Plan
Introduction
1 Biography
2 Roles in the theater
2.1 Opera parts
2.2 Among dramatic roles

Bibliography

Introduction

Prov Mikhailovich Sadovsky (senior) ( real name Ermilov; 1818-1872) - Russian actor and founder of the famous theatrical Sadovsky family, who was considered an outstanding performer of roles in the plays of Alexander Ostrovsky at the Maly Theater.

1. Biography

Prov Mikhailovich Ermilov was born on October 11 (23), 1818 in the city of Livny. After the death of his father, he was brought up by his mother's brothers, actors Grigory and Dmitry Sadovsky. It was then that the actor changed his last name to Sadovsky. AT adolescence worked as a correspondent of roles for the artists of the Tula troupe, and in 1832 Sadovsky, at the age of 14, was accepted into the same troupe.

He played in the theaters of the province (in the theaters of Kaluga, Ryazan, Voronezh, Kazan). Mikhail Shchepkin saw Sadovsky play in the Kazan Theater in the troupe of P. A. Sokolov. In 1839, Prov Mikhailovich made his debut at the Maly Theater, where he ended up at the invitation of M.S. Shchepkin.

Contemporaries called Prov Mikhailovich Sadovsky a representative of highly artistic realism. One appearance of Sadovsky on stage aroused attention auditorium. The first roles of Prov Mikhailovich were played in vaudeville and comedies, dramas and melodramas. Critics noted in Sadovsky at the same time the features of several roles: a comedian, a simpleton, a character actor. Prov Sadovsky did not try to make the audience laugh, he kept himself serious on the stage and achieved this extraordinary comedy. Big success brought him vaudeville character roles.

In the 1850s, Sadovsky played in the plays of I. S. Turgenev, A. V. Sukhovo-Kobylin, A. F. Pisemsky. The heyday of Prov Mikhailovich's satirical talent is associated with performances in the new Russian realistic repertoire, plays by N. V. Gogol and A. N. Ostrovsky. Roles in Ostrovsky's plays became central to Sadovsky's work.

In the late 1840s, Sadovsky became close to a circle of Moscow writers, artists and musicians, which included Ostrovsky. It was Sadovsky who introduced Moscow Society with the play "Our people - we will settle", aroused an interest in the work of Ostrovsky among the young part of the troupe of the Maly Theater. In the first 28 productions of Ostrovsky's plays at the Maly Theater, Sadovsky performed 29 roles.

He was buried at the Pyatnitsky cemetery in Moscow.

2. Roles in the theater

On various stages, he played many dramatic roles and several opera parts - musical and drama troupe have not yet been separated. It is impossible to restore the entire list of his roles. Only those that were performed in the Moscow imperial troupe are known, among them both roles in light, frivolous vaudeville, and in dramatic performances that require thoughtful in-depth analysis:

2.1. opera parts

1846 - "Askold's Grave" by Verstovsky - Frelaf

1855 - "Melnik - a sorcerer, a deceiver and a matchmaker", comic opera Ablesimov, music by Fomin - Thaddeus

1865 - "Orpheus in Hell" opera-farce by Offenbach - Styx

2.2. Among dramatic roles

1839 - "Filatka and Miroshka - rivals" Grigoriev 2nd - filatka

· 1839 - "Love Potion", translated by D. T. Lensky from French. - Jeannot Bijou

· 1839 - "Deserter" translation by D. T. Lensky from French. - Nat

· 1839 - "Good and bad, and stupid, and smart" translation by D. T. Lensky from French. - Emelyan

1841 - "Lev Gurych Sinichkin" by D. T. Lensky - Pustoslavtsev

1843 - “We don’t keep what we have, having lost it with crying” Solovyov - Petukhov(for the first time on October 8, 1843 in the benefit performance of I. V. Samarin)

1843 - "King Lear" by Shakespeare - Jester

1843 - “Marriage” by N. V. Gogol - Anuchkin and Podkolyosin

1843 - "Players" N. V. Gogol - Zamukhryshkin

1844 - "The tradesman in the nobility" by Molière - Jourdain(in own benefit performance April 19, 1844)

1844 - "The daughter of a Russian actor" Grigoriev 1st - Ushitsa

1845 - "Sneak" Kapnist - Hwataiko

1845 - "Inspector" N. V. Gogol - Osip

1846 - P. Karatygin's "Witz Uniform" - Razgilyaev

1846 - Molière's "Imaginary Sick" - argan

1846 - "Litigation" by Gogol - spans

1848 - “Petersburg is good, but friends defeated” Grigoriev 2nd - Bezmerin

· January 31, 1849 - Molière's "Doctor involuntarily" (for the first time on January 31, 1849 in the benefit performance of M. S. Shchepkin).

1849 - Moliere's "Scapen's Deceptions" - Scapen(The website of the Maly Theater names a different production date: October 6, 1847 for its own benefit performance)

· 1851 - "Give me the old woman!". Vaudeville V. I. Savinov (September 26, 1851 in his own benefit performance).

1852 - Shakespeare's "Comedy of Errors" - Dromio of Syracuse

· 1852 - « world exhibition". Vaudeville A. M. Krasovsky (October 15, 1852 in his own benefit performance).

1853 - “Do not get into your sleigh” by A. N. Ostrovsky - Rusakov

1853 - "The Groom from the Knife Line" by A. Krasovsky - Mordoplyuev

1853 - "Morning young man» Ostrovsky - Smurov(for the first time in Moscow on May 11, 1853 in the benefit performance of F. N. Usachev).

1854 - "Poverty is not a vice" by A. N. Ostrovsky - We love Tortsev(premiere January 25, 1854)

1854 - "Do not live as you want" Ostrovsky - Agathon

1855 - “The Wedding of Krechinsky” by A. Sukhovo-Kobylin - Rasplyuev(premiere - November 28, 1855 in the benefit performance of S. V. Shumsky)

1856 - "A hangover in someone else's feast" by A. N. Ostrovsky - Tit Titych(premiered January 9, 1856 in own benefit performance)

1856 - "Provincial" Turgenev - Stupendiev

1857 - “Festive dream - before dinner” by A. N. Ostrovsky - Neuedenov(December 2, 1857 at own benefit performance)

1857 - "Picture of family happiness" by Ostrovsky - Puzatov

1858 - Gogol's "Inspector General" - mayor

1858 - “The characters did not agree” by Ostrovsky - 1st coachman

1859 - "The groom from the debt department" Chernyshev - Ladyzhkin

1859 - Undergrowth D.I. Fonvizin - Skotinin

1859 - "Litigation" by Gogol ( new production) - Burdyukov

1859 - "Thunderstorm" by A. N. Ostrovsky - wild(premiere November 16, 1859 in the benefit of S. V. Vasiliev)

· 1860 - « old friend better than the new two "Ostrovsky - Gustomesov

1861 - “Our people - we will settle” by A. N. Ostrovsky - Podkhalyuzin(January 31, 1861 in own benefit performance)

1862 - "Tinsel" A. Potekhin - Pobedinsky(November 12, 1862 for the benefit performance of E. N. Vasilyeva)

1862 - "Spoiled Life" Chernyshev - Delatorsky(January 22, 1862 in the benefit performance of V. V. Borozdina])

1862 - Woe from the mind of A.S. Griboyedov - Gorich

1863 - "Morning business man» N.V. Gogol - Badgers

1863 - Ostrovsky's "Pupil" - Potapych

1863 - "A bitter fate" by A. F. Pisemsky - Ananias

1863 - "Sin and trouble does not live on anyone" - Krasnov(he performed the same role in the production of 1867)

1864 - "Jokers" Ostrovsky - Khryukov

1865 - "The Taming of Shakespeare's Shrew - Baptist

1865 - Ostrovsky's "Voevoda" - Shalygin

1865 - "In a lively place" by Ostrovsky - Judgmentless

1866 - Ostrovsky's "Abyss" - Borovtsov

1866 - "Self-governors" by A. F. Pisemsky - Mitrich

1866 - “He is in custody” by P. Calderon - Benito(October 28, 1866 at a benefit performance directed by A. F. Bogdanov)

1866 - "The Merry Wives of Windsor" by Shakespeare - Mr. Page

1867 - "Twelfth Night" by Shakespeare - Malvolio

1867 - “Dmitry the Pretender and Vasily Shuisky” by Ostrovsky - Osipov and Shchelkalov

1867 - "Tushino" Ostrovsky - Seitov

1867 - Monsieur de Poursonyak Moliere - Pursonjac

· 1867 - "Kozma Zakharyich Minin-Sukhoruk". Drama in verse by A. N. Ostrovsky (January 20, 1867 in own benefit performance)

January 3, 1868 - "Vasilisa Melentiev" by A. N. Ostrovsky and S. A. Gedeonov - Prince Vorotynsky(January 3, 1868 at own benefit)

1868 - “Enough simplicity for every wise man” by A. N. Ostrovsky - Mamaev

1868 - "Spender" N. S. Leskov (under the pseudonym M. Stebnitsky) - Myakishev(December 20, 1868 for the benefit performance of E. E. Chumakova)

1869 - "Hot Heart" - Kuroslepov(premiered January 15, 1869 in own benefit performance)

1869 - "Our people - we will settle" - Bolshov

· 1870 - "Grandmother's granddaughter". Alteration from the French vaudeville by P. S. Fedorov (January 14, 1870 into his own benefit performance)

1871 - "Not all cat Shrovetide" by Ostrovsky - Ahov

Bibliography:

1. Great Soviet Encyclopedia. Ch. ed. A. M. Prokhorov, 3rd ed. T. 22. Belt - Safi. 1975. 628 pages, illustrations; 37 l. ill. and maps.

2. Theatrical encyclopedia. Ch. ed. P. A. Markov. T. 4 - M.: Soviet Encyclopedia, Nezhin - Syarev, 1965, 1152 stb. with illustration, 6 sheets. ill.

3. The Sadovsky family

4. Encyclopedic Dictionary of Brockhaus and Efron

5. Website of the Maly Theater

6. Biography of Prov Mikhailovich Sadovsky

7. A. N. Ostrovsky. complete collection compositions. Volume II. Plays 1856-1861. M.: 1950. State publishing house fiction. 405 p., ill. pp. 391-392

8. Theatrical encyclopedia. Ch. ed. P. A. Markov. T. 2 - M .: Soviet Encyclopedia, 1963

9. A. N. Ostrovsky. Full composition of writings. Volume II. Plays 1856-1861. M.: 1950. State publishing house of fiction. 405 p., ill. pp. 399-401

The meaning of SADOVSKII PROV MIKHAILOVICH in the Brief Biographical Encyclopedia

SADOVSKII PROV MYKHAILOVICH

Sadovsky (Prov Mikhailovich, actually Ermilov) - the famous Russian actor, was born in the city of Livny on October 10, 1818, early remained in the care of his maternal uncles, Grigory and Dmitry Sadovsky, famous provincial actors, whose surname he adopted. He made his debut at the age of fourteen in Tula, played in various provincial towns, in 1838 he came to Moscow and was soon accepted on the stage of the Imperial Theaters, from which he did not leave until his death, in July 1872. His fame gradually increased from 1853, when he played the role of Rusakov in the comedy "Don't get into your sleigh." Ostrovsky generally found in S. a brilliant performer; starring Lyubima Tortsova ("Poverty is not a vice"), Podkhalyuzin ("Our people - let's get along"), Benevolensky ("Poor Bride"), Tita Titycha (" hard days") and others he achieved supreme perfection. Surprisingly good was S. in Gogol's plays (Osip and the mayor in The Government Inspector, Podkolyosin in The Marriage, Zamukhryshkin in The Gamblers). Such Rasplyuev, as he appeared in Krechinsky's Wedding, was never seen later on the Russian stage. Of the foreign classical repertoire, he most succeeded in Molière ("Georges Dandin", "The Doctor in Captivity", "The Tradesman in the Nobility" and others). S. can be called a representative of highly artistic realism; laughter, which he evoked in the audience with his reading and facial expressions, with his subtlest shading of not only essential, but also secondary features role played, sometimes even with one of his appearances on the stage, was the one, so to speak, artistic laughter, which we laugh at when reading Gogol, Ostrovsky, Moliere, and in which often (as, for example, when S. plays the role of Lyubim Tortsov), true tragedy is heard. - A good article about S. was written by V. Rodislavsky ("Russian Bulletin", 1872, book 7); a lot of interesting things about S. in the memoirs of D.A. Karabchevsky, in "Russian Thought" of the 1890s.

Brief biographical encyclopedia. 2012

See also interpretations, synonyms, meanings of the word and what is SADOVSKII PROV MIKHAILOVICH in Russian in dictionaries, encyclopedias and reference books:

• SADOVSKII PROV MYKHAILOVICH
  (1818-72) Russian actor, from 1832 in provincial theaters, from 1839 at the Maly Theatre. The creativity of the actor contributed to the approval of plays on the stage ...
• SADOVSKII PROV MYKHAILOVICH
  (actually Ermilov) - the famous Russian actor, b. in the city of Livny on October 10, 1818, early remained in the care of his uncle ...
• SADOVSKII PROV MYKHAILOVICH
  (actually Ermilov)? famous Russian actor, b. in the city of Livny on October 10, 1818, early remained in the care of his uncle ...
• SADOVSKII in the Big Encyclopedic Dictionary:
  (real name Tobilevich) Nikolai Karpovich (1856-1933) Ukrainian actor, producer. Brother of I.K. Karpenko-Kary, P.K. Saksagansky. In the theater since 1881. ...
• PROV in the Big Encyclopedic Dictionary:
  (Prom) An Egyptian (d. 308) a Christian martyr who suffered in the persecution of Emperor Maximinus. Memory in the Orthodox Church on December 19 (1 ...
• SADOVSKII in encyclopedic dictionary Brockhaus and Euphron:
  Sadovsky (Mikhail Provovich) - famous artist Moscow Maly Theatre, son of Prov Mikhailovich; genus. in 1847. The talent and profession of the father, who ...
• PROV in the Encyclopedic Dictionary of Brockhaus and Euphron:
  name of the saints Orthodox Church: 1) St. martyr, originally from Pamphylia; for the confession of Christ he was subjected in 304 to various tortures and ...
• SADOVSKII in the Encyclopedic Dictionary:
  cm. …
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• SADOVSKII in the Big Russian Encyclopedic Dictionary:
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• SADOVSKII in the Big Russian Encyclopedic Dictionary:
  SADOVSKII Al-dr Iv. (1859-1923), physicist, prof. Yurievsky (Tartu) University (since 1894). In 1898 he theoretically showed that el.-mag. The field has a moment...
• MIKHAILOVICH in the Big Russian Encyclopedic Dictionary:
  MIKHAILOVICH Draza (1893-1946), Serbian. general (1942), in 1941-45 the head of the Chetnik formations. In 1942-45 military. min. Yugoslav emigrant pr-va. Executed by…
• PROV in the Encyclopedia of Brockhaus and Efron:
  ? the name of the saints of the Orthodox Church: 1) St. martyr, originally from Pamphylia; for the confession of Christ he was subjected in 304 to various tortures ...
• MIKHAILOVICH in the Encyclopedia of Brockhaus and Efron:
  (Eustace)? Serbian writer early XIX century, author of the novel "The Color of Innocence, or Dobriva and Alexander" (Budin, 1827) and the book ...
• PROV in the Dictionary for solving and compiling scanwords:
  Male…
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• PROV in the Complete Spelling Dictionary of the Russian Language:
  Prov, (Provic, ...
• SADOVSKII in the Dictionary of the Russian Language Ozhegov:
  <= …
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• PROV in the Modern Explanatory Dictionary, TSB:
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• MIKHAILOVICH in the Modern Explanatory Dictionary, TSB:
  Dragoslav (b. 1930), Serbian writer In the short story collections Goodnight Fred (1967), Grab a Shooting Star (1983), the novels When the Pumpkins Bloomed...
• SADOVSKIE in the Great Soviet Encyclopedia, TSB:
  a family of Russian actors who made a great contribution to the development of Russian stage realism, inextricably linked with the formation and development of its new stage, ...
• SYCHEV NIKOLAI MIKHAILOVICH
  Open Orthodox Encyclopedia "TREE". Sychev Nikolai Mikhailovich (1871 - after 1940), ktitor. The PSTBI database lists ...
• SOKOLOV VASILY MIKHAILOVICH in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". Sokolov Vasily Mikhailovich (1872 - 1937), archpriest, holy martyr. Commemorated November 27, ...
• PROV TARSIAN in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". Prov Tarsus (+ 304), martyr. Commemorated October 12th. Holy Martyrs Prov, Tarakh and ...
• PROV EGYPTIAN in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". Prov Egyptian (+ 308), martyr. Commemorated December 19th. Martyrs Elijah, Prov and ...
• ORNATSKY IVAN MYKHAILOVICH in the Orthodox Encyclopedia Tree:
  Open Orthodox Encyclopedia "TREE". John Mikhailovich Ornatsky (1811 - 1875), priest. Ivan Mikhailovich Ornatsky was born in 1811 ...
• MASLENNIKOV GAVRIIL MIKHAILOVICH in the Orthodox Encyclopedia Tree:
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The most gifted artist of the Moscow drama troupe, b. Oct 11 1818 in the city of Livny, Oryol Province, where his father, a Ryazan tradesman, served at that time on a payroll.

His family name, judging by some sources, was Yermilov: at least, Prov Mikhailovich is named in the consistor's birth certificate, although in the passport of the Ryazan Duma and in the certificate of dismissal from society, the artist is simply called Mikhailov.

Nine-year-old boy S. lost his father, left in the care of his mother and her cousin Kashevarov; the hard fate of orphanhood, to which S. was doomed from such an early age, and the hardships and deprivations inseparable from this situation told S.'s nature that strong temper, which provided indispensable help in the first, most difficult, period of his artistic activity.

With his mother, S. did not stay long; he was soon taken in by his uncle (paternal) Grigory Vasilyevich Ermilov (on the stage Sadovsky), who was an actor in the Tula theater and was considered one of the best talents of his troupe.

Thus, since childhood, S. has a close connection and direct acquaintance with the environment, a glorious representative of which he later became.

Being inseparably with his uncle, S. rewrote roles for him and peered into all the details of the theatrical business; according to some, S. owes a lot to this first leader in the field of performing arts, who gave the right direction to the awakening abilities of the boy.

Upon the death of Grigory Vasilyevich, S. was taken in by another uncle - Dmitry Vasilyevich, also an actor; he gave his nephew to study drawing, but, apparently, he did something in the sense of developing S. and dramatic art.

In 1832, the provincial entrepreneur Turchaninov formed a troupe in Tula, inviting S., apparently only to replenish the set; and now, as a fourteen-year-old boy, S. first appeared on the stage of the theater, playing the role of Cesar in the vaudeville "Vatel, or the Descendant of a Great Man." The first period (from 1832 to 1839) of S.'s stage activity in the unsecured position of a provincial artist passed in continuous wanderings from one city to another; and only an adamant love for art and a habit of deprivation saved S. from moral death in the midst of an uninterrupted chain of trials that were at that time the usual lot of a provincial stage worker. For the entire first year, S. served with Turchaninov for free, and only by the end of the year did the entrepreneur fork out, giving the novice worker one ruble as a reward.

It is clear that under such conditions, S. found it unprofitable to continue serving with Turchaninov and decided to look for another place. Going to Ryazan, S. joined the troupe of Shilkin and Vertovsky; soon the troupe moved to Yelets, and this move had a disastrous effect on its financial situation.

At that time, the Vysheslavtsev troupe was already playing in Yelets, and soon the artists of both troupes found themselves in a position that closely bordered on poverty.

S. at that time had to remember his drawing lessons and take up the brush; he began to paint scenery for the theater and with this income at least partly eased the crisis of the hopeless situation in which he had to find himself.

Realizing the futility of competition, both troupes decided to merge into one and moved to Lebedyan, where there was a fair at that time, but things did not improve from this, so the united troupe hastened to return to Yelets. But here, too, the fees continued to decrease, so that even S., who was one of the prominent members of the troupe, very often had to eat dry bread.

In such a distressed situation, his uncle Dmitry Vasilievich, who happened to visit Yelets and took his nephew with him to Voronezh, very opportunely arrived in time to help S..

Here S. entered the troupe of Vysheslavtsev, who took advantage of the extreme position of S. and gave him a very small reward.

Therefore, a year later, S. migrated to Tambov and entered the entrepreneur Pivato: he visited other cities with the troupe.

For quite a long time (a year and a half) Sadovsky played in Kazan in the troupe of Sokolov.

Here, by the way, the famous Shchepkin saw him (in 1838); he immediately appreciated the remarkable talent of the young artist, caressed him and even instructed him to play a role in his benefit performance.

Schepkin's advice and instructions had an important influence on the development of S.'s talent. Although the material conditions of service for all the indicated time were extremely unfavorable for S., he did not lose heart, expanding his repertoire, diligently studying and processing new roles. Having accidentally visited Moscow, S. met the then favorite of the public, V. N. Zhivokini, and this acquaintance had a decisive influence on the stock and direction of S.'s talent: the famous comedian of the Moscow troupe, as it were, breathed into the young man a mood for comedy and that art in transmitting comic roles, which glorified his name S. After visiting Moscow, S. returned to the Vysheslavtsev troupe and played in Belev and Voronezh, and then went to Ryazan and joined the Azbukin troupe.

A serious illness that befell S. in Ryazan, for the treatment of which he spent all his modest savings, interrupted his wandering for a while.

After recovering, he went to Tula to the troupe of the same Azbukin, with whom he played in Tula and Zaraysk.

By that time, S. had already established a strong reputation as a talented and hardworking actor, and his position began to change for the better: he was the first person in the Azbukin troupe, acted as director, and they valued him so much that Azbukin tied him with a penalty of 500 rubles. in case S. took it into his head to break with his troupe.

And this foresight was not superfluous: at that time, S. now and then received more profitable offers from other provincial entrepreneurs, but S. was forced to refuse.

Meanwhile, gradually, under the influence of general rave reviews about his game, S. begins to mature the intention to end the unsecured and prone to various accidents as a provincial artist and look for more solid ground. Even on his first visit to Moscow, Zhivokini advised S. to make his debut on the state stage, but the modest young man, accustomed to resign himself in every possible way to the oppressed position of a provincial stage worker, did not count on his own strength and limited himself to diligently attending the theater as a spectator and, of course, attentive student.

Provincial success encouraged S., inspired him more confidence in their forces. And in 1839, Mr.. S. not without risk decides to break ties with the provincial scene.

Taking advantage of the absence of Azbukin, who left for Orel to replenish the troupe, S. went to Moscow with the intention of making a debut on the imperial stage. The matter was settled easily thanks to the participation of Zhivokini, who introduced S. to the inspector of the repertoire, A. N. Verstovsky, and Shchepkin, who recommended S. to the authorities from the best side.

Soon S. was given a debut, and he played the role of Jean Bijou in the vaudeville "Love Potion or the Barber Poet"; the debutant was accepted into the troupe as an "artist of the 3rd category" with a salary of 800 rubles. ass. in year. It is curious that S.'s debut was not successful; at least the then press spoke about the debutant extremely dryly and dismissively; so, "Repertoire" (1839, No. 2) gave the following review: the debutant belongs "to the number of such artists from whom the theater will not gain anything, and about whom neither good nor bad can be said;

S. with diligence, with love for art for secondary and tertiary comic roles can be a useful artist. "Although entering the Moscow stage was a very noticeable line, both in his personal life and in the development of S.'s stage talent, however, justice requires saying that the talent of the famous comedian did not immediately unfold in all its breadth and power. The fact is that S., as a beginner, was often entrusted with pale, small roles that did not give room for the manifestation of artistic forces. S. often himself complained about this inattention to himself and in a sincere conversation with S.P. Solovyov, he expressed himself as follows: “I want to work, but there is no work. I play good roles: hello, goodbye. "S. even had the idea of ​​leaving the state theater and again leaving for the provinces, where he hoped, at least, to enjoy the right to independently choose roles. In general, in 1839-1842. to the share of S. For the most part, minor roles were accounted for, while the more grateful and winning ones were snapped up by the oldest artists in the service.

Only occasionally did S. manage to get a more significant role, and then he created a striking type. So, when S. played the role of Pustoslavtsev in the vaudeville "Lev Gurych Sinichkin", the critics unanimously called this game a creation; the same can be said about the performance of the role of Petukhov in Solovyov's vaudeville "What we have - we do not keep" and the role of the jester in "King Lear". In 1843, Mr.. S. played the role of Podkolesin in Gogol's "Marriage" and conveyed this role so vividly and truthfully that reviewers called this game artistic creativity.

The well-known silence scene following Podkolesin's proposal revealed a high mimic talent in S., and this scene in his transmission always delighted the audience.

Although Gogol's roles were S.'s favorite element, it must be said that not all of them came out equally well with him.

So, for example, S. performed the role of Osip in The Inspector General with the artistic perfection that is given only to first-class artists, and A. Grigoriev, admiring his game, wrote: with all the appearance corresponding to these features - this is the game of Sadovsky "(" Moskvityan. ", 1852, No. 8). The role of the mayor in the same play for some reason did not work out for S.; his mayor came out as a dry reasoner, a boring phlegmatic person, everything lively and spectacular disappeared in S.'s program. but it seems that the real reason lies in the fact that this role simply did not fit the artistic temperament of S. It should also be noted that S. did not succeed at all in the roles from Woe from Wit that he performed (Famusova and Skalozub).

In general, the repertoire of the late 40s and early 50s gave S. little: with the death of Mochalov, Shakespeare was removed from the repertoire, in the comedies of Molière, all the main roles were entrusted to Shchepkin.

The fifties and early sixties are the culminating point in the artistic activity of S., the heyday of his talent.

The appearance of Ostrovsky's comedies brought a wide stream of fresh air into the theatrical atmosphere, and for S.'s talent served as a powerful impetus for further improvement and development in all its glory. Having studied well the provincial life and everyday characters of the outback during his wanderings through the provincial scenes, S. found in Ostrovsky's repertoire the richest material from just the area that was so familiar to him; natural observation of the artist helped him to give full vitality to the roles played, and the enormous talent and artistic experience contributed to the fact that S. did not overact, but observed the measure of artistry.

This, according to contemporaries, is the secret of the enormous success that S. always had in Ostrovsky's comedies: for an admiring viewer, the illusion was obtained that he had a living face in front of him - an illusion that is the crown of artistic creativity.

The comedy "Own People - Let's Settle", which appeared in the manuscript at the end of 1849, S. even before resolving it on stage, read in intelligent circles in Moscow.

In January 1853, S. began his cycle of domestic roles by playing the role of Rusanov in the comedy Do Not Get into Your Sleigh, the following year he created the role of Lyubim Tortsov in the comedy Poverty is Not a Vice, which, by the way, is dedicated to him by the author .

Since then, he has become an indispensable participant in the production of Ostrovsky's comedies.

The artistic reproduction of types was the reason for the artist's acquaintance with Ostrovsky, which later turned into a cordial friendship, and some, not without reason, raise the question of the mutual beneficial influence on each other of the artist and writer.

S. was also friendly received in the "Moskvityanin" circle, although the leadership of this latter had rather negative results in the artist's activities.

In 1863, yielding to the insistence of his admirers, S. came on tour to St. Petersburg.

As expected, he was given an enthusiastic reception here, and the reviewers vied with each other in praise of the artist's game.

About the role of Podkhalyuzin, the critic says this: “a person stood before you, in which diction, techniques, facial expressions merged into such a whole, from which nothing can be thrown out so as not to upset the general harmony.

He never once said to you with his game: "Look how I do it." Everyone who wanted to enjoy the spectacle of life itself, brought by the artist's work to tangibility, to transparency, enjoyed here.

When you look at such a game, you will rather begin to talk about the face reproduced by the artist, and the game itself from the very first minutes exposes its truth so clearly that it ceases to be a game, but completely merges with life. "S. and in the role of Podkolesin: “the whole apathetic, Oblomov side of the Russian person, everything miserable, wavering and ghostly in our limp life, all this is presented to us alive by the great artist, reproducing the deeply comic face of Gogol’s world. The scene of Podkolesin with the bride was a mimic miracle; in the intervals between the words uttered by Podkolesin, S. inserted a whole mimic conversation, full of such contagious comedy that it was impossible to look at all the shades of the face of the unfortunate Ivan Kuzmich without bursting into Homeric laughter. "By the end of the 60s, S. began to slip features of some fatigue and, as it were, carelessness; the public very often noticed that S. appeared on stage without a solid knowledge of the role. S.'s biographers explain this trait not by a decline in talent, but by that feature of the artist's talent, by virtue of which he felt the greatest vocation for roles , so to speak, standing, not developing in action, but remaining unchanged, retaining a certain and once for all given coloring during the entire course of the play.Having developed such a role, S. gave a bright type, but lost the habit of creating a sharp change in mood on the stage, and depending from this partly weaned and work.

Turning to a general analysis of S.'s talent, it should first of all be said that it was a comic talent, so to speak, of pure water. Not a single role of a dramatic shade was successful for S. In 1851, having placed King Lear in his benefit performance (on the advice of friends from the Muscovite) and playing the title role, S. suffered a complete fiasco, which the most passionate admirers of his talent could not but recognize; and subsequently S. not only never repeated this role, but even, according to P. Karatygin, "he himself laughed at his tragicomic trick" (Russian Starina, 1879, XXIV). Equally completely pale in the transfer of S. came out the role of Ananias ("Bitter Fate" Pisemsky).

But the comic and everyday roles were transmitted by S. with inimitable perfection, which is written in an equally enthusiastic tone by the artist's contemporaries, eyewitnesses of his wonderful game. Theatrical reviews of the then periodical publications represent almost a complete panegyric of S.'s game, and one of S.'s biographers, summing up the typical features of his art, says this: "the dignity of his game lies in its extraordinary simplicity, naturalness and tranquility; he never pursues effects and, despite the usually friendly reception of the public, he does not allow himself to be a crowd pleaser, the deliberateness of the roles and the truth, to which only the inner contemplation of the actor’s soul reaches, are the real engines of Sadovsky’s talent on stage. the face of passion.

The variety with which he performs his roles is brought to him to the highest degree of perfection "(Arapov's article in Son of the Fatherland, 1857, No. 24). S.'s repertoire was very extensive.

The main contingent of roles was given to him by the works of Russian authors, mainly Ostrovsky.

Here is a list of the main roles: Podkhalyuzin and Bolshov ("Our people - we will settle"), Smurov ("Morning of a young man"), Benevolensky ("Poor bride"), Lyubim Tortsov ("Poverty is not a vice"), Puzatov ("Picture of family happiness "), Pyotr Ilyich ("Do not live as you want"), Bruskov ("Hangover in someone else's feast"), Yusov ("Profitable place"), Gustomesov ("An old friend is better than two new ones"), Potapych ("Pupil" ), Wild ("Thunderstorm"), Bruskov ("Hard days"), Krasnov ("Sin and trouble"), Khryukov ("Jokers"), Shalygin ("Voevoda"), Borovtsov ("Abyss"), Unsudny (" In a Busy Place"), Kuroyedov ("Hot Heart"), Vosmibratov ("Forest"), Akhov ("Not All the Cat's Carnival") and others - Ostrovsky;

Ivanov ("Freeloader" - Turgenev);

Pobedimsky ("Tinsel" - Potekhin);

Rasplyuev ("Wedding of Krechinsky" - Sukhovo-Kobylin); from other authors, except for Gogol and Griboedov, we will name: Vladykin ("Waterfall", "Terrific in trouble", "Education"), Chaev ("Svat Fadeich" and "Mother-in-law"), Boborykin ("Odnodvorets" and "Big mansions" ). Of the foreign plays, S. especially stood out in the role of Baptista ("The Taming of the Shrew") and Sganarelle ("The Imaginary Cuckold"). It is remarkable that S. rather stubbornly refused the roles of the classical repertoire, but if he happened to take such a role, then, in the words of one of the biographers, "this nugget, this flint, hitting the strong flint of Shakespeare or Calderon's role, gave an abyss of brilliant bright, dear sparks" (Rodislavsky, "Russian Bulletin", 1872, July). In addition to playing on stage, S. was famous for the art of telling small everyday scenes that he created impromptu with extraordinary humor.

This art at one time was widely exploited in Moscow, and thanks to him, S. was a welcome guest in many even aristocratic houses in Moscow; by the way, the venerable hero A.P. Yermolov listened with particular pleasure to the masterful stories of S. and had a very friendly feeling for the artist, a monument of which are the notes printed in the Russian Archive, 1873, No. 2. These are the stories: about Napoleonder I who conquered all of Europe and countless cities under his fingernail; about a Russian merchant who went with his wife to watch Mochalov at the theatre; about Ludwig Filippych; about how Emperor Alexander Pavlovich, on the advice of an Englishman, sent Napoleon to an island where there is neither land nor water, etc. One story-improvisation was recorded by Ogarev and subsequently published in the "Russian Archive" for 1873. ( On the French Revolution of 1848). S.'s financial situation since moving to Moscow has changed for the better with a very slow gradualness, especially at first. Received a salary of 800 rubles. ass., S. in 1840 was renamed "artist of the 2nd category" with a salary of 343 rubles. ser.; On May 9, 1841, he was promoted to the rank of "artist of the 1st category" for a salary of 485 rubles. ser. In 1842 he received an increase of up to 528 rubles. ser., since 1843 began to receive 600 rubles. ser. In 1844 he received a salary of 700 rubles. ser. and benefit.

Then he received benefits annually.

In 1851 he received a salary of 800 rubles. ser., since 1853, in addition to the salary, he began to receive 3 rubles. performance fee, since 1855 - 7 rubles each. the same fee, in 1858 he received the highest salary - 1143 rubles. ser.; from 1859 he began to receive a pension in the same amount; in 1861 he received 35 rubles. performance fee; since 1864 he received: salary - 1143 rubles, dressing rooms - 1257 rubles, 45 rubles each. performance fee and benefit performance. On December 11, 1862, in the form of an award, he was elevated to the rank of hereditary honorary citizen.

In 1844, Mr.. S. married Elizaveta Leontievna Kuznetsova; had an only son, Mikhail (born 1847), who also played on the Moscow stage. About the personal qualities of S. in the memoirs of those who knew him, we meet the warmest review. He was a kind and sympathetic man; nobility of soul and moral decency inspired involuntary sympathy for him. True, he was very slow to get close to people, but this trait was not the result of the bad qualities of nature, but was developed by the unfavorable conditions of his life. An outstanding feature of his character was constant concentration and isolation, turning into incommunicability; always silent and thoughtful, S. did not overstep the boundaries of official acquaintance in relation to most of his stage comrades. These qualities, by the way, are characterized by Shcherbina's well-aimed verse ("Sadovsky is meditatively silent") in the poetic description of the Muscovite circle. S.'s character developed in this direction depending on the conditions of his nomadic life on provincial scenes.

The environment of the provincial actors was very low in their mental and moral level.

On the Moscow stage, S. continued to keep himself the same silent.

Here, however, he found people to his liking, and close friendship with them shows best of all that callousness and indifference were not the reason why S. tried more often to "hide in his snail." S. died on July 16, 1872 at his dacha near Moscow.

V. Rodislavlev, "P. M. Sadovsky" ("Materials for a biography") in the "Russian Bulletin", 1872, v. 100, July. - Solovyov S.P., "Memories of P.M. Sadovsky" ("Russian Archive", 1873, No. 2). - Arapov, "Biographical sketch of the Moscow artist of the Imperial Theaters P. M. Sadovsky" ("Son of the Fatherland", 1857, No. 24). - V. Mezhevich, "Modern Russian Actors", No. 1. P. M. Sadovsky ("Pantheon", 1843, book 8). - Fedin, "People's Drama Writer and People's Actor - A.P. Ostrovsky and P.M. Sadovsky" ("Literate", 1875, No. 2). - Averkiev's assessment in "Moscow Vedomosti", 1872, No. 183. - Live reviews, for example, "Russian Scene", 1864, No. 1, in the article "Moscow Scene". - He wrote a lot about the Sadovsky Ap. Grigoriev. - Obituaries were published in the newspapers: Novosti, 1872, Nos. 172 and 174, Russkiye Vedomosti, 1872, No. 161, etc. K. Kh. (Polovtsov) Sadovsky, Prov Mikhailovich (actually Ermilov) - famous Russian actor; genus. in the city of Livny on October 10, 1818, he early remained in the care of his maternal uncles, Grigory and Dmitry Sadovsky, famous provincial actors, whose surname he adopted.

He made his debut at the age of fourteen in Tula, played in various provincial cities, in 1838 he arrived in Moscow and was soon accepted on the stage of the Imperial Theaters, from which he did not leave until his death in July 1872. His fame gradually increased from 1853, when he played the role of Rusakov in com. "Do not get into your sleigh." Ostrovsky generally found in S. a brilliant performer; in the roles of Lyubim Tortseva ("Poverty is not a vice"), Podkhalyuzin ("Our people - we will get along"), Benevolensky ("Poor Bride"), Tit Titycha ("Hard Days") and others, he reached the highest perfection.

Surprisingly good was S. in Gogol's plays (Osip and the mayor in The Government Inspector, Podkolyosin in The Marriage, Zamukhryshkin in The Gamblers). Such Rasplyuev, as he appeared in Krechinsky's Wedding, was never seen later on the Russian stage. Of the foreign classical repertoire, he most succeeded in Molière ("Georges Danden", "The Doctor involuntarily", "The Tradesman in the Nobility", etc.). S. can be called a representative of highly artistic realism; the laughter that he evoked in the audience with his reading and facial expressions, with his subtlest shading of not only essential, but also secondary features of the role played, sometimes even by his mere appearance on stage - was that, so to speak, artistic laughter, which we laugh when reading Gogol, Ostrovsky, Moliere, and in which often (as, for example, when S. plays the role of Lyubim Tortsov), true tragedy is heard. - A good article about S. was written by V. Rodislavsky ("Russian Bulletin", 1872, book 7); a lot of interesting things about S. in the memoirs of D. A. Karabchevsky, in ("Russian Thoughts" of the 1890s). (Brockhaus) Sadovsky, Prov Mikhailovich famous actor Moscow. theatre.; genus. Jan 10 1818, in Livny, † July 16, 1872 in Moscow. (Polovtsov) Sadovsky, Prov Mikhailovich Rod. 1874, mind. 1947. Actor, representative of the well-known theatrical dynasty Sadovsky.

He played on the stage of the Maly Theater (since 1895). Roles: Famusov ("Woe from Wit"), Koshkin ("Spring Love") and others. People's Artist of the USSR (1937), laureate of the State Prize of the USSR (1943).

The most gifted artist of the Moscow drama troupe, b. Oct 11 1818 in the city of Livny, Oryol Province, where his father, a Ryazan tradesman, served at that time on a payroll. His family name, judging by some sources, was Yermilov: at least, Prov Mikhailovich is named in the consistor's birth certificate, although in the passport of the Ryazan Duma and in the certificate of dismissal from society, the artist is simply called Mikhailov. Nine-year-old boy S. lost his father, left in the care of his mother and her cousin Kashevarov; the hard fate of orphanhood, to which S. was doomed from such an early age, and the hardships and deprivations inseparable from this situation told S.'s nature that strong temper, which provided indispensable help in the first, most difficult, period of his artistic activity. With his mother, S. did not stay long; he was soon taken in by his uncle (paternal) Grigory Vasilyevich Ermilov (on the stage Sadovsky), who was an actor in the Tula theater and was considered one of the best talents of his troupe. Thus, since childhood, S. has a close connection and direct acquaintance with the environment, a glorious representative of which he later became. Being inseparably with his uncle, S. rewrote roles for him and peered into all the details of the theatrical business; according to some, S. owes a lot to this first leader in the field of performing arts, who gave the right direction to the awakening abilities of the boy. Upon the death of Grigory Vasilyevich, S. was taken in by another uncle - Dmitry Vasilyevich, also an actor; he gave his nephew to study drawing, but, apparently, he did something in the sense of developing S. and dramatic art. In 1832, the provincial entrepreneur Turchaninov formed a troupe in Tula, inviting S., apparently only to replenish the set; and now, as a fourteen-year-old boy, S. first appeared on the stage of the theater, playing the role of Cesar in the vaudeville "Vatel, or the Descendant of a Great Man." The first period (from 1832 to 1839) of S.'s stage activity in the unsecured position of a provincial artist passed in continuous wanderings from one city to another; and only an adamant love for art and a habit of deprivation saved S. from moral death in the midst of an uninterrupted chain of trials that were at that time the usual lot of a provincial stage worker. For the entire first year, S. served with Turchaninov for free, and only by the end of the year did the entrepreneur fork out, giving the novice worker one ruble as a reward. It is clear that under such conditions, S. found it unprofitable to continue serving with Turchaninov and decided to look for another place. Going to Ryazan, S. joined the troupe of Shilkin and Vertovsky; soon the troupe moved to Yelets, and this move had a disastrous effect on its financial situation. At that time, the Vysheslavtsev troupe was already playing in Yelets, and soon the artists of both troupes found themselves in a position that closely bordered on poverty. S. at that time had to remember his drawing lessons and take up the brush; he began to paint scenery for the theater and with this income at least partly eased the crisis of the hopeless situation in which he had to find himself. Realizing the futility of competition, both troupes decided to merge into one and moved to Lebedyan, where there was a fair at that time, but things did not improve from this, so the united troupe hastened to return to Yelets. But here, too, the fees continued to decrease, so that even S., who was one of the prominent members of the troupe, very often had to eat dry bread. In such a distressed situation, his uncle Dmitry Vasilievich, who happened to visit Yelets and took his nephew with him to Voronezh, very opportunely arrived in time to help S.. Here S. entered the troupe of Vysheslavtsev, who took advantage of the extreme position of S. and gave him a very small reward. Therefore, a year later, S. migrated to Tambov and entered the entrepreneur Pivato: he visited other cities with the troupe. For quite a long time (a year and a half) Sadovsky played in Kazan in the troupe of Sokolov. Here, by the way, the famous Shchepkin saw him (in 1838); he immediately appreciated the remarkable talent of the young artist, caressed him and even instructed him to play a role in his benefit performance. Schepkin's advice and instructions had an important influence on the development of S.'s talent. Although the material conditions of service for all the indicated time were extremely unfavorable for S., he did not lose heart, expanding his repertoire, diligently studying and processing new roles. Having accidentally visited Moscow, S. met the then favorite of the public, V. N. Zhivokini, and this acquaintance had a decisive influence on the stock and direction of S.'s talent: the famous comedian of the Moscow troupe, as it were, breathed into the young man a mood for comedy and that art in transmitting comic roles, which glorified his name S. After visiting Moscow, S. returned to the Vysheslavtsev troupe and played in Belev and Voronezh, and then went to Ryazan and joined the Azbukin troupe. A serious illness that befell S. in Ryazan, for the treatment of which he spent all his modest savings, interrupted his wandering for a while. After recovering, he went to Tula to the troupe of the same Azbukin, with whom he played in Tula and Zaraysk. By that time, S. had already established a strong reputation as a talented and hardworking actor, and his position began to change for the better: he was the first person in the Azbukin troupe, acted as director, and they valued him so much that Azbukin tied him with a penalty of 500 rubles. in case S. took it into his head to break with his troupe. And this foresight was not superfluous: at that time, S. now and then received more profitable offers from other provincial entrepreneurs, but S. was forced to refuse.

Meanwhile, gradually, under the influence of general rave reviews about his game, S. begins to mature the intention to end the unsecured and prone to various accidents as a provincial artist and look for more solid ground. Even on his first visit to Moscow, Zhivokini advised S. to make his debut on the state stage, but the modest young man, accustomed to resign himself in every possible way to the oppressed position of a provincial stage worker, did not count on his own strength and limited himself to diligently attending the theater as a spectator and, of course, attentive student. Provincial success encouraged S., inspired him more confidence in their forces. And in 1839, Mr.. S. not without risk decides to break ties with the provincial scene. Taking advantage of the absence of Azbukin, who left for Orel to replenish the troupe, S. went to Moscow with the intention of making a debut on the imperial stage. The matter was settled easily thanks to the participation of Zhivokini, who introduced S. to the inspector of the repertoire, A. N. Verstovsky, and Shchepkin, who recommended S. to the authorities from the best side. Soon S. was given a debut, and he played the role of Jean Bijou in the vaudeville "Love Potion or the Barber Poet"; the debutant was accepted into the troupe as an "artist of the 3rd category" with a salary of 800 rubles. ass. in year. It is curious that S.'s debut was not successful; at least the then press spoke about the debutant extremely dryly and dismissively; so, "Repertoire" (1839 No. 2) gave the following review: the debutant belongs "to the number of such artists from whom the theater will not gain anything, and about whom neither good nor bad can be said; S. with diligence, with love for art for secondary and tertiary comic roles can be a useful artist."

Although entering the Moscow stage was a very noticeable line, both in his personal life and in the development of S.'s stage talent, however, justice requires that the talent of the famous comedian did not immediately unfold in all its breadth and power. The fact is that S., as a beginner, was often entrusted with pale, small roles that did not give room for the manifestation of artistic forces. S. often himself complained of this inattention to himself, and in a heartfelt conversation with S. P. Solovyov expressed himself as follows: "I want to work, but there is no work. I play good roles: hello, goodbye." S. even had the idea of ​​leaving the state theater and again leaving for the provinces, where he hoped, at least, to enjoy the right to independently choose roles. In general, in 1839-1842. S. accounted for the most part minor roles, while the more grateful and winning ones were snapped up by the oldest artists in the service. Only occasionally did S. manage to get a more significant role, and then he created a striking type. So, when S. played the role of Pustoslavtsev in the vaudeville "Lev Gurych Sinichkin", the critics unanimously called this game a creation; the same can be said about the performance of the role of Petukhov in Solovyov's vaudeville "What we have - we do not keep" and the role of the jester in "King Lear". In 1843, Mr.. S. played the role of Podkolesin in Gogol's "Marriage" and conveyed this role so vividly and truthfully that reviewers called this game artistic creativity. The well-known silence scene following Podkolesin's proposal revealed a high mimic talent in S., and this scene in his transmission always delighted the audience. Although Gogol's roles were S.'s favorite element, it must be said that not all of them came out equally well with him. So, for example, S. performed the role of Osip in The Inspector General with the artistic perfection that is given only to first-class artists, and A. Grigoriev, admiring his game, wrote: with all the appearance corresponding to these features - this is the game of Sadovsky "(" Moskvityan. ", 1852, No. 8). The role of the mayor in the same play for some reason did not work out for S.; his mayor came out as a dry reasoner, a boring phlegmatic person, everything lively and spectacular disappeared in S.'s program. but the real reason seems to lie in the fact that this role simply did not suit S's artistic temperament. It should also be noted that S. completely failed roles from "Woe from Wit", which he performed (Famusova and Skalozub). In general, the repertoire of the late 40s and early 50s gave S. little: with the death of Mochalov, Shakespeare was removed from the repertoire, in the comedies of Molière, all the main roles were entrusted to Shchepkin. The fifties and early sixties are the culminating point in the artistic activity of S., the heyday of his talent. The appearance of Ostrovsky's comedies brought a wide stream of fresh air into the theatrical atmosphere, and for S.'s talent served as a powerful impetus for further improvement and development in all its glory. Having studied well the provincial life and everyday characters of the outback during his wanderings through the provincial scenes, S. found in Ostrovsky's repertoire the richest material from just the area that was so familiar to him; natural observation of the artist helped him to give full vitality to the roles played, and the enormous talent and artistic experience contributed to the fact that S. did not overact, but observed the measure of artistry. This, according to contemporaries, is the secret of the enormous success that S. always had in Ostrovsky's comedies: for an admiring viewer, the illusion was obtained that he had a living face in front of him - an illusion that is the crown of artistic creativity.

The comedy "Own People - Let's Settle", which appeared in the manuscript at the end of 1849, S. even before resolving it on stage, read in intelligent circles in Moscow. In January 1853, S. began his cycle of domestic roles by playing the role of Rusanov in the comedy Do Not Get into Your Sleigh, the following year he created the role of Lyubim Tortsov in the comedy Poverty is Not a Vice, which, by the way, is dedicated to him by the author . Since then, he has become an indispensable participant in the production of Ostrovsky's comedies. The artistic reproduction of types was the reason for the artist's acquaintance with Ostrovsky, which later turned into a cordial friendship, and some, not without reason, raise the question of the mutual beneficial influence on each other of the artist and writer. S. was also friendly received in the "Moskvityanin" circle, although the leadership of this latter had rather negative results in the artist's activities.

In 1863, yielding to the insistence of his admirers, S. came on tour to St. Petersburg. As expected, he was given an enthusiastic reception here, and the reviewers vied with each other in praise of the artist's game. As an example, let us cite an excerpt from an article by a critic of "Library for Reading" (1863, April). About the role of Podkhalyuzin, the critic says this: "a person stood before you, in which diction, techniques, facial expressions merged into such a whole, from which nothing can be thrown out so as not to upset the general harmony. He never once told you with his game:" look how Here everyone who wants to enjoy the spectacle of life itself, brought by the artist’s work to tangibility, to transparency, enjoyed. its truth that it ceases to be a game, and completely merges with life. S. made a no less strong impression in the role of Podkolesin: "the whole apathetic, Oblomov side of the Russian person, everything miserable, hesitant and ghostly in our limp life, all this is presented to us alive by the great artist, reproducing the deeply comic face of Gogol's world. Podkolesin's scene with the bride was a miracle of facial expressions; in the intervals between the words uttered by Podkolesin, S. inserted a whole mimic conversation, full of such contagious comedy that it was impossible to look at all the shades of the face of the unfortunate Ivan Kuzmich without bursting into Homeric laughter.

By the end of the 60s. in the activity of S., the features of some fatigue and, as it were, negligence begin to slip; the public very often noticed that S. appeared on stage without a firm knowledge of the role. S.'s biographers explain this feature not by the decline of talent, but by that feature of the artist's talent, by virtue of which he felt the greatest vocation for roles, so to speak, standing, not developing in action, but remaining unchanged, retaining a certain and once for all given coloring during everything the progress of the play. Having developed such a role, S. gave a bright type, but lost the habit of creating a sharp change in mood on the stage, and depending on this, he partly lost the habit of working.

Turning to a general analysis of S.'s talent, it should first of all be said that it was a comic talent, so to speak, of pure water. Not a single role of a dramatic shade was successful for S. In 1851, having placed King Lear in his benefit performance (on the advice of friends from the Muscovite) and playing the title role, S. suffered a complete fiasco, which the most passionate admirers of his talent could not but recognize; and subsequently S. not only never repeated this role, but even, according to P. Karatygin, "he himself laughed at his tragicomic trick" (Russian Starina, 1879, XXIV). Equally completely pale in the transfer of S. came out the role of Ananias ("Bitter Fate" Pisemsky). But the comic and everyday roles were transmitted by S. with inimitable perfection, which is written in an equally enthusiastic tone by the artist's contemporaries, eyewitnesses of his wonderful game. Theatrical reviews of the then periodical publications represent almost a complete panegyric of S.'s game, and one of S.'s biographers, summing up the typical features of his art, says this: "the dignity of his game lies in its extraordinary simplicity, naturalness and tranquility; he never pursues effects and, despite the usually friendly reception of the public, he does not allow himself to be a crowd pleaser, the deliberateness of the roles and the truth, to which only the inner contemplation of the actor’s soul reaches, are the real engines of Sadovsky’s talent on stage. face of passion. His voice is clear, pure, the pronunciation is correct, and every word, albeit simply said by him, stands out in relief and in a pathetic situation sinks deep into the soul of the viewer. The variety with which he plays his roles has been brought to the highest degree of perfection "(article Arapova in "Son of the Fatherland", 1857, No. 24).

S.'s repertoire was very extensive. The main contingent of roles was given to him by the works of Russian authors, mainly Ostrovsky. Here is a list of the main roles: Podkhalyuzin and Bolshov ("Our people - we will settle"), Smurov ("Morning of a young man"), Benevolensky ("Poor bride"), Lyubim Tortsov ("Poverty is not a vice"), Puzatov ("Picture of family happiness "), Pyotr Ilyich ("Do not live as you want"), Bruskov ("Hangover in someone else's feast"), Yusov ("Profitable place"), Gustomesov ("An old friend is better than two new ones"), Potapych ("Pupil" ), Wild ("Thunderstorm"), Bruskov ("Hard days"), Krasnov ("Sin and trouble"), Khryukov ("Jokers"), Shalygin ("Voevoda"), Borovtsov ("Abyss"), Unsudny (" In a Busy Place"), Kuroyedov ("Hot Heart"), Vosmibratov ("Forest"), Akhov ("Not All the Cat's Carnival") and others - Ostrovsky; Ivanov ("Freeloader" - Turgenev); Pobedimsky ("Tinsel" - Potekhin); Rasplyuev ("Wedding of Krechinsky" - Sukhovo-Kobylin); from other authors, except for Gogol and Griboedov, we will name: Vladykin ("Waterfall", "Terrific in trouble", "Education"), Chaev ("Svat Fadeich" and "Mother-in-law"), Boborykin ("Odnodvorets" and "Big mansions" ). Of the foreign plays, S. especially stood out in the role of Baptista ("The Taming of the Shrew") and Sganarelle ("The Imaginary Cuckold"). It is remarkable that S. rather stubbornly refused the roles of the classical repertoire, but if he happened to take such a role, then, in the words of one of the biographers, "this nugget, this flint, hitting the strong flint of Shakespeare or Calderon's role, gave an abyss of brilliant bright, dear sparks" (Rodislavsky, "Russian Bulletin", 1872, July). In addition to playing on stage, S. was famous for the art of telling small everyday scenes that he created impromptu with extraordinary humor. This art at one time was widely exploited in Moscow, and thanks to him, S. was a welcome guest in many even aristocratic houses in Moscow; by the way, the venerable hero A.P. Yermolov listened with particular pleasure to the masterful stories of S. and had a very friendly feeling for the artist, a monument of which are the notes printed in the Russian Archive, 1873, No. 2. These are the stories: about Napoleonder I who conquered all of Europe and countless cities under his fingernail; about a Russian merchant who went with his wife to watch Mochalov at the theatre; about Ludwig Filippych; about how Emperor Alexander Pavlovich, on the advice of an Englishman, sent Napoleon to an island where there is neither land nor water, etc. One story-improvisation was recorded by Ogarev and subsequently published in the "Russian Archive" for 1873 ("On the French Revolution of 1848").

S.'s financial situation since moving to Moscow has changed for the better with a very slow gradualness, especially at first. Received a salary of 800 rubles. ass., S. in 1840 was renamed "artist of the 2nd category" with a salary of 343 rubles. ser.; On May 9, 1841, he was promoted to the rank of "artist of the 1st category" for a salary of 485 rubles. ser. In 1842 he received an increase of up to 528 rubles. ser., since 1843 began to receive 600 rubles. ser. In 1844 he received a salary of 700 rubles. ser. and benefit. Then he received benefits annually. In 1851 he received a salary of 800 rubles. ser., since 1853, in addition to the salary, he began to receive 3 rubles. performance fee, since 1855 - 7 rubles each. the same fee, in 1858 he received the highest salary - 1143 rubles. ser.; from 1859 he began to receive a pension in the same amount; in 1861 he received 35 rubles. performance fee; since 1864 he received: salary - 1143 rubles, dressing rooms - 1257 rubles, 45 rubles each. performance fee and benefit performance. On December 11, 1862, in the form of an award, he was elevated to the rank of hereditary honorary citizen. In 1844, Mr.. S. married Elizaveta Leontievna Kuznetsova; had an only son, Mikhail (born 1847), who also played on the Moscow stage.

About the personal qualities of S. in the memoirs of those who knew him, we meet the warmest review. He was a kind and sympathetic man; nobility of soul and moral decency inspired involuntary sympathy for him. True, he was very slow to get close to people, but this trait was not the result of the bad qualities of nature, but was developed by the unfavorable conditions of his life. An outstanding feature of his character was constant concentration and isolation, turning into incommunicability; always silent and thoughtful, S. did not overstep the boundaries of official acquaintance in relation to most of his stage comrades. These qualities, by the way, are characterized by Shcherbina's well-aimed verse ("Sadovsky is meditatively silent") in the poetic description of the Muscovite circle. S.'s character developed in this direction depending on the conditions of his nomadic life on provincial scenes. The environment of the provincial actors was very low in their mental and moral level. On the Moscow stage, S. continued to keep himself the same silent. Here, however, he found people to his liking, and close friendship with them shows best of all that callousness and indifference were not the reason why S. tried more often to "hide in his snail." S. died on July 16, 1872 at his dacha near Moscow.

V. Rodislavlev, "P. M. Sadovsky" ("Materials for a biography") in the "Russian Bulletin", 1872, v. 100, July. - Solovyov S.P., "Memories of P.M. Sadovsky" ("Russian Archive", 1873, No. 2). - Arapov, "Biographical sketch of the Moscow artist of the Imperial Theaters P. M. Sadovsky" ("Son of the Fatherland", 1857, No. 24). - V. Mezhevich, "Modern Russian Actors", No. 1. P. M. Sadovsky ("Pantheon", 1843, book 8). - Fedin, "People's Drama Writer and People's Actor - A.P. Ostrovsky and P.M. Sadovsky" ("Literate", 1875, No. 2). - Averkiev's assessment in "Moscow Vedomosti", 1872, No. 183. - Live reviews, for example, "Russian Scene", 1864, No. 1, in the article "Moscow Scene". - He wrote a lot about the Sadovsky Ap. Grigoriev. - Obituaries were published in the newspapers: Novosti, 1872, Nos. 172 and 174, Russkiye Vedomosti, 1872, No. 161, etc.

(Polovtsov)

Sadovsky, Prov Mikhailovich

(actually Ermilov) - the famous Russian actor; genus. in the city of Livny on October 10, 1818, he early remained in the care of his maternal uncles, Grigory and Dmitry Sadovsky, famous provincial actors, whose surname he adopted. He made his debut at the age of fourteen in Tula, played in various provincial cities, in 1838 he arrived in Moscow and was soon accepted on the stage of the Imperial Theaters, from which he did not leave until his death in July 1872. His fame gradually increased from 1853, when he played the role of Rusakov in com. "Do not get into your sleigh." Ostrovsky generally found in S. a brilliant performer; in the roles of Lyubim Tortseva ("Poverty is not a vice"), Podkhalyuzin ("Our people - we will get along"), Benevolensky ("Poor Bride"), Tit Titycha ("Hard Days") and others, he reached the highest perfection. Surprisingly good was S. in Gogol's plays (Osip and the mayor in The Government Inspector, Podkolyosin in The Marriage, Zamukhryshkin in The Gamblers). Such Rasplyuev, as he appeared in Krechinsky's Wedding, was never seen later on the Russian stage. Of the foreign classical repertoire, he most succeeded in Molière ("Georges Danden", "The Doctor involuntarily", "The Tradesman in the Nobility", etc.). S. can be called a representative of highly artistic realism; the laughter that he evoked in the audience with his reading and facial expressions, with his subtlest shading of not only essential, but also secondary features of the role played, sometimes even by his mere appearance on stage - was that, so to speak, artistic laughter, which we laugh when reading Gogol, Ostrovsky, Moliere, and in which often (as, for example, when S. plays the role of Lyubim Tortsov), true tragedy is heard. - A good article about S. was written by V. Rodislavsky ("Russian Bulletin", 1872, book 7); a lot of interesting things about S. in the memoirs of D. A. Karabchevsky, in ("Russian Thoughts" of the 1890s).

(Brockhaus)

Sadovsky, Prov Mikhailovich

famous actor moscow. theatre.; genus. Jan 10 1818, in Livny, † July 16 1872 in Moscow.

(Polovtsov)

Garden about vsky, Prov Mikhailovich

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[M. P. Sadovsky]