A good actor can be seen in two or three movie roles. Because in each of them he reveals himself completely, lives the character's life as his own. And then for many, many years, grateful viewers will remember the actor with warm words, even many years after his death. Strzhelchik Vladislav was one of those actors who is simply impossible to forget after the credits of the film you have watched run across the screen.
Childhood barefoot
In Petrograd, on the last day of January 1921, a boy named Vladislav was born. His father, Ignatius Petrovich, was a native of Poland, and he came to Petrograd after the First World War. He was a very religious person, but at that time he had to go to the church in secret. Ignatiy Petrovich was afraid all his life that he might be arrested.
Vladislav Strzhelchik was latechild. He grew up as the most ordinary boy, like hundreds of thousands of other Soviet children. He was a little playful child, he was very fond of sweets, however, like most kids. He did not study very well at school, but while still sitting at his desk, he simply raved about the theater. A little later, the young man enters the theater studio at the Bolshoi Drama Theater (BDT). It was the course of that very "cinema" Chapaev - Boris Babochkin. The study took him all over. He was still a student when he was enrolled in the auxiliary cast of the theater troupe. The outbreak of the war suspended such a successful educational process.
War terrible years
Vladislav Strzhelchik was at the front throughout World War II. At first he was in the army, later - in the military ensemble. Even many years after the war ended, Vladislav recalled this terrible time, the cold and hunger that constantly accompanied him. He always tried to bring the rations allocated to him to his parents when they lived in besieged Leningrad. Vladislav Strzhelchik, whose photo often appears on the pages of glossy publications, traveled to the city for three dozen kilometers - sometimes on foot, sometimes in passing cars. It happened that he came under fire. The horror that he then experienced, the actor could not forget until his death. Perhaps it was after those terrible days that he formed the habit of filling the refrigerator with different products. He constantly bought everything for the future and always in large quantities.
In 1947 Vladislav Strzhelchik, biography, whose personal lifearoused undying interest among admirers of his extraordinary talent, received a diploma from the studio school at the Leningrad BDT. The following year, he was already in the troupe of the theater. Maxim Gorky (now named after G. Tovstonogov).
Light of new life
After the first role played in the play "Much Ado About Nothing" (the actor was offered the role of Claudio), the role of the hero-lover embodied on the stage stretched like a train to other performances. The people were exhausted by the terrible war and blockade, hunger and suffering. Now everyone was trying to restore the ruined city as quickly as possible in order to try, if not forget about the horror experienced, then at least move it a little further away, into the back streets.
People, like little children, receptive to everything new, beautiful and bright, looked at a completely new, some kind of fabulous life, where there is a lot of laughter, jokes, fun, where there is no fear and trouble.
Theatrical Rhapsodies
Theatre-goers hurried more impressively to Alexandrinka to see the "old men", but the BDT accepted younger spectators, the bulk of whom were women, who went to the charming and seductive Strzhelchik. Recognition and the warm attitude of the public finally come to the young actor. They praised his work in the play "Enemies" (the role of Grekov). Vladislav Strzhelchik, whose filmography was rich in interesting and memorable roles, did not refuse costume roles either. He gladly agreed to play in "The Exposed Miracle Worker", "Girl with a Jug","Servant of two masters."
Serious as ever
In his life and in his beloved work, the actor adhered to several pedantic rules. Maybe someone will find it too tedious and completely unnecessary, but not to such a master as Strzhelchik was. He never allowed himself to be even five minutes late for a rehearsal. He was terribly annoyed if one of his partners forgot his lines or under-learned his role. If one of the artists who were simultaneously on the same stage with him, did not follow the given directorial pattern as accurately as it was required by the role, Strezhelchik could flare up like a torch.
His work was very dear to him, even sacred. And he treated her with great love and scrupulousness. Vladislav Ignatievich was always in shape, always in his voice. After all, the voice is an instrument of his work, and a professional, to whom the actor justifiably attributed himself, has no right to drink on the eve of the performance and plant his voice.
Gradually, from year to year, he managed to move from the roles of light, flying, to quite dramatic and characteristic - in "Three Sisters" he played Kulygin, in "Cliff" - Raisky, in "Barbarians" - Tsyganov.
Solomon Gregory
All these roles brought Strzhelchik closer to an unusually accurate disclosure of a character with an unusual name for the layman Solomon. It was a play by Miller called The Price. The actor played the role of Solomon Gregory. Critics who could smash any actor and the role he played to smithereens admired thisthe work of Vladislav Ignatievich, referring it to a certain masterpiece, to the pinnacle of his creative path. The image of an old man 90 years old, embodied on the theater stage, was rich and juicy in texture. Solomon lived on the BDT stage for twenty-five years. Despite the fact that over time Strzhelchik changed partners in the play, it was on him that the performance was based, it was in his name that the audience went, it was thanks to him that this performance was a resounding and unending success.
Strezhelchik and others
Vladislav Strzhelchik knew how to joke and did it with great pleasure. Probably, the most striking manifestation of this talent of the eminent actor was in the play "Khanuma". He played the Georgian prince Vano Pantiashvili, who, thanks to the artist, literally beamed with the finest humor. The words and gestures of Vladislav Ignatievich, every turn of his head, were saturated with it.
His colleagues even now fondly remember how pleasant it was to work with him, how easy it was for everyone to share the stage with him. Strzhelchik always obeyed logic very strictly. There is an opinion among the actors that they should interact with each other during the performance according to the “loop-hook” principle. Strzhelchik was an ideal partner, he always felt a partner. When he worked in a play with Alisa Freindlich, all skill was built on an exclusive partnership. Yes, and in life they were friends, Vladislav Ignatievich even baptized the grandson of Alisa Brunovna. Each time from one performance to another, new, deep and interesting facets of the great talent were revealedartist.
His film masterpieces
Vladislav Strzhelchik has developed a long and warm friendship with cinema. There were a lot of roles, all real, voluminous, excluding any stereotypes. It was never possible to say that some character was accidental for the actor. He was the Roman ruler in A Courtesy Call and Fried Eggs in The Marriage, Andrei Tupolev in The Poem of Wings, and the adventurer Naryshkin in The Crown of the Russian Empire, fearlessly walking on his hands along the parapet of the Eiffel Tower.
At the same time, the role of a good man and a great aircraft designer Andrei Nikolaevich Tupolev turned out to be both fertile and difficult. This character was very bright, large-scale, simply amazing. Everything was in this personality: both the person and the era.
In another picture - "His Excellency's Adjutant" - he very carefully entered the life of the heroes, into their personal lives. And the work itself is rather chamber in its form. It demanded from Strzhelchik several other details in the characterization of his hero, other details.
Intimate
For many years in the theater about the actor gossip that he leaves no attention to any pretty woman. He adored women, every acquaintance at the time of the meeting was always interested in her life, family, children. At the same time, he was a jealous man who was convinced: mine and only mine. Such was Vladislav Strzhelchik. His personal life was connected with his wife, Lyudmila Pavlovna, whom he sincerely loved.
Their home was always perfectorder. They knew how to live beautifully. The Strzhelchik house was different from others in that everything there was exquisite.
Once on stage, the actor forgot a piece of his text and did not even understand what had happened. The diagnosis that he was given was striking in its cruelty: brain cancer. He left for a long time, painfully. And no one who knew him could believe that this was the end. After all, Strzhelchik and death simply did not fit one with the other. This is how Vladislav Strzhelchik remained in the memory of millions. His family was small, but love reigned in it. The actor was like life itself. His heart stopped on September 11, 1995.
