Boris Dyachenko actor biography

Record section: A creative portrait there is a special category of actors - restless artists. In addition to technical skill, they live a multi -faced content that they melt in the role. These actors reanimate any performance, in their game there is no artificial theatricality, but only a simple, genuine, familiar truth of life. Such an actor is Boris Leonidovich Dyachenko, who celebrates the summer anniversary on August 16.

The photo is provided by the press service of the theater. Pushkin’s acting range allows him to embody many characteristic roles in which an acute interpretation and an accurate pattern are always found. He plays lyrical, wide, with charm, when it is required to add self -irony or pathetic excitement. Always different. Dyachenko worked with the leading directors - Oleg Efremov, Anatoly Efros, Roman Viktyuk, Galina Volchek, Roman Kozak - whose performances were included in the treasury of the theater chronicle.

Since the year of Dyachenko, the actor of the A. The Prime “Inaccessible”, Theater named after The photo was provided by the press service of the theater of one of the recent works of Dyachenko was the role of Shamraev in the play by Dmitry Krymov “Kostik” based on the Chekhov “Seagull”. In a stretched jacket and pants with general lamps Shamraev-Dyachenko is funny and scary.

In the play about the character, they speak like this: “Unbearable person! The actor manages to make out the spiritual altitude of Shamraev, whom you regret not because he is a layman, but for his touching desires to seem strong and smart, capable of philosophizing, although in fact he makes senselessly conducts “... all his life among loafers, snuggies, stupid women, he says and listens to different nonsense ...” Speaks are confident, but sharply confusing, gestures, as if gestures, as if gestures.

Figering him from others, and a embarrassment impulse to cross himself at the corpse of Kostika is more like a desire to dispel a mirage. The hero passively creates most of the action, but his weakness shakes the image of a lonely person who is fenced off from the world, “man in a case”.

The performance "Dinner with a fool", theater of Anton Chekhov. The photo is provided by the press service of the theater should emphasize that Boris Dyachenko is absolutely successful to be organic in any genre, especially when it comes to related forms. In the comedy of Leonid Trushkin “Dinner with a fool”, the actor plays for many years. Pierre-Dyachenko will smash in words, emotionally and densely, to look in contrast next to the spineless Francois Durak.

And in the final, the actor opens his hero as a rusted tin can with a rattle, painfully, with a break. Against the backdrop of an empty, lifeless space of the living room, which at the beginning of the performance was richly furnished in front of the guests, Pierre looks doomed as sentenced to the death penalty. The choking intonation of a neurasthenic is replaced by a calm thoughtful speech.

The performance "False Confessions", theater named after Pushkin director Evgeny Pisarev. Remi-Dyachenko neatly leads the voice rhythm, as if spoke of the multilayer space of the scene, where everything is moving, fragile, shaky. Without changing the smooth business intonation, the hero speaks either with a clerical smile, glancing his eyes into a rich widow, then in atertically lifting his nephew.

For all the dry speeches, Dyachenko manages to perform the actions and assessments of Remy with a finely planned gap between the word and thought, desire and calculation. Without this character, the performance would have lost the preziiness and the necessary ironicism. In the plays of modern and classic, Russian and foreign for Dyachenko, a person is important primarily.

Either through a psychological root, or through metaphorical techniques or even a grotesque, heroes are born - they are always accurate, capacious, deep, living, interesting. For any nature, the actor will find his reading, surrendering to work with all conscientiousness, honesty, not forgetting about charm, beauty, inner pulse of thought. And each time going on the stage proves that real art has a power that can raise a person who has lost hope from the knees, save life, and therefore the whole world.

Let this creative path be long, crowned with well -deserved attention and non -adventure applause!