But Faina remained. Although, it is worth noting that the father regularly sent his daughter money.

Flying money
It is clear that with such a biography, the actress would hardly be able to become what she became. But there was another reason. “Fenya Feldman” Ranevskaya did not really like it. In the book of Ella Vashkevich “Faina Renevskaya. Psychoanalysis of a shocking housekeeper ”the artist quotes as follows:“ ... when I played, I ceased to be Fany Feldman. It was very important for me to become different. After all, who was Fanya Feldman? Stuttering, ugly girl, which parents did not like too much, stupid and awkward. "

When Ranevskaya first thought about a pseudonym, the idea of \u200b\u200btaking the surname of a Chekhov character came to her mind almost instantly. And the reason for this was one case. Once, the actress dropped the bills, which were immediately picked up by a strong wind. Instead of chasing money, Faina Georgievna only exclaimed, turning to her companion: “How beautiful they fly!” .Tot laughed and said that Feldman is very similar to the heroine of Chekhov's play “The Cherry Orchard”, Lyubov Andreevna Ranevskaya.

Georgievna or Grigoryevna?
It is noteworthy that for a long time no one could remember the invented patronymic of Ranevskaya. He is still confused to this day, despite the fact that the artists have already been 34 years old when they are not alive. It is called either "Faina Georgievna," then "Faina Grigorievna." Ranevskaya herself was not upset about this at all. As Gleb Skorokhodov writes in his book “Conversations with Ranevskaya,” the actress only waved it off, they say, what's the difference. “Maybe they want to flatter me? - said Ranevskaya. “After all, Grishka is Otrepyev, and George is the Victorious!”

On the tombstone, installed at the burial place of the national artist, her chosen middle name and surname: “Faina Georgievna Ranevskaya” are also forever imprinted.

People's Artist of the USSR Faina Georgievna Ranevskaya (real name Feldman) was born on August 27 (old style 15) in Taganrog in a wealthy Jewish family. Her father, Feldman Girschi Khaimovich, was the owner of a dry paint factory, several houses, a store and the ship "St. Nikolai".

She studied in the lower grades of the Mariinsky Gymnasium, at the same time she received the usual home education for a girl from a wealthy family, studied music, singing, foreign languages, and loved to read.

The hobby of the future actress with the theater began after in 1913 she visited the play "The Cherry Orchard" by Chekhov at the Moscow Art Theater, where the stars of those years played. The pseudonym "Ranevskaya", taken from this play, later became its official surname.

Having passed exams for the gymnasium course as an external student, Faina began attending classes in the private theater studio of A. Jagello. The father was condescending to her daughter's hobby until she announced her decision to become a professional actress. This caused a scandal and a break with the family. In 1915, she left Taganrog and left for Moscow.

Ranevskaya began her stage career on the stage of the Malakhov Summer Theater near Moscow, in which she played one season.

Since 1916, her work began in provincial theaters. She played in Kerch, Rostov-on-Don, in the mobile “First Soviet Theater” in Crimea. She worked in Baku, Arkhangelsk, Smolensk and many other cities.

The first successes of Ranevskaya in the profession are related to the performance of such ostentatious roles as Charlotte in The Cherry Orchard, Zmeyukin in Chekhov's Wedding, Dunk in Love of Spring. She played in the performances "The Living Corpse", "The Last Victim", "Guilty Without Guilt", "For Every Sage ...", "Thunderstorm", "At the Bottom", "Examiner", "Marriage", etc.

In 1931, Ranevskaya became an actress of the Moscow Chamber Theater. In search of "her" theater, she repeatedly moved from one Moscow collective to another. In 1935 1939 she worked at the Central Theater of the Red Army, in 1943 1949 she was an actress of the Drama Theater (now the theater named after V. Mayakovsky), in 1949 1955 an actress of the Mossovet Theater, in 1955 1963 the theater named after A. Pushkin, 1963 and until the end of his life - again at the Mossovet Theater.

On May 16, 2008, the first monument to the actress (sculptor David Begalov) was opened near the house in which she was born. The bronze sculpture depicts Ranevskaya in the role of Lyaly from the film “Foundling”.

In honor of Ranevskaya in Taganrog one of the city streets was named, as well as the Freken Bok coffee shop with famous buns on the menu, decorated with a large number of photos of the actress.

In May 2008 in Taganrog, the first international theater festival. Faina Ranevskaya "The Great Province".

Material prepared on the basis of RIA Novosti information and open sources

Ranevskaya told one story about how in her youth she was very in love with one actor, who was a terrible womanizer and womanizer. Once he promised to come to visit her in the evening. The young actress was overjoyed, she laid the table, put on the best dress, made a hairstyle. Imagine her disappointment when the object of her love appeared on the doorstep with the lady. He asked Ranevskaya to go out for a while. After this event, Faina Georgievna concluded for herself that all men are not worth it to spend their strength on them and give them attention. It is difficult to say how true this story is, but the fact that Ranevskaya has never been and has not had children in her life is well known.

She was connected with friendly relations with Marshal Tolbukhin, with directors Mikhoels and Tairov. Touching long letters, infrequent meetings and endless devotion. For the sake of friends, Ranevskaya could not sleep at night, was ready to give the last money and rush after them to the ends of the world to help in case of failure.

Being an unusually creative person, Faina Ranevskaya fell in love, but no one ever reciprocated her. Once she said that she loved only two men in her life. The first was actor Vasily Kachalov, and she simply does not remember the second.

With Vasily Kachalov, Faina Georgievna was associated with warm friendly relations. He taught the young actress not to play, but to live life on stage. Long walks and endless conversations with Kachalov and his famous dog Jim, to which Sergei Yesenin dedicated his beautiful poem, were the only consolation for Ranevskaya in love at that time. On the desktop of Faina Georgievna for a long time there was a photograph of Vasily Kachalov.

“Satellite of Glory - Loneliness”

In the early 60s of the last century, a sister, Isabella Georgievna Apleen, moved to Ranevskaya, who by that time had become a widow. Unfortunately, their cohabitation was very short-lived. Just two years later, doctors discovered cancer in Isabella Georgievna, and she died in 1964. Faina Georgievna did not send her sister to the hospital and remained close to her until her last breath.

In old age, the only affection Ranevskaya became a dog, which she called the Kid. She picked up the unfortunate dog on the street in severe frost. His paws were frostbitten, and the dog was literally doomed to death.

Faina Georgievna played in the theater until 85 years old. The decision to retire was very difficult for her. She was saddened, but poor health no longer allowed her to continue to work.