Pavel Stepanovich Mochalov, whose biography is the subject of this review, is the largest representative of the romantic trend in Russian theatrical art of the first half of the 19th century. His work and the skill of reincarnation made a strong impression on his contemporaries and in many respects determined the development of a romantic direction at the indicated time.
Biography
Mochalov Pavel Stepanovich was born in a family of serf artists in Moscow in 1800. His parents played in the home theater of N. Demidov, then his father began performing at the Moscow Theater, the troupe of which, after some time, entered the group of imperial theaters. The latter circumstance contributed to the fact that after six years the family was redeemed and received free. The future famous artist received a good education, studying in a private boarding school, he also studied French. He had a good memory from childhood. According to the memoirs of his daughter, Pavel Stepanovich Mochalov studied at Moscow University for some time, but he was not found in the list of students.
Carier start
He began playing in 1817 at the Mokhovaya Theater, but then the stage of the Maly Theater became his permanent stage. The end of the 1830s became decisive in the life of the actor, since it was at that time that he played his crown role of Hamlet, the value of which was perpetuated by V. G. Belinsky in his famous article devoted to the analysis of the artist’s play. But already in the mid-1840s, Pavel Stepanovich Mochalov turned out to be unclaimed in connection with a change in direction in culture. Romanticism was replaced by realism, in which the impulsive emotional play of the artist was out of place. The artist died in 1848 from a cold in Moscow.
Game features
It has already been said above that the heyday of the stage activity of the artist fell on the era of romanticism. In accordance with this direction, the actor’s game was built. Mochalov Pavel Stepanovich built his game on contrasts, which led the audience into emotional delight. He created sharp transitions from violent emotional explosions to the so-called “Mochalov minutes”, in which he abruptly interrupted his speech, after which he again began to deliver his remarks, which led the audience to delight with such an unexpected and spectacular change. Mochalov Pavel Stepanovich played mainly in the romantic repertoire, although at the beginning of his creative career he paid tribute to classicism, having played several roles from ancient tragedies.
The images
The artist created on the stage a number of lone heroes, rebels by nature, who oppose society and challenge social and moral vices. Mochalov (actor) embodied on the stage people with strong characters and passions. For example, he played Georges de Germany in the play "Player's Life", where he showed a man who spent his whole life in the game. This character is completely absorbed in her and is no longer able to stop. Then he played Hamlet for the first time, but so far he had not reached the triumph that would come to him in a decade. However, already at that time the basic principles of his acting game were outlined: the image of rebellion, protest, the hero’s rejection of injustice, lies and deceit. According to the memoirs of contemporaries, Pavel Stepanovich Mochalov (1800-1848) himself interpreted his images and roles, comparing them with his temperament.
Top of creativity
The role of Shakespeare's Hamlet in the new translation by N. A. Polev is considered the most important and best role of the actor. This image is fully consistent with the creative principles and attitudes of the actor, as well as his temperament. In addition, it was this character who best expressed the rebellious beginning that attracted him so much. This work, as mentioned above, is the subject of a special article by Belinsky. According to the critic, Mochalov with extraordinary energy conveyed the dramatic history of the Danish prince.
It should be said that it was the Maly Theater that became the place that glorified the artist. Another of his important work was the role of Chatsky. It was a real event in the cultural life of Moscow. According to contemporaries, the actor played this hero as a lone rebel who defied the whole Famus community. He uttered the final phrase with contempt, as if challenging the conservative circles of modern surroundings.
Other jobs
The roles of the artist were multifaceted, but all of them are united by one characteristic common feature - this is an image of a protest, rebellious beginning in a person who alone opposes the whole society. It was in this spirit that Mochalov embodied other cult Shakespearean images: Othello, Richard III, and others. It was in these parties that the actor could more than ever show his multifaceted character and talent as an outstanding master of reincarnation. He was also interested in other historical figures. So, he presented in the image of Don Carlos, the main character of the play of the same name by F. Schiller. The rebellious spirit of the works of this famous playwright perfectly matched the nature of the artist. He also played a major role in the author’s most famous play, The Robbers. This work is openly rebellious in nature, so Mochalov's speeches made a revolutionary impression.
The poets also attracted the famous actor: he played Aleko in the production of the play “Gypsies”, as well as in the play based on the poem “Bakhchisarai Fountain”. It can be seen from the above repertoire that the actor was primarily interested in romantic roles. There is news that he really wanted to play a major role in Lermontov’s drama “The Masquerade,” but because of the loud and noisy popularity caused by the rebellious spirit, the performance did not take place and did not allow censorship.
Reasons for success
The secret of the phenomenal popularity of the actor’s works lies in their relevance and consonance of time. The fact is that Mochalov adapted the plots of the plays to the requirements and aspirations of people of his era and his circle. In the 1820-1840s, youth and educated circles were in fashion rebellious ideas, a protest against social Russian reality, so Mochalov’s emotional, partly even daring attacks came to the place and at the time. The artist, in addition to talent, also had an amazing ability to capture the interests of the public, which was waiting for images of strong dramatic personalities. In each image, the artist, in fact, played contemporaries, in a variety of characters the audience literally recognized themselves. Such an attitude fully corresponded to the temperament of Mochalov himself, who could not play ordinary people from the crowd in any way with their everyday interests and concerns. He was interested in strong, bright personalities, whose reincarnation always found their audience in the first half of the 19th century. The Maly Theater is very often recalled in literature precisely in connection with his work.