Who is Glory Polunin. Sergey Polunin, biography, news, photo

Actor, Director, Clown, People's Artist of Russia Vyacheslav Ivanovich Polunin Born on June 12, 1950 in the town of Novosil Oryol region in the family of employees.

In school, he was passionate about clown, but did not receive professional circus education. After school, he worked at the factory, then entered the Faculty of Economics of the Leningrad State University, from which he left the third course. He graduated from the Leningrad State Institute of Culture. N. K. Krupskaya (St. Petersburg State University of Culture and Arts), the Pop Branch of Gitis.

In 1968 in the Palace of Culture. Lensovet Polunin created a pantomime studio, from which clown-mime theater "Lyedie" rose over time. By the beginning of 1971, the core of the future theater was formed. In 1974, the first play was released, in 1975 - the performance of the "Lyedie". Since 1981, the theater worked on the stage of the Palace of Youth in Leningrad. During its existence, the performances of "fantasies", "Churdaki", "from the life of insects", "Asyssia Review", "Catastroph", Musical Miniature "Blue Blue Canari", fifteen programs were released.

Among the programs created by midnight, "Carnival", "Baden Baden", "Night on the Bald Mountain", "Diabolo", "Snow Action".

In 1982, Polunino gathered about 800 pantomime artists in Leningrad from all over the country to Mime Parade, and in 1985, he organized a workshop of pantomimes and clowns in Moscow, dedicated to the XII International Festival of Youth and Students, to the opening of which at the invitation of the midnight The most famous clowns in the world, including Dzhango Edwards from Holland and Franz Josef Boger from Germany.

In 1987, Vyacheslav Polunin organized the All-Union Festival of Street Theaters in Leningrad, which were taken over 200 actors of plastic and clown theaters.

In 1988, celebrating its 20th anniversary of his own funeral, on the occasion of which the first All-Union "Congress of Fools" was convened, the "Lyedie" theater ceased to exist.

In 1989, on the initiative of Polunin, a unique project "Caravan Mira" was launched - the theater on wheels, the six months arranging circus ideas in the cities of Europe.

In 1990, a united theater of European countries "Wall" was created.

In 1993, he left Russia to Canada in Cirque du Soleil. Since 1994, he lived in England, he worked in the London Theater "Hackney", now lives under Paris.

In 2001, he organized a clown festival in Russia as part of the third theater Olympiad, "ship of fools."

Vyacheslav Polunin - a man of the world. He leads the life of a stray clown, visited countries that have a very deep tradition of culture associated with clown, with a comedy, with a fair, folk theater.

On January 24, 2013, the Minister of Culture of the Russian Federation Vladimir Medinsky reported that Vyacheslav Polunin will become an artistic director.

Vyacheslav Polunin - People's Artist of Russia (2001), winner of the second premium of the All-Union Competition of the Astradi Artists (1979); Laureate of the Leninsky Komsomol Prize (1987), Winner of theatrical Awards: Edinburgh Golden Angel (1997), Spanish Golden Nose, Prize of Lawrence Olivier, National Independent Prize "Triumph" (2000), Laureate of the Tsarskosiel Art Prize (2000), Laureate K.S. Prize Stanislavsky and many other highest theater awards.

For the show "Live Rainbow" Queen of Great Britain honored the title "Honorary resident of London".

Vyacheslav Polunin is married, has three sons.

Material prepared on the basis of open sources information

Actor, director, clown. People's Artist of Russia (2001).

Vyacheslav Polunin In the West, they call the best clown of peace and era. Polunin - Winner of many prestigious theatrical awards, including: Edinburgh Golden Angel, Spanish Golden Nose, Lawrence Olivier Prize, and others. In Russia in 2000, he was awarded the Triumph Prize.

Vyacheslav Polunin. Biography

Vyacheslav Polunin Born on June 12, 1950 in Orlovshchina, in the city of Novosil. His parents (Polunin Ivan Pavlovich and midnight Maria Nikolaevna) worked in trade. Polunina's wife Elena Dmitrievna - actress, and she works with her husband - famous clown. BUT Vyacheslav Polunin three children: Dmitriy, Pavel and Ivan. (He plays on stage with his parents).

After graduating from school, Vyacheslav went to Leningrad to enter the theater institute, but the attempt failed, and he began to study the engineer. However, Career engineer did not take place. Polunin threw the technical university and entered the Leningrad Institute of Culture. Later he began to teach him.

It was the Leningrad period of the life of the midnight that was marked by the creation of the group in 1968 Lyedie", Which showed rooms in the genre of the pantomime. Tormented for Vyacheslav Polunin1981 became: then a small man of asyssia appeared in a yellow jumpsuit, with a red scarf and in red slippers.

In 1982, Polunin organized in Leningrad " Mime parade", Gathered 800 pantomime artists from all over the country. Also the famous clown became the organizer of the All-Union Festival of Street Theaters in Leningrad (1987). In 1989, the European Festival of Street Theaters "Caravan Peace", which chaser over the cities of Europe for six months. Then it was created " Academy of Durakov", Which began a grandiose project to revive carnival culture in Russia.

Now Polunina and his wife live in London, where they remove the big house, but often come to Moscow.

Vyacheslav Polunin. Filmography

Gentle 3D Show (2012)

Gorboon (2010)

Hofmaniad (2009)

Clown (korometer, 2002)

Hi, foolie! (1996)

Kill Dragon (1989)

How to Become Star (1986)

And now came Boombo ... (1984)

Escape (1983)

Only in Music Hall (TV, 1980)

When Asyysy appeared on stage, the public groaned from laughter. And then the ringing silence fell. Everyone understood: just before the eyes turned a touching story of a lonely person. All speeches of famous "hypocrites" were simultaneously funny and deeply philosophical. It seemed that clown plays himself, but in fact he had already met his Fuji, ready to share laughter and tears with him, victory and defeat.

Hand in hand

A thin and fragile lenochka appeared in the theater when the "hypocris" had already celebrated their decade. She immediately gave the name of Fuji for the external loose of the inhabitants of the country of the rising sun.

Vyacheslav Polunin at that time was still married, Galina worked with him together. Over time, the marriage gave the crack, Vyacheslav's spouse left the theater, later issued a divorce. Now Elena was next to the clown. She gradually from a simple clowniness turned into the main assistant and mums of touching asyssia.

"Lyedie". / Photo: www.kinoword.ru

They worked so much that the time for the official painting was lacking all the time. Then Vyacheslav and Elena adopted a radical decision: to go to the registry office and persuade the staff to write them for receiving them, without long expectations.

They came to the registry office with backpacks on their shoulders and headed immediately to the administrator. At first, the administrator decided: the couple just joking. But a funny man with disheveled hair and a charming girl with him was able to rip it.

Vyacheslav and Elena were indeed very convincing, they simply had no choice. If they are not broken right now, they may easily find time for all of these bureaucratic ceremonies. The administrator as a result surrendered, and Vyacheslav and Elena now had the official status of her husband and wife.

True, they celebrated the wedding only after 20 years - only then they had time. During the tour in Hawaii, Vyacheslav gathered all the participants of the troupe by the ocean and arranged a real wedding. The bride was in a white dress, and the groom in the first in his life costume. Fun, as it should be, lasted until the morning.

"Can not a man get tired when he is happy"

He always lives in accordance with his dream. At the same time, dreams change in every period of life. When he decided to build a house for his family, then he was associated with this concept, the Mill, Chapito and the ship. He built a ship in Moscow, where their theatrical center is located, Shapito in St. Petersburg - there they have an apartment, and a mill in Paris, where the real laboratory of ideas is located.

In Paris, it turned out not just a house, but a place where everyone can become happy. All rooms are thematic mills. For example, the nostalgia room is decorated with old photographs, and almost all items in it are decorated with real lace, woven Elena.

The toilet is a real travel room, the cards hang on the walls and the suitcases are drawn, and the arrows indicate the places where the family had. At the entrance to the guest room, the guest welcomes the most real steam beep.

For my granddaughter, a special magic room is arranged, where there is a door for adults and a small door locked on a tiny key - especially for babies. In this room lives toys brought by Vyacheslav Poluninny from different cities and countries.

Inviting guests, the family includes them in the process of creation. If the guest was settled in the thematic room, then he immediately becomes a character of this space. He is auxiliary props and waiting for invitations to tea.

Only on the first evening in an amazing house, the guest just rests, then turns on in the duty in the kitchen, on Thursdays invites all the households to themselves, taking them in full compliance with the image of their character.

Even dinners in this house are unusual, they are colored. If today is green lunch, then all the food must be exclusively green: from a compote to the main dish. Or yellow color the next day.

The laws of existence on the Melnice are unshakable and created in order to be sobfully live and always create. According to the deep conviction of Vyacheslav midnight, in the process of creativity, a person becomes happy, and it is impossible to get tired of happiness.

Recipe of happiness

When the midnight family happens in different countries, they often have to walken from the apartment on the apartment. Not all neighbors are ready to put up with the minds of this family. They can be all day to start the airplane window, and then to clean them together. In adolescence, the son could ride on the roof rollers, and Boris Grebenshchikov sing songs to the morning in their apartment. True, it happens that after moving, former neighbors call them and ask to return, because without them - boring.

Even at work, Polunin takes people, focusing not only on their professional qualities, and in order whether he would like to hug with this man.

Elena Ushakova fully supports all the ideas of her husband, enthusiastic is included in their implementation. And also ensures that the husband does not lose phones, cards, money.

One of the most touching and well-known numbers of Vyacheslav midnight - miniature about loneliness.

Born on June 12, 1950. Father - Polunin Ivan Pavlovich. Mother - midnight Maria Nikolaevna, worker of trading. Spouse - Ushakov Elena Dmitrievna, actress, works with her husband. Children: Ushakov Dmitry; Polunina Paul, studying at the music school in St. Petersburg; Polunin Ivan, playing on stage along with his parents.

They are talking about him about genius, its performances are called classics, there are his passionate fans around the world. All this now, when he shouted fifty.

And still began in childhood, in the small town of Novosil, which is in the Oryol region. In the lessons, he thought about his and rarely listened to teachers. It has it has been preserved to this day: he always thinks about his, although he still learned to listen to over the years. Especially - visual hall. He hears the breath of everyone, because its performance varies depending on this breathing.

The intermittent agitated breath of the hall can provoke its most unexpected unplanned anticipation. And then he can go straight to the viewer. Or suddenly it will hang over the hall an incredible huge pause. You can write treatises about the Polunino pauses, for their whole wisdom. In a pause, he - Mime - knows how to say everything that cannot be said in words or actions.

From school lessons, he was often expelled for having been inattentive and constantly mixed the whole class with his scoring uplings. In the 2nd or 3rd grade, he first saw the film "Kid" with Chaplin. But the mother did not give to watch it to the end: the film was walking on television late in the evening, and she turned off the TV. He looked up until the morning. A few months later he walked in huge shoes, with a cane, Chaplin gait at school. And then began to compose all sorts of things and show them. First, in the courtyard friends, then at the district competitions. Despite the fact that he spent part of the lesson in the school yard, he graduated from school and went to Leningrad with the secret hope to enter the Theater Institute.

Maria Nikolaevna was not delighted with such a choice, she wanted the Son to become an engineer. It was not possible to enter the Theater Institute, according to his own expression, because of "some sounds that he did not speak." I had to learn from the engineer.

But engineering career did not take place. Vyacheslav threw the institute and entered the Leningrad Institute of Culture, in which he later began to teach. His Leningrad period was marked by the creation in 1968 of the first group with the beautiful name of the "Lyedie" and independent classes with the new pantomime art at that time.

Pantomime's passion arose not just like a tribute to fashion. Its smooth movements came to shift often too determined, and therefore the word is almost meaningless in those days. When everything and everything was prone to censorship, when each word had to be blown up, the pantomime remained free. All this, including failure at the entrance exams in the Theater Institute, provoked the interest of Vyacheslav midnight to the silent art of mimes.

The then "Lyedie", led by halfnight, successfully worked on the Niva eccentric comic pantomime. They were invited to large summary concerts and even on television. All free time Vyacheslav spent in libraries, where the most serious way was engaged in self-education. He now spends any free minute with a book. A hike to the bookstore is a whole ritual.

Among these books is a huge number of artistic albums, because painting, sculpture, architecture, design, graphics, caricature is the most important food for his fantasy. And this fantasy creates its pictures on stage, which have nothing to do with imitation and repeat.

The new year was the turning point for Vyacheslav - 1981. He called the editorial office of New Year's light and stated that he had a completely new number. No number at this point, however, was not yet, but there was a premonition, a monitoring. There was a guess that you need a new one, no one like a character. This was born asyssia - a small, naive and trepidate man in a yellow jumpsuit with a red scarf and in red shaggy slippers. It was then born when the Polunino miniatures received recognition, their author himself is a variety of prizes, including the second place at the All-Union Trend Artist Competition. Born because there was an insurmountable need to break through to something new, unknown, unusual.

From this point on, the movement towards the unknown, sometimes apparent unreal, became the norm for him, the answer to many, sometimes very difficult situations in life and work.

In 1982, Polunin gathered about 800 pantomime artists in Leningrad from all over the country to the legend of MIM Parade. In 1985, the Festival of Youth and Students, within the framework of which the Pantomime and Clowning Workshop was organized, he brought clowns to Moscow from the then incomparable West, among whom were the titled "King of Fools" Django Edwards from Holland and the most empty serious and stinging - Franz Josef Boger from Germany.

Vyacheslav Polunin became the organizer of the All-Union Festival of Street Theaters in Leningrad (1987). More than 200 of its participants, including children and critics, were abandoned by a uninhabited island in the Finnish Gulf. From this islands, the bars were arranged on a boat in different parts of Leningrad and the region, during which the actors of plastic and clown theaters mastered the hard art of street comedians.

In 1988, "Lyedie", which created five performances during its existence - "fantasies", "Chuddaki", "from the life of insects", "Asyssy-Review" and "Catastroph", - celebrated the 20th anniversary of their theater with their own funeral, believing Stanislavsky, who said that the theater dies after 20 years of its existence. On the occasion of the funeral, the first All-Union "Congress of Fools" was convened, during which it was discussed in detail, the great scene reformer is right. The funeral was held throughout the form: at first speech in the coffin, more precisely - coffins; Then the mourning procession through the streets and, finally, is a solemn alloy of burning coffins on the Neva.

In 1989, a miracle happened, the name of which "caravan of the world," is the European Festival of Street Theaters. It was a unique theatrical city on wheels, which furred in Europe roads for six months. Poluninsky efforts made it possible to carry out this project equal to which there was no before, nor after ...

Then the "Academy of Fools" was created, which began a grandee for the revival of carnival culture in Russia, the traditions of which, it turns out, has been preserved at the midnight homeland. The first stage of the project Vyacheslav spent on his own funds. There was no longer the second stage of money, and then he left Russia to tour the world. These tours are for more than seven years.

Today Polunin lives in London, where he removes the big house. But the main house is in the car, in which not only the family and his friends-colleagues, but also the library, and the video, and the library, and the library, and the library, which can envy a serious collector can envy. In the same trailer, its books and films live, the scenery and props are based, the workshop is equipped. Always with you a small TV with a video recorder, the full equipment equipment that can be deployed anywhere.

The western press Russian clown Vyacheslav Polunin is called the "best clown of the world", "the best clown of the epoch", he received the most prestigious theatrical awards in different countries, among which the Edinburgh Golden Angel, and the Spanish Golden Nose, and the Lawrence Prize Olivier. In the homeland, in Russia, in 2000, he was awarded the triumph award.

In the head of V. Polunina there are many new ideas and plans. This is working together with I. Shershakin over the play "Dyabolo", and hope to organize with the support of the metropolitan mayor's office in 2002 International Theater Olympiad in Moscow. "We will invite folk, street, square theaters, mimes, circus, juggles, - Polunin dreams, - and something such a story. Let's say, let me beat and squeeze on a spit above the huge bortf ... Bus, the car is a monster of the 20th century. I I love to be crazy, reckless life, endless improvisation ... "

Polunin works a lot and does not know how to relax. But knows how to live in pleasure - and on stage, and outside it. It may be tough, calculating, invulnerable, but only because in essence he, like any real artist, and vulnerable, and not very adapted, and treten. He is a person who creates a holiday.

Where all all began
The play of midnight "Snow Show" ended half an hour ago. But the audience filled with the Picok Theater of the London Theater at that evening did not disperse.
After the performance I go into the artistic restroom. Glory is sitting with his legs on a chair, curled up with a hacker. Without a tomato nose, but still in traditional clown makeup. I ask my first question.
- How did you bring clownade, the faithful action from under the dome of the circus on theatrical scene, and then on the world layout? What started?
- When in the 60s I came to clowning, there was no one left there. Yengibarov died, his followers were not so strong, they only copied it. Caran D "Ash has already left the scene, Nikulin left. And the emptiness was formed. The main thing - there was no modern language to speak with the century. As I noticed Engibarov," Through a clownade, the system of the twentieth century does not pull out the scene. "He opened The road to the poetic, tragic clownade. And I understood: it is necessary to move towards Chaplin. And I did it right. After all, the Circus by that time was when death - exactly because I did not find a modern language. Circus 50s was a vertex, in the sixties went On the decline, and the 70th and 80s - it was already round zero. Not art, but repetition yourself.
- How can this be explained, in your opinion? Financing? State pocket fastened?
- No, no, financing we have always been fantastic. None of the state is built as many circuses, huge domes throughout the country. The problem is different. The circus was put on the stream. The conveyor system was brightly technically skill, but practically squeezed out all poetry from the circus. Because it is impossible to make 40-50 performances per month, each time swinging the hearts. And we had the best in the world. Seven flies twisted, but they could not look into the eyes of the public.
Therefore, I had a task: go for Yangibarov, return poetry to the circus. And through the theater, returning her stage essence returning to clownade.

Grateful primary audience
- And you have been trained in a specially clown craft, ended the circus school?
- Not. I did in many places. In the Theater Institute - did not take me there, then somewhere else, I do not remember where, - again did not accept. In the end I understood: the best is self-education. All schools were wounded, some non-residential. Therefore, I sat down in libraries for several years, everything unfastened that it was in the "public" in the store, in theatrical. The silver century has become the discovery for me: Meyerhold, Tairov, Radlov ... And all that in me, from there. Then a silent cinema, of course, became a teacher, many films of 10 times, watched 20 times.
And as a result, I decided to try to return to the scene of a person playing, whom the tribune man supplied. After all, we still remain on the podium: the scene is raised. And anyway, the ideas of our acting life on stage people pick up, stretch to them. But to seek people for you and did, like you, is wrong. You live yourself - who will like it, he will go for you.
- Well, how do you feel in Britain? Here, too, the rich traditions of clownades. After all, the Popinal Anglosex is not alien to a hymogram in your understanding of this word ...
- I would not come here, do not be so here. There is, relatively speaking, countries five in the world, followed by a long loop clown-theatrical culture. When you go here to the stage, you call not only the experience of some viewer in the third row of the parquer, but the experience of all its compatriots, the whole of this country. Already in the first arrival in England, I got my eyes on my forehead: how thin the British read the second, the third level of the text. Fantastically grateful audience.

Theater absurd
"After all, this Englishman came up with the name" Globus "theater. And here in the "Snow Show" you have a ball globe on the nose ...
"The more I know what my plots become intellectual to become, the more I have to turn into a fool and have fun on stage, nothing to think about. Everything exists at the same time. The more I get a man of the world, the more I become a man of Russia. Because everything I imagine is Russia. I carry the viewer what gathered in me, accumulated in my homeland.
By the way, our new performance I would like to include in the celebration of the 850th anniversary of Moscow. This idea was now lucky at my request to Moscow Andrei Konchalovsky. I would be happy if our performance was part of this holiday.
Another thing is that in Russia ninety percent of my energy goes for some reason on nonsense and only ten - on creativity. Therefore, I decided: I will give ten times more of Russia, if I bring there performances made abroad. Because I will bring them ten. If I will work in Russia, I will face one play for ten years. Big me not enough. I judge from experience: I spent the last two years in Russia, spent all my money, which in America earned, created the "Academy of Fools" - the Association of People who love humor, absurdity. And he knew that all this in the end burst. But still two years turned to make sure and be calm in this hopelessness.
- How do you look at what is happening in Russia?
"I just try not to talk about it, because after sick." I do not know what to repay, which will take the top. But still preserved such a number of magnificent people in Russia, including in culture, and all the time there are outbreaks: amazing performances, exhibitions, new ingenious musicians ... I come to such events, because I know: here in the West, like will not happen. Only the energy of Russian people is capable of it. For this purpose, the style of their existence is designed. But why and when will all this come? This is a big question.

My house is my troupe
- A large American political scientist Rosa Ghetemyuller (she carefully follows Russia, often there) believes that in Russia the middle class came to life: the theaters are full, the exhibitions are full. That is, the Russian intelligentsia begins, in her opinion, to find its place in a market economy, her mood rises. Do you agree?
- Of course, there is a sharp contrast between 1992-1993 and 1995-1996. Indeed, a clearly sharp return of the public to theaters. Because she, the public, beat two or three years, escaped for money, thought that he would build his life on this. It turns out no, this problem is not solving the problem of self-awareness. Without music, without a scene, a Russian person does not survive. The need for culture we now have a huge and return to it obviously.
- And how is the sad-cheerful fame of the Glory of the midnight, is a personal life? More sad or more fun?
- My theater and my family is the same thing. It happened in the old days when the artists nomaded all their lives. The core of my troupe is five people: I, my wife and three sons. Our family is in eternal movement. Most often we live two years in one country, then, when it is bored, moving to another. Two years in France lived, then two years in America. Now for a year here, in London. Maybe in France again we will apply or in Holland - let's see.
- But not to Russia?
- In Russia, too, the house, there is my mother. But I return everything less often, on average somewhere for a week a year ...
- Do you have real estate? Villa somewhere in Cyprus?
- Our real estate is just what can be carried in hand. We dream all your life so that we have a house. But the whole problem is that buying house and not live in it does not make any sense. From this point of view, why should I have a villa in Cyprus if I have a normal apartment in Leningrad. The house is needed where you are all the time. And we can not decide where to live.

"I spent twenty years in the basement"
- This influx of Russian art on the English scenes seems to be not yet. What do you explain this?
- Nothing, except that the borders opened. That's all. People got the opportunity to move, enter into communication, find the stage for their talent.
- Does this not say about the depletion of Russian art actually, about the infringement of the Russian viewer? Is there a commercial incentive culture away from Russia?
- I spent twenty years in the basement, and she, Russia, did not see me too. It's not about commerce. Soviet official Russia did not want to see me. She wanted to watch his opera, ballet performances, who have long passed. She did not watch a new, avant-garde ballet, did not listen to rock. Is the West to blame? Not. It was a politics so as not to pull out the art that is not harshly, it is not clear, suspiciously: where are people? And now what: limit the midnight, limit the Khvorostovsky? If Polunin loves Russia, he will arrive there anyway. If Hvorostovsky loves - he will come too. But for this, it would be necessary to create conditions there, maybe while the most primitive so that I do not rob in the train, so that on the stage I do not colose on the head ...
- Last question: Are you glory, millionaire?
- I am always learning from my idols. I am always trying to understand how Chaplin lived, what he did. Not only as an artist, but as a strategist, as the organizer of the kinestone, as a person ...
- You do not leave now from the answer?
- No, not leaving. Together with Douglas Ferbenx and Mary Picford Chaplin created a film studio of United Artists, who did not depend on anyone. The money they earned was invested in new films. Therefore, they laid down so long. On the other hand, Bastere Katonu Studio presented a fabulous villa and said: everything will be with you, but control over your creativity for us. And what? The following year disappeared Baster Kiton.
I do not need much. I have children, they need to eat, live in a small house with a parisader, there I do. I have no expensive things, nothing, except for what is connected with performances. As soon as I have money, I immediately put them with the foundation. And I begin to build on it a new pyramid of Heops to show it in a new play.