Yuri Stoyanov in Voronezh: “There was no transvestism in my reincarnation as a woman in Gorodok!” Gorodok: nationwide fame and love

On the Small Stage of the Moscow Art Theater named after Chekhov appeared "The Game of" Towns ", based on the book of the same name by Yuri Stoyanov. The memoirs of the people's artist about the popularly beloved comedy TV program were released last year by the Eksmo publishing house. At one of the evenings, the Moscow Art Theater students read several chapters - the success turned out to be huge. Then they decided to prepare a performance in which only men are involved - all famous and popular, among them the author himself. They change texts, some fragments disappear, others appear, new heroes flash by, stories that are not included in the publication are heard - each show becomes unique. "Culture" asked Yuri Stoyanov about the premiere, performers and how his writings were born.

culture:“The game of “Gorodki” is your second book, about the debut, I confess, I did not know.
Stoyanov: The first was called “See you in Gorodok”, we wrote it together with Ilyusha Oleinikov. Each, regardless of the other, remembered something important about himself that happened before we crossed paths. It was a flip volume with a symbolic layout and layout. From one cover - his story, from the second spine - mine. They were connected in the middle - by photographs. Separate and general.

We decided to make a book when we had a short pause. But there was no trace of a desire to make the world happy with a story about the unique fate of the artist. God bless us and star fever passed by. First, we had a good time before we became recognizable. Secondly, the age was no longer the same for copper pipes to cause irreparable damage to the character.

culture: That is, the head did not spin, but did you want to continue the memoirs?
Stoyanov: I think that book is really biographical, the second one is not. Although, of course, I talk about what I know and what happened to me. But, in fact, anyone does it. writing man. And the roles of an artist, even if he plays Hamlet or something from Moliere or Ostrovsky, are still to a large extent based on his personal life experience.

Still, “The Game of Towns” is sustained in the genre of a story, and it has “references” - writers whom I do not imitate, but I know for sure: if I didn’t love Mark Twain, Chekhov and Dovlatov, then this book would never appeared. In it, I included fragments from the first - for the chronological correspondence of life, in order to preserve the temporal sequence. But the farther away from the beginning he moved away, the more just short stories appeared, inspired by real cases.

culture: There are a lot of memoirs now, and most of them are spoken into a dictaphone, and then a literary assistant turns them into text.
Stoyanov: Neither book was dictated. They are written, the first - by hand, the second - with the support of gadgets; I always carry my tablet or laptop with me. I worked during short holidays, mainly in Finland, which I adore. There are very few temptations: a lake, a forest, a boat and silence. There I wrote these short acting stories for a long time - 8-10 hours a day.

culture: You can't call them acting tales.
Stoyanov: Such a definition would offend me. I will allow myself a bold statement: I think that “The Game of Towns” is more literature than the first book. She wrote differently. "See you" had a unique literary editor Svetlana Druzhinina - a representative of a dying profession. Her contribution is huge, she worked with a man who never wrote anything. Anyway, for the purpose of posting this.

culture: Do you mean yourself or Ilya too?
Stoyanov: She was our common support. "The Game" was written without help - and in this fundamental difference. That is, I had a wonderful editor - we worked remotely. I sent the text via Skype, he put a couple of commas and commented: “I laughed so much, I laughed so much, everything is wonderful ...” or “I cried so much, cried so much, very well ...” I also liked this form of work.

culture: The book turned out to be ironic, somehow incredibly clean and light, even in sad episodes.
Stoyanov: My mother, having read it, sighed: “Why haven’t you learned to love yourself?” One great screenwriter said, “Why are you shy all the time? Why don’t you write about what you played, about the attitude towards you in the world, and not just in your native country, how you created a completely unique product that was not, is not and will not be on television? But then it wouldn't be me.

culture: Still, you write about what actually happened. Lied or the truth and only the truth?
Stoyanov: This is not documentary prose. What concerns me directly, my relatives, is almost absolute truth. I would say - my truth or my attitude towards it. As time passes, some facts become more convex. It can also bring a little, but only in the direction of love for a person, but not hatred. I can make a character better, funnier, more charming or unhappy, but not worse. The principle of conjecture is just that. And since, I hope, this is some kind of literature, I have the right, especially in dialogues, to subordinate speech to acting laws so that the reader feels the character's character.

culture: The book quickly disappeared from bookstore shelves. Do you feel like a popular writer?
Stoyanov: I really don't like wording. And I'm not a writer, but a writing artist. It's still different. It is important for me not only how stories are read, but also how they sound.

culture: Indeed, they want to say aloud.
Stoyanov: This is what I was striving for. Here are the stories for the stage.

culture: You wittily performed them at benefit meetings with the public, then together with the actors at the Moscow Art Theater evening, and now you have prepared a repertoire performance for the Small Stage of the Chekhov Moscow Art Theater ...
Stoyanov: When we started staging the book, it turned out that there was practically no need to invent anything - a literary device automatically became a stage move. I mean emotional swings, mood swings. After a dose of laughter there is sure to be enough sad ending. On stage, this is done in an elementary way - not only by a paragraph of sounding text, but by a sad melody, corresponding in my understanding to this fragment. It sort of flows out of the story. It could be Brahms or Britten, my music or a familiar motif from the Gorodok program, or even just folk song, Russian or Ukrainian.

It's a very easy story. An artist came, we quickly decided: since there are eight stories, then let there be eight floor lamps. They came up with a subtitle - "They say and show men." Eight artists, all my friends, whom I love very much: Stanislav Lyubshin, Avangard Leontiev, Kolya Chindyaikin, Stas Duzhnikov, Valery Troshin, Yuri Kravets, Igor Zolotovitsky. All work phenomenally. I can write about everyone.

It seems that we have achieved that in the performance there is not even a hint of the author's creative evening or the actor's benefit performance. Even with overkill. The audience asks why Lyubshin says "dear Yura", because he should say "dear Slava". That is, they decided that each of us is the author of his own story. This is what I wanted. I'm just happy that there are people who never realized that they listened to stories written by me. This means that Gorodok and everything that happened to me in it are not only the facts of my biography, but an encyclopedia of life. big country at a particular historical point. Artists, readers, spectators lived it together with me in many ways very similarly.

culture: On the site of the Art Theater, the director of the performance is not marked in principle?
Stoyanov: In the program of the performance they wrote that Yuri Stoyanov. But what direction is needed to say the phrase: “It was a long time ago, Michael Jackson was still black, and my salary is white”?

culture: In literature, you named your idols, but is there a type of theatrical action that you were guided by when creating an evening of literary miniatures?
Stoyanov: I would compare this - and only because you ask - with the way of existence on the stage of Irakli Andronikov. The example is distant and immodest, but you listen to his stories and do not understand - is it true or fiction, a study of morals or a sly anecdote. All genres are mixed, served by personality, decorated with charm. If someone calls our performance a "literary-dramatic composition", then it will seem to me that I have fallen into nightmare. I would say what happened is amazing. funny story, in the final of which someone is sure to cry.

culture: How is the performance built?
Stoyanov: It is important for me that we all read the text on paper. Of course, at times breaking away from her and playing. Experience shows: either you need to know by heart, or read. You can't be a little pregnant. We were all “killed” at the show by Stanislav Lyubshin. It turns out he, the oldest of us, and gives out by heart. The only one. We all attacked him: “Uncle Slava, why are you setting us up?” He replies: “Teach, children, teach, good literature, I easily remembered ...” We change the stories, change them, add those that are not in the book. This is what Avangard Leontiev reads - "It can't be" about my trip to today's Odessa.

culture: You are from there and told our readers that you are happy to repeat the biography of Zhvanetsky: an Odessa citizen, in love with his native city, who worked in St. Petersburg and lives in Moscow.
Stoyanov: Therefore, I myself cannot read about my visit to my beloved city. Somehow Garik couldn’t come, and I decided to try, but I didn’t master it: a lump in my throat presses, I can’t and that’s it, it’s very sad. He turned and handed the sheets to his partner - read it, they say. This can also happen in this show.

culture: You started at the BDT with Tovstonogov, but how did you get to the Moscow Art Theater with Tabakov?
Stoyanov: I wouldn't go to any other theatre. It is now clear to me that I am a person who is hard to adapt to any team. I felt good only in that place and that world that we created together with Ilya. He and I were poisoned by independence, intoxicated by it. And for me to enter into the circumstances of a monstrous slavish submission to someone is uncomfortable. My life as a man, engaged in a woman's, incredibly dependent business, in the circumstances of the theater was unsuccessful and unproductive. The memory of this will forever be in my pores. Therefore, I do not want to enter this water a second time.

culture: And yet you are busy in the performances of the Moscow Art Theater.
Stoyanov: Now no one considers me coming, connected with the theater only by contract. I have two names, a third will appear soon - I recently got into new production to Igor Zolotovitsky. I am busy in all special projects - song, poetry, anniversary. You see, what a strange thing: I can work only when they love me and I don’t have to prove anything. Then I am free and give the desired result. I hate taking exams and won't. Never. Enough already. In the Artistic Theater there is a democratic atmosphere, a glorious troupe, I am very comfortable with everyone, both with the old people, and with the young, and with my generation. I'm cool in Artistic.

culture: How did relations with Oleg Pavlovich develop?
Stoyanov: Our romance is long, of many episodes. Oleg Pavlovich repeatedly invited me for all sorts of conversations. Every time I let him down or found a reason to let him down. He wanted me to work in the theater and be a repertory artist. And I evaded, referring to different reasons. Sometimes he asked at a meeting: “Well, Yuri Nikolayevich, have you already satisfied your material needs?” Received from Tabakov and an offer to play all his roles. I had to say that I finish my meal only on January 1 and only Olivier. Then he asked: “What did you play, son, in the BDT?” I listed. He was surprised: “I saw “There is enough simplicity for every wise man,” but I don’t remember you. Strange ... - and after a long pause he continued: - Usually I always remember good artists. Here I already asked: “Which artist have you invited to play their roles now?” The answer was: "Already very good." And Oleg Pavlovich is right. If I had been good then, I would not have looked for myself on the side. Never.

Photo on the announcement: Vitaly Belousov/RIA Novosti

Behind the back of the 58-year-old creator of the legendary "Gorodok" Yuri Stoyanov, everything that a person of his profession can dream of: 4 TEFI awards, the Golden Eagle, awarding the Order of Honor and the title of People's Artist. When asked by journalists about his personal life, the merry fellow with wide-open, slightly sad eyes prefers to remain silent.

However, in one of his recent interviews Yuri Stoyanov nevertheless spoke about the successes of two stepdaughters - Xenia and Anastasia, daughters from a previous marriage of Yuri's third wife Elena. And also spoke about the character of the youngest - 13-year-old Katya - common daughter Stoyanovs. Ironically, only autobiographical sources know about the artist’s sons: “Children from the first marriage: Nikolai and Alexei Stoyanovs.” The artist cannot boast of participation in the life of once boys, and now adult men.

Life78 managed to find out why Nikolai and Alexei changed their surname Stoyanov to Khlopov, what happened to their sons and ex-wives after a divorce from the public's favorite.
The first wife of the then unknown young man Yura Stoyanov was Olga Sinelchenko, a graduate of the theater department of GITIS. In 1978, the lovers played a modest student wedding in the groom's homeland in Odessa. In the same year, after moving to St. Petersburg, the first-born Nikolai appeared in a young family. Two years later, the second son is Alexei. Nikolasha, as the eldest was affectionately called in the family, was about five years old when mom and dad decided to get a divorce. Surrounded by Stoyanov, it was rumored that the aspiring actor of the BDT was carried away by the editor of the literary part of the theater, Marina Venskaya. It is with this that the sudden decision of the legal wife Olga to leave her husband is associated. A girl with two sons moved to live in Moscow. Stoyanov failed to stay on good terms with Sinelchenko. The painful separation of the parents was the result of the absence of any relationship between the sons and their own father. - It’s not Yura who doesn’t communicate with children, but children don’t communicate with him. This, most likely, was a projection of Olga. She left with her children. While Yura's father was alive, they still kept in touch, because he adored Olga, he did not have a soul in her, and he adored his grandchildren. Even after the divorce, Nikolai Georgievich came to Olga and the children in Moscow, and after his death in 1993, they stopped communicating. Alyosha once came to visit his grandmother and there they met with Yura, it seems that they began to communicate at least some, and Nikolasha categorically does not communicate with his father, cannot forgive his father, says the artist’s childhood friend, who maintains a warm relationship with him and his mother Evgenia Leonidovna Stoyanova.

Now the first wife, Olga Sinelchenko, is married again and lives in France. The new husband of a woman is once a professor of the department No. 40 "Physics elementary particles» National Research Nuclear University MEPhI, Doctor of Physical and Mathematical Sciences Maxim Yuryevich Khlopov. Olga does not want to hear about her ex-husband. When, at the request of Life78, a woman’s friend asked her to talk about her relationship with ex-husband, Olga wrote: "I don't know who Yuri Stoyanov is."

After the divorce, Sinelchenko gave her sons the name of the “new dad” and even changed their middle names. Nikolai Yuryevich Stoyanov is now called Nikolai Maksimovich Khlopov, Alexey Yuryevich is also listed with the surname Khlopov and a new middle name. Stoyanov's eldest son, now 38-year-old Nikolai Khlopov, graduated from Moscow State University, after which he received an MBA in e-business and innovation management. Now the young man is a partner of the British company THI, engaged in business consulting. It is noteworthy that the businessman often gives interviews and acts as an expert in various media. However, journalists do not even suspect that behind a successful man named Khlopov, the son of a people's artist is hiding.
Now Nikolai is married, his wife Victoria teaches theater design at the British high school design and in GITIS.
The youngest son of the actor, 36-year-old Alexei Khlopov, also graduated from the Faculty of Journalism of Moscow State University and worked for the TV company VID. Now he is developing his own company, Yete Guide Bureau, organizing extreme hikes in the mountains in Sochi. Alexei is also married. With his wife Anastasia, he brings up his son Roman, the grandson of Yuri Stoyanov.

The second marriage of the author and creator of "Gorodok" did not give him any children or grandchildren. It is with this that the separation of the artist from Marina Anatolyevna Vienna is associated. On the sidelines of the Bolshoi Theater then there were legends that in her youth Dunya (as Marina Venskaya was called by all her relatives) swore not to have children. However, Vienna's mother denies these rumors. - She did not make such a vow, I once said that more than anything in the world, I am afraid of being a grandmother. Well, if you're afraid, we'll see, - said Marina. She was still a girl. Marina has no children, but she has an Alabai dog named Fanta, - says Marina's mother Nelli Konstantinovna.

After a divorce from Stoyanov, Venskaya married actor Vladimir Eremin. The artist's track record includes more than 60 films. Second spouse Marina Venskaya also did not give birth to a child.

I love Yura, I have a good relationship with him and his mother, Evgenia Leonidovna, I call her Genichka,” Nelli Konstantinovna shared with Life78.

Two or three years ago she came to Leningrad, Yura arranged a meeting for us in a cafe. And Marina and Yura are on good terms. The last time they saw each other was when Ilyusha Oleinikov died, Dunya went to support Yura.

In a relationship with his third wife, Elena, Yuri Stoyanov finally found happiness and family peace. The lack of communication with his own children, the actor was compensated by a warm relationship with his stepdaughters. In 2003, Elena gave her husband a daughter, Catherine.

On tour, the famous artist told why he did not want to revive the popular program, and also admitted what his shortcomings were and why compliments were contraindicated for him.

Photo: Tatyana PODYABLONSKAYA

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On February 14, Yuri Stoyanov proved to the Voronezh audience that he is a man in his prime! The well-known artist, to the accompaniment of the VKZ orchestra, read Astrid Lindgren's fairy tale "The Kid and Carlson" to the children and parents. It turned out the theater of one actor! For greater persuasiveness, the dreamer artist asked the organizers of the performance to “get” a real dog for him, so that the Kid would not be left without a gift in the final!

The audience was delighted with the reincarnation of the actor in all the characters at the same time. Only Freken Bok was not enough! We are sure that Stoyanov would have turned out this image with a bang. Although he admitted that he did not really like to play women in "Gorodok" ...

Yuri Nikolayevich, you have conquered children and adults by reading fairy tales. Also, you do a lot of cartoons. What does this part of your career mean to you?

Pampering. But pampering in the highest sense of the word. This is something that gives pleasure, because you feel like a child, you imagine how a child should hear it. And you understand the measure of hooliganism that can be invested in it. It was interesting for me to repeat the feat of Oleg Anofriev, but it is probably unique - I, unfortunately, voice much less than I could. Unfortunately, now producers often have such a move - to invite not professional artists for dubbing, but media persons, for example, KVNshchikov, they say, they will see their names on posters and go to the cinema. This is dubious marketing, because the voice is still primary and acting work. They copy it from Hollywood, at least they come up with something of their own. And there they invite outstanding artists, and no one says that they were KVN players. Banderas definitely did not play in Spain in KVN, although a person with a great sense of humor. I salute the KVN authors - without them there would be no today's humor, now it is the basis of everything that is written in sitcoms. But as for the acting capabilities of these guys, I would strongly argue.

- In what projects can you be seen in the near future?

There is a wonderful series on the first channel "Indian Summer", I am there in the role of an absolutely drunk poet-bard who has reached the declassed stage. I haven't played this before. On NTV, the editing of an unusual film by my friend Tigran Keosayan is finishing - a strong, strange story "Actress", also never played such a thing. Another series on NTV, where I play the head of the criminal investigation department, the period of the 50-60s.

IN MY REINcarnation AS A WOMEN THERE WAS NO TRANSVESTISM

Widespread fame came to you after the program "Gorodok", but as a result you cannot get rid of the label of a telecomic.

Am I a hostage of this role? Yes, definitely. But I am grateful to this program: it changed my whole life, thanks to it I was recognized and loved by the audience. And today's humor: if you look at Gorodok in 1994-1995, you haven't moved a step forward. In humor real step- "Comedy Club" and everything that has grown out of it. He's really different, you can't deny that. But I am pleased to see how much they take from Gorodok today. What can surprise me? Shooting with a hidden camera? I've done hundreds of hidden camera episodes, and that level of hidden camera is not filmed in the world to this day. You want to surprise me with musical numbers, going on stage, what? There were as many headings in Gorodok as there were in no other program. We've been through it all. Yes, I am a comedian. But because we will fight with the image? There is smart people who rarely, when it is very necessary, invite me. I treat this with patience and understanding. And I am grateful both to the viewer who considers me a comedic actor, and to the one who guesses that I can do something else.

- Now it is possible to revive "Gorodok"?

Yes, pip on your tongue. "Gorodok" cannot be revived, because this transmission in the minds of several generations of people is the program of one couple - Ilya Oleinikov and Yuri Stoyanov. Therefore, even if it turns out well, they will consider themselves deceived, some big piece of their life will be betrayed. I do not think that they will be happy if the name is "Gorodok", but with another, even a very talented artist instead of Oleinikov. Is another humorous program with my participation possible? Possible. Like another movie, like another series.

- In "Gorodok" you played hundreds of ladies' images ...

I didn't like playing women. This is a forced story: when there are two men in the program, someone is forced to play women, otherwise you deprive the project of a huge layer of humor associated with relationships. I treated it as part of my job - just another role. Another thing is that I did it well. Because there was no transvestism in it, no enjoyment of dressing up. And you never evaluated me as a masquerading man, you perceived me as a woman. Funny, ugly, plump, but a woman. Why? Because the conduit to this perception was my partner. He treated me in the frame as a woman - and you also adopted his attitude towards me. Ilya said: “I can’t imagine an artist in your place, she will play worse!”. Now that's a compliment! Or I heard from someone: “Oh, do you know my mother-in-law, you played her!”. Or "our boss", "a major official". And I didn’t mean them specifically, I just accurately played the specific features of women.

- And what did you not like about the reincarnation in women?

I didn’t like that it was hard to come up with something over time. When the number of women began to go off scale, I did not want to repeat myself, I did not want it to become commonplace my biography, they say, Stoyanov is an artist who played women. And I liked absolutely professional things. I can’t say, of course, that putting on pantyhose brings me pleasure. I can't imagine how you wear them in winter! There is no great pleasure when a bra is put on. But that's part of the profession. And someone's nose is glued for two hours. I'd rather put on a bra than put on my nose - I hate that.

- What qualities do you like in women? Sense of humor, are you from Odessa?

A sense of humor is important, as in any person. Because humor is evidence of intelligence, paradoxical thinking. I don’t like jokers who burst from the category, but joke, otherwise the day was in vain. I love when a sense of humor comes naturally, and when you are surprised by this sense of humor. For example, you did not notice the funny thing in this, but she noticed - wow. What qualities do you like in women? If I said mind, I would be lying. But if I didn't say mind, I'd be lying too. If I said only appearance, I would be lying. But if I had not said only the appearance, I would also be lying.

Would you like your daughter to follow in your footsteps?

How can I wish my child such a fate? I myself at least somehow “hatched” by the age of 40. Well, at least a woman is not obliged to feed her family. Do you know how humiliating it is when your business does not feed you? This is unnatural. The profession should feed, you should earn money with it. How can I wish her such a dependent job? All the time to depend on someone, on something, when you can’t show anything but desires and diligence. I do not wish her such a fate. But if, God forbid, she would choose her, I would not interfere.

EVERYTHING THE MOST STUPID AND BAD IN MY LIFE I HAVE DONE FROM COMPLIMENTS

Your mother once said in an interview that you are a very vulnerable person and you need to be praised. How do you feel about criticism?

Mom says so, but I always say that I did the most stupid and mediocre thing in my life from compliments. And all the most productive - on the contrary. The question is how the criticism is presented. In fact, compliments are contraindicated for me - like sugar for a diabetic. But at the same time, if they are made privately, not publicly, if I understand that they saw what I wanted, that it is adequate to my intentions, then I will endlessly happy man. These kinds of compliments are important to me. And modern criticism ... what? Television is missing. Everything has been replaced by the internet. This is not criticism - blah blah blah. “I went to the theatre. It turns out that Juliet does not die! It is wonderful that a person discovers Shakespeare for himself. 600 years after the play was written. I am to some extent an Internet addict, I cannot live without it. But I don’t participate in this garbage dump - I’m not on social networks. You open the search engines - there are so many errors, illiteracy that I can't read!

- Do you have any shortcomings?

- “How many flaws are there in you, tell us Stoyanov?” There are many of them. Some positives come to mind. Maybe I'm too mobile, unlike others, I switch quickly.

- I heard you have a fad about shoes...

This is bullshit. I walked through the snowy Voronezh, and my shoes are clean. In hotels, the main place for me is where there is a shoe shine machine! This is from my father. I can't stand dirty shoes. And messy clothes. And also my fencing coach Arkady Lvovich in heavyweight Soviet time, when the hygiene products were only soap, made us take a shower before and after training. From him we learned what baby powder is. He made us fall asleep with this powder instead of deodorant. Then they were not. And when the first deodorants appeared, he bought them with his own money and brought them to us. It was the Bulgarian "Orpheus", a cologne diluted with water that burned the armpits. Those sports sweaty childhood and youth taught that in this sense you must be impeccable.

I'm a little fan of Catholic holidays, I don't understand them. The fact that in Rome at one time there were problems with fertility and efforts were made to save the empire does not mean that today in Voronezh I should cut a stupid heart out of paper and give it to my wife. If people like to show their feelings once a year, apart from March 8, that is, twice a year, we only welcome this. And love ... I'm afraid it will work out. Sincerity to order can be very vulgar ... So I have been thinking about this issue all my life, and several generations were thinking before me. Haven't found an answer yet. But I know it's something you can't live without.

With her song. The program was cheerful, but the song was sad. Their images were the same, and it was "Gorodok" that played a pivotal role both in the creative and personal life of Yuri Stoyanov. His path to success was long, difficult, full of disappointments and empty hopes of ever getting leading role in the theatre. For 17 years he played roles without words, and at best he was allowed to go on stage with a guitar. So decided the great director Georgy Tovstonogov.

He was almost forty when he and Oleinikov, two unknown, already middle-aged actors, losers, decided to create the "Gorodok" program. Today, "Gorodok" has about 500 issues, and Yuri Stoyanov has such a number of different images that anyone else can hardly boast of. Today he is in demand on television, and in the theater, and in the cinema. He played roles in many far from comedy films: "The Man at the Window", "Twelve", "Silver Lily of the Valley".

“I really don’t like the humor of well-fed people - banter,” says Stoyanov. “I’ve never been a joker, and if you look at me, you won’t laugh. But when you start working, you have to understand in which country you are joking, with what history, with what people, with what life. And then you will see that our humor is a very serious means of salvation from great pains and great troubles."

The creative evening of Yuri Stoyanov "Neformat" was held in the Central House of Actor. Stoyanov told about BDT, Tovstonogov, "Quiet Don" and Basilashvili's shot to the incessant laughter of the audience.

Sergey Glinka will definitely give a microphone to everyone who wants to ask questions to Yuri Stoyanov, - the directors of the House of Actors Igor Zolotovitsky and Alexander Zhigalkin promised, handing the actor a bouquet.

I don’t even know who was on stage, but Glinka gave the microphones, - Stoyanov immediately quipped.

Stoyanov took the stage with two guitars - "girlfriends", as the actor put it. "Girlfriends" he has fourteen pieces. The first guitar was given to 11-year-old Yura Stoyanov by his grandfather. He found it in the "Beryozka" store in Kyiv, but it was impossible to buy an instrument without currency "checks". The guitar cost nine dollars. Grandfather begged the saleswomen to help him.

And they put a big scratch on the back of the guitar and knocked it out. The guitar began to cost 9 rubles 47 kopecks, because the ruble was more expensive than the dollar, Stoyanov recalled nostalgically.

The actor performed a pitiful urban romance about unhappy love, which he once heard in his native Odessa: "I kissed your footprints and almost prayed for you."

- "A little" - it sounds very Odessa, - the actor commented. - I would pray, but a little ...

Yuri Stoyanov spoke about the years when he served in the Leningrad Theater of the Bolshoi Theater named after. Gorky under the direction of the famous director Georgy Tovstonogov. Each story was invariably accompanied by friendly laughter.

We played the play "Quiet Don" in Omsk. It was my second role in the crowd after three years of inactivity, said Stoyanov. - The beginning of the performance was like this. Cossacks are shaking in the "car" carriage, supposedly passing over the railway bridge across the river. At this time, the actor Tolya Galichev tore off his hat and yelled: "Don-father! Don!". I was also dressed as a Cossack, but for some reason I asked to make myself a beysyk and put on round Babel glasses. I knew exactly when Tolya would scream, and exactly a second before his scream I asked quietly, burping: "Wait, please, can you tell me what this river is called?". "Don!" - Tolya shouted ... After the performance, Tovstonogov told me: "Yura, I wish you to achieve the same reaction in the hall as you have achieved on stage today. This is a very bad sign when they laugh on stage and not laugh in the hall."

This was Stoyanov's first conversation with the Master. The second took place in the city of Yerevan on tour in 1980 under no less incidental circumstances. Stoyanov ran out of money, the actor did not eat for two days, and there were still six days left before the salary. Stoyanov had to send a telegram to his father. Dad sent money, of course. The evening performance ended late. Stoyanov barely endured until six in the morning. In the restaurant of the hotel "Intourist" the actor ordered a barbecue, red caviar, stuffed eggs and many more snacks. I was just about to eat everything, when suddenly Tovstonogov appeared at the door. Came for breakfast at 6 am. He came up, for a long time assessed the table of the "poor" young actor asked if you could join. Georgy Alexandrovich ordered tea, two eggs and cottage cheese. "They say you are showing our head of the personnel department well," Tovstonogov asked Stoyanov. "Show me too." Hippolyte turned pale. The head of the personnel department in the theater, which did not get out from abroad, was a nomenclature worker of "one serious organization." "With a lump in his throat and all wet," Stoyanov somehow portrayed a personnel officer. "Rumors about your comedic talent are greatly exaggerated," Tovstonogov summed up.

During the evening, Yuri Stoyanov performed several songs of his composition, written for various occasions. What he did not invent - "yes, everything that could not be useful to the artist in any way." For example, he wrote an epitaph to himself "in all seriousness", ending with the words: "Having brought two children into the world, he gave them only their appearance as a legacy." And what else could an artist playing in the crowd give in those days?

I wrote songs instead of going to Tovstonogov and saying: "I really want to play Mozart and I know that I can," Stoyanov continued. - Firstly, I did not want to, and secondly, I did not know that I could.

But Stoyanov still played Mozart in the play "Amadeus". Salieri played National artist USSR Vladislav Strzhelchik. The 60-year-old actor went out in an old bathrobe, spoke in a raspy voice, coughed, mumbled, "hypertrophied old age", then suddenly took off his bathrobe, under which there was a stunning camisole, and threw into the audience a remark worthy of Sarah Bernhardt: "I'm 34 years old!". Once Strzhelchik went on the stage "drunk".

By the end of the first act, he said such things that I can’t repeat it here, and this was said from the stage of the Bolshoi Theater, Stoyanov recalled. - "Mozart, I beg you, go away!" Strzhelchik roared. "Vitya, take him away, otherwise I'll kill him!" - this is a replica from behind the scenes.

The most ridiculous and at the same time saddest tour was at the theater in India. All were stabbed with injections, but many actors still fell ill with exotic diseases. The BDT brought Chekhov's play "Uncle Vanya" and the play "Khanuma" which were in great demand in Bombay in the 39-degree heat to India. Between performances, the actors were taken to an island with a temple of incredible beauty carved into the rock.

Hundreds of thousands of Hindus built this temple literally on the bones, - Stoyanov portrayed the guide. - And then the remark of the assistant chief post Yura is heard: "Well, well done, in general! We got together and did it!".

Stoyanov remembered the tragicomic story connected with the play "Uncle Vanya". The role of Uncle Vanya was played by Oleg Basilashvili. In one of the scenes, he fired a pistol. The sound of a shot was imitated behind the scenes by a certain Lesha, hitting a sheet of iron with a heavy hammer, on which the chief's foot stepped at the wrong time on one "beautiful" day fire brigade. The hammer landed on him thumb legs.

- In deathly silence, instead of a shot, it flashed over the hall ..., - Stoyanov withstood the Mkhatov pause. - A simple Russian word, the same in all languages ​​of the CIS countries. It is also called the women of the first ancient profession.

With some sadness, Stoyanov recalled the remark of Kirill Lavrov in response to his departure from the Bolshoi Theater in 1995:

- "Stoyanov left the BDT - this is both good and bad. Good, because he left. Bad, because now he will have more time for this vulgarity of his -" Town ", - said Lavrov. But none of the troupe laughed.

One of the spectators, sensing a hidden offense in Stoyanov's words, asked if he had forgiven Lavrov.

I didn't take offense. And how should he have reacted to this, if in the first three episodes of the program on the channel "Russia" in the running line at the bottom the word "agency" was written without the letter "t"? - asked, in turn, Stoyanov. The actor admitted that when he saw "Ilyusha Oleinikov's concert with the "modest" and "subtle" title "Laughter-shock", he thought: "Am I really going to participate in this?". And a year later he was already in this concert.

- For twenty years of cooperation we have had everything, - Stoyanov answered the question about friendship between the co-authors of "Gorodok". - We swore, put up, lived with families, acted in films together. You can't do films alone! As a result, we came to the conclusion that a good partnership weighs more than beautiful words about friendship.

A lady from Chelyabinsk confessed her love to Stoyanov and thanked him for the subtle and kind female images that he created in Gorodok.

Playing women is not difficult acting bread, believe me, - Stoyanov thanked. - But I am convinced that women are better than men, because any intrigues, even extreme meanness, among women, as a rule, are motivated by love, and not by career and money.

The weekend on the occasion of March 8 ended with words that resonated with the heart of every woman sitting in the hall.

Anna Gorbashova, columnist