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Italian actor-tragedian. On the scene since 1846. One of the largest representatives of the Italian realist school. His art was noted for stage truth and romantic passion. Glorified in the tragedies of W. Shakespeare, W. Alferi.
Ernesto Fortunato Giovanni Maria Rossi was born on March 27, 1827 in Livorno in the wealthy family. Father Ernesto acquainted with stories about King Lira, Sheyloke, Romeo and Juliet, retold "Storm," "Timon of Athens", "Hamlet," the legend of Caesar and Julia Koriolane.
Ernesto went to parochial school, St.. Sebastian. Rossi, a senior wanted to see the son of a lawyer, but the absurd theater. Father Travel to Genoa, Pisa and Florence for sale and purchase of timber allowed to Ernesto to give their hobby. At first he acted in amateur theater, and in 1845 debuted on the professional stage. In a performance troupe Calle Francesca da Rimini "Russia has successfully coped with the role of Paolo, after which he was offered an annual contract for the line first lover. In December 1846 Rossi left the paternal home and went to Foyano where contracted to play during Shrovetide.
In 1848 he joined the troupe of Modena and became his devoted disciple. School of Modena was primarily a school of natural ( "natural, natural, and naturalness - Maître repeated his disciples), with respect to a given, but because conventional methods klassitsistskogo theater.
Rossi wanted to try their hand at Shakespeare′s drama. Modena assiduously discouraged him from defiant затеи, because in Italy are accustomed to the classical repertory. But Ernesto did not leave their dream. It plays in the English playwright, he will make the world′s recognition.
Gustavo Modena appreciated the talented student. Russia played in a pair with him Nemura in "Louis XI", David in "Saul", the title role in "Oreste", Carlos in Philippi, "Max in" Vallenshteyne ... A remarkable teacher, settled in Russia is an eternal quest for simplicity and truth, which the actor carried through life. Rossi was beautiful, feminine, elegant, fruity, and of course, that the success he had won in the line of young heroes.
The first victory was the way Oresta in the same tragedy Alferi. Ernesto tried to play Oresta as a person, not the mythological character. "Yes, this tragedy - the classic ... - Rossi says, explaining why he had to overcome the spirit of drama klassitsistskogo Alferi. - But there is something Orest - not mythological character, but people actually lived in Greece long time. I would like to have in his veins boil human blood, and chest beating animal heart. "
In mid-1848, received by the company "Menegino" Monkalvo, Rossi met with Giovanni Leygebom. They soon became friends and created a small company, which lasted from the post in 1849 before Shrovetide 1851.
On the slope of years, Russia has recalled: "night I hone my skills, working on new and old repertoire. At that time I have scrupulously adhered to this rule: between tragedy and melodrama always played a funny comedy. After all, comedy unleashes the language gives the game more easily develop into an attractive actor ease and safeguarding of the stump, teaches in the image of the tragic drama of passion and pathos necessary to comply with the measure, as well as to keep within the limits of pravdolyubiya.
During a performance in Mantua Rossi inadvertently drew attention to the pretty girl in the bed boxes. As recollected himself Ernesto, it was love at first sight. In September 1851, young married. "1852 has passed without much change - Rossi says - but I felt happy - my wife was an angel of kindness. I easily himself with all the Sacraments marriage life. Mauro satirist said that women who want to live in peace with her husband, should he lie, but I did not trip his wife, apparently want to disprove the distinguished poet and loyalty judgments and prudence. " They had to go through a lot. The birth of children, the death of his son, frequent separations ...
In the middle of the XIX century, were in vogue French drama, and when Russia played in the play "Hermann Graf", he was offered a place first lover at the Royal troupe. He entered the company at the time of King Island′s post in 1852. Ernesto soon came to love strict discipline, tsarivshaya in this theater.
In the Sardinian troupe, he went to Paris (1855), and while the season was triumfatorshey Adelaide Ristori, and Russia just to play along with her partner, Parisian press noticed a young actor. However, it would not play along and play, and play by Shakespeare. In 1856 Rossi became the director and premier troupe Asti. His own business, it starts with "Otello," which was a great impudence and great risk. So far, Shakespeare in Italy did not. But so great was the triumph of the actor when the show in Milan′s Royal Theater′s triumphal success.
Shakespeare tragedies now form the basis of the repertoire of Rossi. In his works, dedicated to Shakespeare, he had explained to feature the characters of great dramatist: "Consider it works, look at them, try to locate where the idealism that you find in abundance at the romantics. You always find people, all like you. "
In order to conclude all the variety of Shakespearean motifs into this interpretation, the text of Shakespeare should be processed, that Russia and performed. The reductions, additions and changes that he made to the text, at times were such that the play became trudnouznavaemoy. And in the first period of development of the actor Shakespeare′s drama that was very noticeable: the role of rhetorical failures occur suddenly, pantomime was richer and larger than monologues.
However, as his artistic maturation, varied and Shakespearean characters. We can say that only two of them remained unchanged: it is Romeo and Otello; about the latest contemporary critic wrote that, with the actor can not agree to design, but the idea itself has been executed perfectly.
Romeo Russia was not so "blue", in spite of traditions that, when it appears on the visual hall rolled laughter - a light, friendly smile, as criticism. An unusual reaction - sympathy half laughed - Hero of Russia, caused because the actor in this image is shown precisely petulance passion, frankness selfishness that are charming because of their still infant naïveté. This role is entered in the history of world theater as a model, which since then no one could reach.
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In Otello, he saw the sensual passion, jealousy, which is reduced to furious animal Moor Otello Rossi was a masterpiece of its kind: it was not a noble credulity, but was guileless simplicity, which makes it a deeply humane while the lowlands of its features as rudeness , foppish, sensuality, passion for ostentation. And this character, so ingeniously caught even in his youth, has remained unchanged from Russia throughout his creative life.
"I have worked vigorously with the troupe, and she was giant steps forward. Even in the post, when other companies have yet to be formed, or, conversely, fall, I came to rehearsal in the morning and eight finished it only in four days. To endure such a burden, a little will power - need more iron health and strong lungs. But I also played every night! I forced the actors to learn the role by heart, forbade them to aid prompter, and almost always sought her: always learn on their memory - the longest - of the text, I had the right to demand the same from others "- recalled Rossi.
Not giving a cool spectator enthusiasm, he makes "Hamlet" and in 1858 - "Macbeth" and "King Lear." Rossi favorite role was Hamlet, which he had worked throughout their lives. In Hamlet actor accentuated features frustration, indecisiveness, fatigue. This understanding of Shakespeare′s image was, in his view, modern, and the only option, as expressed confusion, cover certain sectors of Italian intellectuals after the defeat of the revolution of 1848.
"He never was ironic and allyuzionnym - writes about Rossi Italian Teatralnaya encyclopedia - in all roles, he was passionate, impetuous sanguine person: even in the performance of Hamlet doubts, even in Macbeth suffers pangs of conscience, even in the insane king Lira.
Frenzied thirst for life was different from Russia, and Romeo, which was the scene of the monk from the despair and agony on the floor to go, and Otello, rude, salacious soldiers who died, not removing the knife from the wound, and delivers the final word as to pour the blood of voice and Richard III, who in the last scene "is not afraid to continue to rage, even as it jumps up on a lame leg, and shaking in the air with his sword, and Kean, which critics likened to the" ascending chromatic scale, "concludes with" allegro furiozo " : "... it cover, jumped, shouted and wept at the same time."
Of course, Russia has played not only by Shakespeare. Since 1856, he was master of his repertoire and, therefore, include the fact that thought fit. Rossi revised repertoire, clearing him of all things, and left him only the best - Alferi, Nikkolini, Schiller, Goethe, Pelliko, Marenko, Goldoni, Giacometti, Skriba, both of Dumas, Barrier, and, of course, Shakespeare. But the compromises were inevitable: he was not fond of Corneille, but played Sid, he was not fond of Hugo, but played Ryui Blazy, played brilliantly, according to critics. He played only because viewers preferred the Italian romantic drama of Shakespeare and melodrama.
In 1860 Russia dissolved the company, having decided to break from the theater. His family grew, grew and costs. At the cost of austerity and tireless work, he was able to save some money. Russia bought part of the house in Florence at the Independence Square and started raising children. But then he received a letter from Cesare Dondini, which offers Ernesto contract for two years in his company. And Russia again put in the way ...
With Cesare Dondini he Shrovetide to part at the end of 1864, which came on the human companion to the company Seniora Trivelli. Rossi received a fixed salary, and besides half net profit. Prior to the post in 1866, he toured with the troupe all over Italy and never had reason to complain to colleagues. A good profit, Rossi bought a house completely in Florence and bought a villa on the outskirts of Livorno, which is in honor of beloved playwright called "Villa of Shakespeare."
May 25, 1866 Rossi played Hamlet in Paris. At the show granted Théophile Gauthier, Saint-Victor, and Arago de Pen and other critics. To play sew new costumes to meet the spirit of the era. In the evening, Hall Ventadur "Paris filled with cream of society. Théophile Gautier wrote: "We are still alive in the memory of Paolo, who several years ago at the Paris Theater filed a replica of the tragedy of Francesca Silvio Pelliko ... Since then, a fascinating first lover Ernesto Rossi has become a great actor. Recoveries of honor on the other side of the Pyrenees, he returned to us in the dress of Danish Prince Hamlet. Speak in such a role, there is a tremendous complexity in itself courage. But Ernesto Rossi could have imagined it to allow ... "
Russia has repeatedly happened in Paris and is always warmly reminisced about the city. Much time he spent among the artists that has a positive effect on his state of mind. Italian actor traveled to Duran, Bulanzhe, Erman, Aubrey, and Ravel. Victor Hugo took him at his home, voicing their inherent warmth and hospitality.
After a triumphant tour in Paris in 1866, Rossi returned to Italy, where he addressed the role of Nero in the same tragedy Kossi. Russia Nero in one person the emperor and clown, poet and gladiator, mnyaschy a hero, and are mostly a tyrant, lascivious, low, vicious. This comedy Rossi played often abroad - in Paris, Vienna, Berlin, and everywhere he accompanies success. A particularly noisy he gave in South America - in Rio de Janeiro, Montevideo, Buenos Aires - during his trip in 1881.
"He had the right to speak simply and able to do so - that so few of the actors" - wrote one of the critics. But, ironically, it is this feature of the creative style of late Rossi turned from him the sympathy of the Italian people, who did not take Shakespeare Theater. The fact that Stanislavski called simplicity, the audience seemed monotonous, and lethargy. The experts and connoisseurs, of course, encourage this trend creative Rossi, but he could not feel bitterness, seeing that all his attempts to find a response from the audience.
By the way, the actor′s differences with the Italian public is due to the fact that, beginning in 1867, he preferred to play abroad: from 1867 to 1896 Russia will not only tour the whole of Europe, but traveled to Egypt, Turkey, North and South America and even in Australia .
In late life he has created another significant way: Ivan the Terrible in "Death Ionna Grozny" AK Tolstoy.
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Still, the best role of late Rossi - King Lear, the tragedy of which he understood as "the tragedy of egoism." Selfishness Lear - are "badly designed incontinently and ambition", forcing the king to seek satisfaction in all his samovlastiya. He was not available the original human emotions: "He wants to appear fair and generous, being neither those nor the other." Loss of power, has known the despair, suffering, vpadaya to madness, Lear becomes a man. Unhappy, crazy old man learns the whole truth of life. According to Rossi, a sense of justice is waking from Lyra "only now, when he realized that such a lie."
Rossi loved to boast testimonies of his fame, an audience with kings and presidents, different characters monarshey mercy, praise reviews flattering opinions of great people. The actor is proud to be Romanian king awarded him the Order of the Crown, that the French composer Tom wrote opera "Hamlet", inspired by his performance of that role, so that fans of The Society of Russian literature brought him the diploma of honorary member for the performance of roles Miserly Knight, Don Guana, and Ivan the Terrible, and that the three theaters in Italy were called by his name.
The thirst for action, devoured by Russia, and say that he tried to force on a variety of assignments. That is his motto was: "Wanting to - can mean." Rossi sincerely believes that there is no such problem, with whom he did not deliver. He tried to write comedy - in his memoirs, he tells that one day in Naples, he wrote lyric and satirical review, which had great success. In addition, several of his comedies hold a strong place in the repertory of Italian comedians ( "The actor is on vacation," "Adele").
Year 1884, and Rossi was going to hold on to his villa Montugi: he simply wanted to rest after the difficult tour of North and South America, Spain, etc. But his vacation was interrupted by a brief letter of Mahorchicha: "Do not you want Do you personally in December this year to visit Berlin and make ten submissions" Keene "in Rezidentsteatre? Impresario Mr. Anno offers fifty percent of fees. " Rossi was playing with a German company.
It is a long time thinking about the proposal, weighing all the pros and cons. "Do I have to repeat the experiments in North America, where we played for two and even quite dissimilar between the languages? - He asked himself. - In America, my success. But who is sure that both will be in Germany? "Still, he agreed.
The experiment was a success. The audience, filled room "Rezidentsteatra, was ecstatic. Critic Lepidus wrote. "This is the only actor who knew before the end of Shakespeare. Playing in a foreign city and speaking a foreign language, Rossi every evening collects full hall, whose arches pronounced enthusiastic audience applause. He is justly called the best actor of our time. Rossi - Wizard theater. It is inexhaustible inventor, having a happy, even the ability to not repeat in detail. He is able to dissolve in the depicted characters that always surprised to originality: it is his Louis XI did not like the character, Venetian Moor not like Hamlet and Macbeth and King Lear - Sheyloka or Keene. "
Rossi himself translated Shakespeare, and not only that: he even got in the squad shekspirovedov, publishing a small booklet its "Report on the theater of Shakespeare," he pronounced in Bilbao in 1865. After twenty years, he gave a detailed analysis of the main roles of his repertoire in the book "Sketches of the roles and autobiographical writing" (1885). Finally, for three years before his death he published a book entitled "Reflections on the Italian Dramatic Theater." Written and memoirs: "Forty years on stage" The eighty-printed sheets.
Russia is against the "paradox of the actor" Diderot, claiming that the actor can not reincarnate, do not worry, and what better actor to be merging with the image, the stronger the effect of his art. The complexity of work is determined by the actor, in his view, the need to combine the experience and analysis, sense and reason. "The artist should be sensitive and receptive, able to show all the passion, but only the control of these passions, he must give the arts, lies in its mind," - he said.
Great KS Stanislavsky said, that "Russia was neotrazim ... logical sense, the consistency of the plan, the tranquility of its performance and confidence of his skill and impact. When Rossi was playing, you know that it will convince you, because his art was truthful. "
Of paramount importance in the art of the actor gave Rossi and improvement stage technology intensive occupations diction, plastic, fencing, dancing, all kinds of sports. This allowed him to sixty years old to play Romeo. According to a famous Russian actor Yurieva, Russia plays a "so boldly, bold, with such a temperament that could only wonder where in the years he drew such a force."
Five times Italian actor toured in Russia - in 1877, 1878, 1890, 1895 and 1896 years. Only dislike to the Italian actor director of the imperial theaters, IA Vsevolozhsk not allowing him to travel frequently.
"The late Ernesto Rossi - recalled knew him closely, AV Amphitheater - spoke and wrote on many occasions that Russia for the second artistic birthplace. " Rossi knew and loved Russian literature and theater, painting and music. It is extremely appreciated the Russian audience, finding it "more intelligent than European." And even the fiftieth anniversary of his creative activity he wished to celebrate in St. Petersburg. Russia paid the Italian tragedian такою same love.
The last time he came on the scene in Odessa in 1896.
Returning to the ship in Livorno, Ernesto Rossi ill. A week later, on 4 July 1896, he died in the city of Pescara. Great actor, played to the end - the old, sick, breathless from asthma - and until the end played brilliantly.
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