There Is Only a Moment
5 hrs. 19 min.
Language
Russian
Author
Oleg Anofriev
Author
Oleg Anofriev
Narrator
Larisa Yurova
Narrator
Larisa Yurova
Description
An invitation to reflection
I don’t know how it is in other areas of human activity, but in art—even with enormous natural talent—it is only a reason to hope for success. Here you need at least five or ten different components that together would ultimately produce the desired result. Among them, of course, there is a lucky chance, a fortunate coincidence—but most importantly, diligence, hard work, and endurance.
Oleg Anofriev finished the School-Studio at the Moscow Art Theater and received an invitation to the Central Children’s Theater—one of the most popular in Moscow in the mid-1950s. From the very first days, he was fully occupied with the repertoire. Children’s theaters always experience a sharp need for young actors. It is harder to stay there in mature years: roles become fewer, while applicants become more and more. That’s why those who managed it, having started successfully, then moved on to adult theaters, giving up their place without a fight to younger, more reasonably securing themselves work for the future. It’s enough to remember N. Cherkasov, B. Chirkov, O. Efremov…
Others stayed in youth theaters for life, painfully searching for a transition to new roles. Sometimes fortune turned toward them. Then they began all over again—and were happy themselves and brought joy to others. That happened almost simultaneously to two of our best travesty performers—L. Chernyshova and V. Sperantova—when they started playing mothers and grandmothers.
I don’t know how it is in other areas of human activity, but in art—even with enormous natural talent—it is only a reason to hope for success. Here you need at least five or ten different components that together would ultimately produce the desired result. Among them, of course, there is a lucky chance, a fortunate coincidence—but most importantly, diligence, hard work, and endurance.
Oleg Anofriev finished the School-Studio at the Moscow Art Theater and received an invitation to the Central Children’s Theater—one of the most popular in Moscow in the mid-1950s. From the very first days, he was fully occupied with the repertoire. Children’s theaters always experience a sharp need for young actors. It is harder to stay there in mature years: roles become fewer, while applicants become more and more. That’s why those who managed it, having started successfully, then moved on to adult theaters, giving up their place without a fight to younger, more reasonably securing themselves work for the future. It’s enough to remember N. Cherkasov, B. Chirkov, O. Efremov…
Others stayed in youth theaters for life, painfully searching for a transition to new roles. Sometimes fortune turned toward them. Then they began all over again—and were happy themselves and brought joy to others. That happened almost simultaneously to two of our best travesty performers—L. Chernyshova and V. Sperantova—when they started playing mothers and grandmothers.
00:25
00_00_Anofriev_O_Est_tolko_mig_Yurova_L
00:26
00_01_Soderzhanie
07:04
00_02_Priglashaya nas k razdumyu
01:19
00_03_Samobiografiya
04:05
01_01_Chasy
04:07
01_02_Akter
03:26
01_03_Arbat
09:57
01_04_Smolyaga
01:48
01_05_Akter i pesnya
01:36
01_06_Snezhok
06:55
01_07_Strana Muralliya
07:05
01_08_Lyubov-toska
23:50
01_09_01_Glava pervaya ili vtoraya
08:01
01_09_02_Glava vtoraya ili pervaya
08:01
01_10_Lunnye sekrety
06:38
01_11_Progulka
03:33
01_12_Nash dvor
06:19
01_13_Syn chelovecheskiy
02:01
01_14_Tandem
02:55
01_15_Avtorskie prava
02:47
01_16_Horoshee pivo
04:26
01_17_Vyshka
04:52
01_18_Moy dom - moya krepost
36:53
02_Portrety
1:07:01
03_Stihotvoreniya
10:32
04_Pesni k kinofilmam
21:06
05_Pesni
02:51
06_Pesni dlya detey
07:46
07_Epigrammy
47:38
08_Libretto myuzikla po pese Shvartsa - Ten
04:19
09_Mysli chuzhie i svoi
