The first wife of Andreev's husband Selezneva. Flirt for a happy marriage
Vladimir Andreev played the prince in the film “Calif-Stork”, and Natalya Selezneva played the princess. Like in a fairy tale, she accidentally met her prince to live happily ever after. Even the actor’s wife, without offense, let him go to meet new love.
Natalya Selezneva
Natalya Selezneva’s first film role. / Photo: www.culture.ru
Natashenka Seleznyova was born into the family of a talented photographer and an equally talented artist. When she was only six years old, she was invited to the production of “30 Pieces of Silver” at the Soviet Army Theater. And then she thought for a long time about what she wanted to become more - a haberdashery saleswoman or an artist.
Natalya Selezneva as Lidochka. / Photo: www.ugorizont.ru
However, fate decided everything for her, because after the theater premiere, on the advice of Agnia Barto, she was invited to play Sashenka in the film “Alyosha Ptichkin Develops Character”, then in the film “The Girl and the Crocodile”.
Natalya Selezneva. / Photo: www.sfw.so
At the age of 20, Natalya starred in “The Adventures of Shurik”, then acted twice more with Gaidai. She was also incredibly popular thanks to her participation in the “13 Chairs” Zucchini. Where she played Mrs. Katarina from the very beginning.
Vladimir Andreev
Vladimir Andreev. / Photo: www.picsmate.ru
He was born in 1930 into a family of avid theatergoers. And he began his artistic career from a theater studio in the House of Pioneers. The teenager’s acquaintance with Rolan Bykov helped the young man decide on his future. On the advice of the master, he began to prepare to enter Andrei Lobanov’s course at GITIS, and Varvara Ryzhova, an actress at the Maly Theater, helped him in this.
Immediately after graduating from the institute, Andreev became an actor at the Ermolova Theater, and then active filming began.
Vladimir Andreev, “Lies with Long Legs”, 1983. / Photo: www.kino-teatr.org
In March 1968, he married actress Natalya Arkhangelskaya, with whom he had been in a civil marriage for eight years. And in April he came to ask her for a divorce.
Love at first sight
Natalya Selezneva was invited to play the role of a princess from Benares in the children's musical fairy tale film “The Caliph-Stork”, where the caliph was played by Vladimir Andreev.
She saw him on the eve of filming, at the piano. He listened to the melody from the film, played by Georgy Garanyan. At that moment she thought about the happiness of the woman who became his wife. Vladimir Andreev saw young Natasha and immediately realized that he was missing.
In the film "Calif the Stork". / Photo: www.kinoaist.net
Already on the first day of filming, a relationship began between them. During this period, lovers could not find support from anyone. Everyone around them was against their romance. Friends vying with each other advised him to hold out and not fall in love under any circumstances, and Valentin Gaft fervently urged Andreev not to think about marrying this big girl, not to exchange his smart and beautiful wife for a young and green girl. But all efforts were in vain. Soon the actor asked his wife for a divorce. He always wanted to be close to his Natulya. However, Natalya Arkhangelskaya never held a grudge against Natalya Seleznyova. Later she married quite successfully.
Natalia Selezneva and Vladimir Andreev. / Photo: www.1001material.ru
The homewrecker herself never once in her entire life regretted breaking up her husband’s previous family. She sincerely considers him her soul mate.
During filming, Vladimir Andreev proposed to Natasha, and a year later they were already the happy parents of Yegor.
The complexities of life
Natalya Selezneva and Vladimir Andreev with their son Egor. / Photo: www.7days.ru
Of course, they could not avoid the period of grinding in their characters. There were times when they quarreled violently, trying to prove something to each other. But difficulties, as we know, bring people together. It was the difficulties that firmly cemented the marriage of Selezneva and Andreev.
The hardest thing was when Yegor was born. Sleepless nights and endless filming for both seemed to have exhausted them. But the young parents, who doted on their baby, began to quarrel less and less. They helped each other, regardless of time and condition.
Natalya’s mother rushed to the aid of the couple and took on all the household chores as much as possible. It was the mother who did everything so that the child received a normal upbringing and lived a normal life for any boy, without wandering around dressing rooms and tour buses.
Tolerance for difference
Natalia Selezneva and Vladimir Andreev. / Photo: www.womanhit.ru
Natalya Selezneva often jokingly talks about the way to the heart of a loved one through the stomach, boasting of her culinary skills and ability to create cleanliness and comfort around her.
And Vladimir Andreev never mentions her skill as a cook, but always speaks of respect for her endless loyalty to loved ones and the ability to go to the end in the fight for the health and well-being of her friends.
Natalia Selezneva and Vladimir Andreev. / Photo: www.tele.ru
They are actually very different, Vladimir Andreev and his wife. And the point here is not at all that he is older. He loves relaxing at his dacha in the Moscow region, and she cannot imagine life without the sea.
Natalya Selezneva proudly says that in the face of any difficulties and problems, she and her husband become one. They are also both proud of their grandchildren, love their son very much and agree that it will be bad for them apart.
Almost half a century together
Natalia Selezneva and Vladimir Andreev. / Photo: www.kp.md
Natalya Igorevna and Vladimir Alekseevich have been together for half a century. They both admit that a lot has happened in their lives over the years. Things weren't always smooth sailing. But they learned the main thing: not to conflict during quarrels. And don’t cross the border that makes it impossible to return later. Surprisingly, even temperamental, emotional and hot Natalya Alekseevna, in all the years of their life together, never slammed the door or packed her suitcase.
Natalia Selezneva and Vladimir Andreev. / Photo: www.news-24h.ru
And, despite the rather busy work schedule of both spouses, they always put their family, love and happiness of being together at the forefront. At the same time, they do not limit each other’s freedom in any way. Allowing yourself to sometimes flirt with others to stay on your toes. But at the same time, never betraying each other’s trust and leaving no room for betrayal in their lives.
Natalya Selezneva is an extraordinary actress, just look at the story of getting the role Lidochki in “Operation Y” and other adventures of Shurik.”
Vladimir Alekseevich Andreev. Born on August 27, 1930 in Moscow. Soviet and Russian theater and film actor, theater director and teacher. Honored Artist of the RSFSR (1963). People's Artist of the RSFSR (1972). People's Artist of the USSR (1985).
Born and raised near the center of Moscow, the family lived on Bolshaya Spasskaya.
Father - Alexey Vladimirovich Andreev, was an electric welding master. He loved to read, and he instilled this love of reading in his son.
Mother was a talented retoucher, processing photographs and drawings on negatives.
My maternal grandmother was an ideological communist. As the actor said, his grandmother ran away from the family with her lover at the beginning of the 20th century, because of this his mother was raised in an orphanage. Later she did return to her children.
Younger brother - Lev Alekseevich Andreev.
As the actor recalled, in his childhood he grew up among hooligans and could well have followed a crooked path if the House of Pioneers had not appeared in his life, where he began attending a theater studio. There he studied with, with whom they became friends.
Started working early. He was not yet fifteen years old when he went to agricultural work during the summer holidays. During the war years, after classes, I stood at the machine at the factory.
After school I decided to go to theater school. The first teacher was Varvara Nikolaevna Ryzhova, the famous actress of the Maly Theater. At the age of 16, thanks to his mother, he was able to meet her and she prepared Vladimir to enter a theater university.
In 1952 he graduated from the State Institute of Theater Arts. A.V. Lunacharsky, teachers - A.A. Goncharov, A.M. Lobanov. Among his teachers was also V.A. Vronskaya.
Since 1952 served at the Theater. Ermolova, among his works: “Dostigaev and others” by M. Gorky - Tyatin; “Guests” by L. G. Zorin - Sergei Kirichev; “Good morning!” V. S. Rozova - tenth-grader Alyoshka; “Forever Alive” by V. S. Rozov - Volodya; “With new happiness” by M. A. Svetlova - Alexey; “The obnoxious character of Y. Lipkovich - Kostya Zhavoronkov; “Dangerous Turn” by J. Priestley - Lord Gordon Whitehouse; “Old Friends” by L. A. Malyugin - Shurka Zaitsev; “Three Comrades” by E. M. Remarque - Robbie; “The Taming of the Tamer” by J. Fletcher - Rowland; “Gleb Kosmachev” by M. F. Shatrov - Gleb Kosmachev; “The Last” by M. Gorky - Alexander Kolomiytsev; “The Forest” by A. N. Ostrovsky - Bulanov; “Crime and Punishment” according to F. M. Dostoevsky - Zametov; “The Grammar of Love” by I. A. Bunin - Author and General; “Warsaw Melody” by L. G. Zorin - He; “Pushkin” by A.P. Globa - Dantes; “Running” by M. A. Bulgakov - Golubkov; “Lieutenant Schmidt” by D. Samoilov, V. G. Komissarzhevsky, N. Manevich - Pyotr Petrovich Schmidt; “Mad Money” by A. N. Ostrovsky - Vasilkov; “Saturday, Sunday, Monday” by Eduardo de Filippo - Ottilio; “Playing Strindberg” by F. Dürrenmatt - Kurt; “I give you life” by D. N. Valeev - Sattarov; “Duck Hunt” by A. V. Vampilov - Zilov; “This strange Russian” by V. Chichkov - Egorov; “Uncle Vanya” by A.P. Chekhov - Voinitsky; “The Missing Plot” by L. G. Zorin - Dorogin; “Stalemate, or the Game of Kings” by P. Kohout - Franz; “Lady with a Dog” by A.P. Chekhov - Gurov; “Tsar Maximilian” by A. Remizov - Tsar Maximilian.
In 1970-1985 - chief director, and in 1990-2012 - artistic director of the Theater. Ermolova.
At the Theater. Yermolova staged the following performances:
1963 - “Mother of her children” by A. N. Afinogenov
1966 - “Ball of Thieves” by J. Anouilh
1969 - “My Outskirts” by L. Sukharevskaya
1970 - “Razlom” by B. A. Lavrenev
1971 - “Golden Boy” by K. Odets
1971 - “Confessing” by L. I. Mitrofanov
1971 - “Snow” by Yu. P. Chepurin
1972 - “Tomorrow at seven” based on the novel by K. M. Simonov “The Living and the Dead” (dramatization by V. Tokarev)
1972 - “Don’t sit in your own sleigh” by A. N. Ostrovsky
1972 - “The Eldest Son” by A. V. Vampilov
1973 - “Last summer in Chulimsk” by A. V. Vampilov
1974 - “Playing Strindberg” by F. Dürrenmatt
1975 - “White Summer” by O. Kuchkina
1976 - “Bird cherry” by V. P. Astafiev
1977 - “Coincidence of Circumstances” by A. V. Vampilov
1977 - “I give you life” by D. N. Valeev
1978 - “Dialogues” by D. N. Valeev
1978 - “Money for Maria” by V. G. Rasputin (together with F. Verigina)
1979 - “Mountain Nest” by D. N. Mamin-Sibiryak
1979 - “The Kreutzer Sonata” after L. N. Tolstoy
1980 - “The battalions ask for fire” by Yu. Bondarev
1980 - “Duck Hunt” by A. V. Vampilov
1982 - “As an exception” by A. Ostrovsky and S. Gedeonov
1984 - “Deep Blue Sea” by T. Rattigan
1984 - “This strange Russian” by V. Chichkov
1985 - “Uncle Vanya” by A. P. Chekhov (together with I. Sudakova)
1990 - “The Lion in Winter” by D. Goldman
1992 - “The Missing Plot” by L. G. Zorin
1994 - “Union of Lonely Hearts” by L. G. Zorin
1994 - “Stalemate, or the Game of Kings” by P. Kohout
1995 - “Freeloader” by I. S. Turgenev
1996 - “Mary Stuart” by F. Schiller
1997 - “Battle of Angels” by T. Williams
1997 - “The Grammar of Love” according to I. A. Bunin (renewal)
1998 - “Lady with a Dog” by A. P. Chekhov
1998 - “Crossroads” by L. G. Zorin
1998 - “Great Catherine” by B. Shaw
1999 - “Tango” by S. Mrozhek
2000 - “Genghis Khan’s Bicycle” by R. Erduran.
Laureate of the State Prize of the RSFSR named after. K. S. Stanislavsky (1980).
In 1985-1988 - chief director of the Maly Theater.
He staged the following performances at the Maly Theatre:
1978 - “The Shore” by Yu. V. Bondarev
1980 - “Challenge” by G. M. Markov and E. Yu. Shim
1982 - “Choice” by Yu. V. Bondarev
1986 - “Ivan” by A. I. Kudryavtsev
1987 - “Game” based on Yu. V. Bondarev
1988 - “Guests” by L. G. Zorin.
In 1987-1989, he was the organizer, chief director and artistic director of the Test Studio Theatre, where he staged the play “The Lion in Winter” by J. Goldman and performed the role of Henry IV.
Member of the CPSU (1962-1992).
Vladimir Andreev in cinema:
He made his screen debut in 1954 in the film “Matriculation Certificate.” In 1955, he played his first leading role - Mitya Lastochkina in the comedy "Good Morning".
Vladimir Andreev in the film "Good Morning"
In 1966, he played the main role in the fairy tale film “The Tale of Tsar Saltan” directed by Alexander Ptushko - he played Tsar Saltan.
Vladimir Andreev in the film "The Tale of Tsar Saltan"
In 1968, he played the main role in another fairy tale film - “Calif-Stork” (Calif) - an adaptation of V. Gauf’s fairy tale about the great Caliph of Baghdad, his faithful Vizier and the evil sorcerer Kashnur.
In the 1980s, he played the main roles in the films “Chronicle of One Summer” (Vladimir Ivanovich Kolesnikov) and “Jamaica” (Anatoly Sergeevich Bespalov). Also notable were the works in the films “A Case from Newspaper Practice” (Sergei Mikhailovich Severtsev) and “Souvenir for the Prosecutor” (Secretary of the City Party Committee Sergei Fedorovich).
Vladimir Andreev in the film "Chronicle of One Summer"
Vladimir Andreev in the film "Souvenir for the Prosecutor"
In the 2000s, he played leading roles in the films “Arrow of Love” (Ivan Petrovich) and “Halfway to Paris” (Matvey Terentyevich Danilov). Also notable were the works of such films and TV series as “Melometa’s Smile” (Uncle Lyubasha), “Bastards” (Adult Cat), “Scammers” (Pavel Sergeevich), “Circus Princess” (Pavel), “Urgent to the Room” (director exhibitions), “Boulevard Ring” (Polina’s father), “To be continued” (Vladlen Petrov).
Vladimir Andreev in the film "Halfway to Paris"
Vladimir Andreev in the series "Urgent to the room"
He gained fame as a teacher. He said that he got on this path thanks to his teacher Andrei Aleksandrovich Goncharov. “This type of activity forced me to collect what I had accumulated and call on not only feelings to help work, but also the need to give birth to thoughts from feelings. Having become interested in pedagogy, I began to engage in directing. Moreover, I began to engage in directing not because I wanted to, but because I suggested. At one time the theater was run by a talented person, Alexander Shatrin, he simply told me: “Volodya, you need to try your hand at directing.” work, and, of course, interesting artists helped me a lot. Then I was offered to stage another play - the actors, my theater comrades, offered, and so on - more,” he said.
Teaches at GITIS, artistic director of the course, since 1972 - head of the acting department, since 1978 - professor of the directing department. His students were Kristina Orbakaite, Viktor Evgrafov, Nikolai Tokarev, Elena Yakovleva, Viktor Rakov, Boris Mironov, Boris Dergun, Evgeniy Kamenkovich and many other famous actors.
He wrote a number of articles on the theory and practice of acting, essays on memories of creativity, teachers, theater and cinema.
Academician of the Academy of Humanities (1995). Full member of the International Theater Academy (2000).
Speaking about the purpose of the theater, Vladimir Andreev noted: “Probably, art, and in particular theater, can change little in terms of global, but for those who come and suddenly think, suffer or hope with you or the image that you create, this is already a lot. Just as very It is important to charge a person with a good mood, to give him joy, warmth, to give him again a reminder that there is such an important factor as love. In my opinion, the theater should do this in the future. After all, the ancient Greeks did this. ended all their performances with a call for mercy".
Vladimir Andreev's height: 180 centimeters.
Personal life of Vladimir Andreev:
Was married twice.
The first wife is an actress (she played Dunyasha Melekhova in the film “Quiet Don” by Sergei Gerasimov). We met at a screen test. Arkhangelskaya recalled: “Volodya, then still an aspiring actor, was absolutely charming, with dimples and a snub nose. He immediately began hitting on me.”
In 1953, the couple had a daughter, Olga Vladimirovna Basova, a teacher at MGIMO, and has a daughter, Ksenia (born 1983).
For a long time, Andreev and Arkhangelskaya lived in a civil marriage; they officially got married only in March 1968. But a month later, the actor had another one - Natalya Selezneva.
Arkhangelskaya said: “It was no secret to me that my husband was having an affair with his partner in the film. I noticed Selezneva in the auditorium at Volodya’s performances, saw how she drove him by car to our house. Once I asked Volodya directly: “You Do you love her? - Yes... - Well then, let’s get a divorce. I’ll leave the house for two hours tomorrow, and you and Natasha take whatever you see fit.”
Second wife - theater and film actress, People's Artist of the Russian Federation. They met in 1968 on the set of the film “Caliph the Stork.” At that time, the actor was married to Arkhangelskaya, but, having fallen in love with Selezneva, he left his first family. How, she took the actor away from his first family, showing persistence in the fight for her love.
The marriage gave birth to a son, Yegor, in 1969; he is a diplomat, has been married twice, and has sons from both marriages - Alexey (born 1995) and Nikolai (born 2011).
Filmography of Vladimir Andreev:
1954 - True friends - Komsomol member (uncredited)
1954 - Certificate of maturity - Yurka, classmate
1955 - Good morning - Mitya Lastochkin, excavator operator
1956 - A man was born - Vitaly, father of Nadya’s child
1957 - Night patrol - Alexey Nikiforov
1959 - Cruelty - Yakov Uzelkov, correspondent
1960 - You Can't Cross the Bridge - Howard
1960 - Until next spring - Vasily
1961 - Battle on the way - Volodya Bugrov
1966 - The Tale of Tsar Saltan - Tsar Saltan
1968 - Kalif-Stork - Kalif
1968 - Meetings at dawn - Pavel Stepanovich Tsugrik, livestock specialist
1971 - Saturday, Sunday, Monday (film-play) - Attilio
1972 - Theory of Improbability (film-play) - Alexey Nikolaevich Anosov
1974 - Moonlight Sonata (film-play) - Ermakov, Kostya’s adoptive father
1974 - I give you life (film-play) - Sattarov
1977 - Through the pages of the Blue Book (film-play) - narrator
1977 - Races without a finish - Andrey Tarasovich Torop
1980 - Syndicate-2 - Leonid Danilovich Sheshenya
1981 - The right to lead
1982 - The Tale of Young Spouses (film-play) - Nikanor Nikanorovich
1982 - On the edge of the abyss (film-play) - Kurt
1983 - Forgive me, Alyosha! - Alyosha's father
1983 - Lies with Long Legs (film-play) - Libero Incoronato
1984 - Chronicle of one summer - Vladimir Ivanovich Kolesnikov, chairman of the district executive committee
1985 - Bow down to the ground
1985 - This strange Russian (film-play) - Nikolai Egorov
1987 - A case from newspaper practice - Sergei Mikhailovich Severtsev
1987 - Jamaica - Anatoly Sergeevich Bespalov
1988 - Earthly joys - rector of the institute
1989 - Weirdos (film-play) - Konstantin Mastakov
1989 - Souvenir for the prosecutor - Sergei Fedorovich, secretary of the city party committee
1992 - Three days outside the law - Vasily Petrovich, Mechanic, bandit leader
1992 - Silence - Fedor Fedorovich Mukomolov, talented artist
1999 - Ultimatum - Ivan Vasilyevich, patient of the cardiology department, WWII veteran
1997 - To be remembered. Nikolay Volkov (documentary)
2000 - Pat, or The Game of Kings (film-play) - Franz
2001 - Halfway to Paris - Matvey Terentyevich Danilov
2001 - Woe-misfortune
2002 - Melometa’s Smile - Uncle Lyubasha
2002 - Arrow of Love - Ivan Petrovich
2003 - Prosecutor's Anniversary - the prosecutor's neighbor found the keys
2004 - Comedians' Van. Lydia Sukharevskaya and Boris Tenin (documentary)
2005 - How idols left. Georgy Vitsin (documentary)
2006 - Bastards - Adult cat
2007-2008 - Circus Princess - Pavel
2007 - Urgent to the room - exhibition director
2007 - The last role of Georgy Yumatov (documentary)
2007 - Scammers - Pavel Sergeevich, Anton’s father, former artist
2008 - To be continued - Vladlen Petrov
2008 - Boy and girl - veterinarian
2008 - My Fair Lady. Tatiana Shmyga (documentary)
2008 - Lucyena Ovchinnikova. Expecting Love (documentary)
2008 - Vitsin, whom we did not know (documentary)
2008 - Alexander Vampilov. I know I won't be old... (documentary)
2009 - Other shores of Anastasia Vertinskaya (documentary)
2010 - Natalya Selezneva. Eyes Wide Open (documentary)
2010 - Marina Dyuzheva “I’m all so sudden, contradictory...” (documentary)
2011 - Irina Miroshnichenko. Revelations. (documentary)
2011 - Elena Yakovleva. InterLenochka (documentary)
2012 - Remembering Alexander Vampilov (documentary)
2013 - The biggest little drama (film-play) - Nikita, the old prompter
2013 - Oleg Vidov. Horseman with a head (documentary)
2013 - Igor Kvasha. Against the Current (documentary)
2013 - Alexander Vampilov. Chulimsk forever (documentary)
2013 - Boulevard Ring - Polina's father
Director's works of Vladimir Andreev:
1969 - Living Pages (film-play)
1969 - Always on the March (film-play)
1971 - Clown (film-play)
1972 - Don’t sit in your own sleigh (film-play)
1974 - I give you life (film-play)
1977 - Fault (film-play)
1978 - Dialogues (film-play)
1979 - Mountain Nest (film-play)
1980 - Shore (film-play)
1981 - Challenge (film-play)
1982 - The Tale of Young Spouses (film-play)
1982 - On the edge of the abyss (film-play)
1982 - Vasilisa Melentyeva (film-play)
1983 - Lies on Long Legs (film-play)
1985 - This strange Russian (film-play)
1985 - Money for Maria (film-play)
1988 - Ivan (film-play)
1989 - Jackass (film-play)
2000 - Pat, or Game of Kings (film-play)
Scripts by Vladimir Andreev:
1982 - The Tale of Young Spouses (film-play)
Today is the People's Artist of Russia's anniversary, and the day before she spoke with Komsomolskaya Pravda [video]
Photo: RUSSIAN LOOK
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THERE IS OWN ANDREY MIRONOV
Natalya Igorevna’s mood on the eve of her birthday is not exactly combative, but rather very concentrated. At the Satire Theater, where she has been serving for almost half a century, today is her benefit performance.
“I’m a responsible person, even too much,” she explains. - My parents were obligatory people and they raised me the same way. The invitation cards for my anniversary say: “Natalia Selezneva is receiving friends.” These words are binding. Now I’m calling guests, taking care of the restaurant so that dinner is good and festive. I can’t entrust this to anyone. God bless Alexander Shirvindt. He will host my anniversary. In general, this season was marked by an anniversary. 90th anniversary of the Satire Theater. Our benefit performance “Sad but Funny” is a great success. People missed something that was comical and touching at the same time. At the end of the performance, the audience shouts: “Bravo!” and runs with flowers and gifts. Each artist has his own fans...
Goodbye Shurik! by KPcoub
- Of course, you have mostly men...
Oddly enough, women love me more. They even come from other cities. There is one devoted fan, Lida, she lives in Zvenigorod. Whatever the weather, Lida will definitely be waiting for me after the performance at the service entrance. Even uncomfortable. “Lida,” I tell her, “stop driving, have pity on yourself.” I sometimes feel sorry for her to the point of tears. I am not capable of such devotion. And she, absolutely happy, shouts back to me: “I love you, Natalya Igorevna!” And in St. Petersburg I have my own Andrei Mironov, who does not allow anyone to approach me without his approval. I play along and say: “Andryusha, can I give an autograph to this young man?” Sometimes he allows it, sometimes he doesn't.
- People's love came to you after the comedies of Leonid Gaidai, in which you starred?
Not only that. There are women, they are no longer young, who grew up on “Zucchini 13 Chairs”. I played Mrs. Katarina in it. And they, then still young, watched her outfits, hairstyle, makeup, and then tried to implement all this in their lives. They grew up and matured with the heroines of “Zucchini 13 Chairs”. Many succeeded in life and became wealthy people. I judge by the way they come on stage with huge bouquets the size of elephant heads.
Shurik, your device will destroy you! by KPcoub
I WORK ON THE CARDINITY COMMISSION
- In life, were you as fashionable as your lady Katarina?
Completely different, my priorities and values are completely different. If for home, then my favorite clothes are a robe, woolen socks and slippers. In everyday life - sports style, sweater, trousers, jacket. But you often have to be in public and not only in the theater. For many years I have been a member of the pardon commission. I am an old-timer of this commission, I have been working in it since its foundation. I am also a public assistant to Ombudsman Pavel Astakhov. We are now creating a national center for monitoring, searching and helping missing children. Every year 20 thousand children disappear in Russia, and one and a half thousand are never found! This is scary... Helping children is the most noble and important thing. I plunged into these worries headlong. Even now I don’t completely agree with Dostoevsky: it’s not beauty, but kindness that will save the world. We need to cultivate mercy in people.
- Do you have enough time for your family?
Children and family are the greatest value. This is something that no one can take away unless you destroy it yourself. You need to take care of children all your life. But there comes a time when children must take responsibility for their parents. I remember myself at 20 years old, when, in a completely adult way, I took upon myself to take care of my parents, my aunt, and her family. My responsibilities were to provide them with food, medicine, and take them to doctors, since I drove the car. Nobody asked, I did it at the call of my heart.
Ira, unbutton. by KPcoub
- You are a sympathetic person, as I personally saw at the premiere of the play “The Biggest Little Drama” based on Chekhov, in which your husband Vladimir Andreev and family friend Valentin Gaft played. The way you applauded and shouted “Bravo!” could be heard even on Tverskaya.
They played great! And this was my production project. I brought together Vladimir Alekseevich and Valentin Iosifovich, although they have been friends for many years. In addition, I am completely devoid of acting envy. If I see talented actors, including young ones, I am sincerely happy for them. I watch how Liza Boyarskaya works, I think, what a great job! I really want everything to work out for her, because the actress’s life is very short. Lisa and I filmed with Alla Surikova. Then I found out that Lisa will play Anna Karenina in Shakhnazarov. My favorite!
- And who will be Vronsky?
Her husband is Maxim Matveev.
- What new works will you please us with?
I starred in two films. In "Bachelor Party" with Dmitry Astrakhan. He plays my husband, who accidentally ends up at a bachelor party, and I start hunting for a cheerful group of men. In another film I starred with the brilliant Mikhail Svetin. There will be several short stories under the general title “All ages are submissive to love.” In my opinion, it turned out to be a very funny movie, the producers and scriptwriters are the creators of “Ural Dumplings”.
A very temperamental person. by KPcoub
“I DON’T REGRET THAT I TOOK AWAY MY HUSBAND”
Natalya Selezneva and Vladimir Andreev have been together for 47 years. Their love story began on the set of the film “Caliph Stork” in 1968. When we met, Vladimir Andreev was already a popular actor, 15 years older than Selezneva, and also married to actress Natalya Arkhangelskaya. Selezneva’s parents did not like all these circumstances. But you can't escape fate...
“I adore my husband all my life,” the actress admitted. “I wish everyone such understanding, reciprocity, such a shoulder.” I don't regret taking him away from my family because he's mine. He is destined for it.
By the way, Andreev’s ex-wife Natalya Arkhangelskaya does not hold a grudge against Selezneva. After breaking up with Andreev, she married a Frenchman and went with him to France. Together they lived in perfect harmony for 30 years. She is sincerely grateful to Selezneva for such a zigzag of fate.
BY THE WAY
Natalya Igorevna, out of modesty, did not tell her that she was collecting the money she earned for expensive operations in front of Vanya Voronov. The same 10-year-old boy from Donbass who was seriously wounded on January 2.
AND THERE WAS A CASE...
In the Satire Theater, actors compete with each other in practical jokes on stage. Mikhail Derzhavin “splits” his partners in the play best of all...
“Once my old friend Natalya Selezneva tried to prank me,” Mikhail Mikhailovich told KP. “There was a concert in the Far East. I'm on stage. Suddenly Selezneva appears in the side curtain... wearing only panties. I pretend I don't see her. But two guys from the first row noticed her, and sweat appeared on their foreheads. I turn the other way. And Selezneva runs over to the other side behind the scenes. And there are already other guys in shock. I can imagine what they were talking about during intermission, but Natasha failed to split me. And she decided to switch to Olga Aroseva, and took me as an accomplice. We had this number in the concert: Olga Alexandrovna, in the role of a TV presenter, interviews “engineer” Boris Runge. She sits at a table with a tablecloth - in makeup, with earrings. When the report ends and the table is taken out, the audience sees that below Aroseva is wearing felt boots and a wrinkled skirt... Also on television: the announcers are smartly dressed to the waist. Aroseva left to thunderous applause. Natasha Selezneva tells me: “I’ll crawl under the table unnoticed and tickle Olga Alexandrovna.” Well, well, I think... And I prepared a second table at the other end of the stage, where the whole miniature was played out. And Natasha sat crouched under the first table until the end of the section. And there was a spectacular finale, when I introduced the actors: Olga Aroseva, Boris Runge... And at the end, tearing the tablecloth off the table: “Natalia Selezneva, the legendary Mrs. Katarina from “Zucchini “13 Chairs.”
PERSONAL MATTER
Natalya Selezneva was born on June 19 in Moscow in the family of the famous photographer Igor Polinkovsky and artist Elena Selezneva. At the age of 8 she starred in the comedy “Alyosha Ptitsyn Develops Character.” She was recommended for this role by Agnia Barto, who wrote the script for the film. The famous Soviet poetess was fascinated by Natasha Selezneva when she saw her in a play at the Soviet Army Theater. Three years later, Selezneva played the main role in the children's film "The Girl and the Crocodile." But real recognition came with the films of Leonid Gaidai. After graduating from the Theater School in 1966. Shchukina Selezneva became an actress at the Moscow Satire Theater. In 1968, on the set of the film “Caliph the Stork,” she met actor Vladimir Andreev, whom she married. A year later their son Yegor was born. Selezneva has two grandchildren: twenty-year-old Alexey and four-year-old Nikolai.
FIVE BEST MOVIES NATALIA SELEZNEVA
- “Alyosha Ptitsyn is developing character”
- “Operation “Y” and other adventures of Shurik”
- “Ivan Vasilyevich is changing his profession”
- “The Adventures of the Yellow Suitcase”
- "Can't be!"
People's Artist of the USSR, People's Artist of Tatarstan, laureate of the State Prize of the Russian Federation, artistic director of the Moscow Theater named after Yermolova (1990–2012), president of the Moscow Theater named after Yermolova, professor
Born on August 27, 1930 in Moscow. Father - Andreev Alexey Vladimirovich (1905–1981). Mother - Andreeva Elena Ivanovna (1912–2001). Son - Andreev Egor Vladimirovich (born 1969). Daughter – Olga Vladimirovna Basova (born 1953). Wife – Natalya Igorevna Selezneva (born 1945), People's Artist of Russia. Granddaughter – Ksenia (born 1983). Grandchildren: Alexey (born 1995), Nikolay (2011)
The future actor spent his childhood in Moscow, on Bolshaya Spasskaya, near three train stations. Andreev remembers well how in the 1930s he and the boys spent a long time racing on the street. In the courtyard where they lived at that time, there was a large but dilapidated temple, where everyone came to pray. Next to it, before Stalin's development, there was an old parish cemetery, on the site of which a courtyard was subsequently built where the children played. Sometimes they found bones and skulls, but this was not surprising - the children did not have a feeling of fear, and the horror of death that an adult sometimes experiences did not concern them. One day, when Volodya was only 3 years old, playing in the yard, he suddenly stopped in front of the doors of the temple, and he wanted to go inside. There was an all-night vigil, several people stood at the service, the boy stayed with them and prayed as best he could.
Vladimir Alekseevich also remembers very well how his grandfather was ill - he was reclining on high pillows, his gaze was attracted by his noble, handsome face, his once dandy mustache and the extraordinary calmness characteristic of a person who is already looking into eternity. His grandson loved him very much and one day, sensing something inevitable was approaching, he said loudly: “Grandfather, good one, don’t die!”
And another picture from childhood emerges - how their neighbor, Uncle Joseph, was taken away. He lived with his old mother in a small room at the very end of a long communal corridor. And one day they came for him. Volodya saw Joseph being led past the rooms with his hands behind his back. Then his mother sat in the kitchen by the window every day. She was waiting for her son all the time, but she never got it...
Vladimir started working very early, times were hard then. From childhood, he felt the need to become independent, to help his family - for a long period they lived very poorly. During the holidays, the father of a school friend, a famous geologist, took the children with him on expeditions, where Andreev, having specially completed collector courses for this purpose, earned money and helped the family.
At the age of 14, he went to agricultural work during the summer holidays to earn vegetables that fed the whole family in the autumn and winter. Volodya didn’t find it a burden and even liked it - he took his part-time work not without pride, seriously, not at all childishly. After finishing his lessons, in wartime he put on overalls and stood at the machine that spun the springs to control the armored personnel carrier. There was almost no time left for football, which is traditional for boys... And one more vivid memory: an old coat inherited from his uncle, which turned out to be two sizes too big, but he walked in it with the feeling of an incredibly well-dressed and grown-up man.
The boy's passion for stage acting manifested itself very early. In the basement of their house there was a “red corner”, and Vladimir sat there for hours, watching with interest as the adults said something, walked around the makeshift stage, pathetically waving their arms. It was an amateur theater. And then his first roles appeared in his life in the studio of the House of Pioneers, which was very reminiscent of a professional theater in costumes and direction. It was these classes that strengthened Andreev’s desire to live in the world of art - the theater simply captivated him with the smells of makeup and backstage...
Many famous people came out of the studio in the House of Pioneers, including Rolan Bykov and director Viktor Sokolov. It was Bykov who advised Vladimir to enroll in GITIS, on the course of the wonderful teacher and director Andrei Mikhailovich Lobanov. Lobanov was already famous - People's Artist, Stalin Prize laureate, director of Vera Panova's "Sputniks" and Gorky's "Summer Residents". There was no happier meeting in Andreev’s life. Out of love and devotion to his teacher, he subsequently came to the Ermolovsky Theater.
From 1948 to 1952, Vladimir Andreev was a student at the acting department of the State Institute of Theater Arts named after A.V. Lunacharsky. He entered the acting profession in the post-war years. It would seem that the time for creativity is not the most favorable and the actor’s fate could have turned out differently. But Andreev always remembered the words of A.M. Lobanov says that one must be able to love theater even when it is not worthy of love. Such an amazing, wise, paradoxical-sounding thought, a kind of appeal addressed to people who have joined the theater business, be it an actor with ups and downs, a director or a person writing about performances. You need to penetrate and become attached to the very concept of theater with your whole being, so that in moments of rejection you find what makes you stay with it.
Georgy Aleksandrovich Tovstonogov once said: “Try more often, no matter how difficult it is, to do what you really want to do. No matter how hard it may be to get there.” In 1952, Vladimir Andreev began working at the M.N. Theater. Ermolova, from 1985 to 1988 he headed the Maly Theater as the chief director, and in 1990 he became artistic director of the Ermolovsky Theater.
When V.A. Andreev began managing the Ermolovsky Theater in 1990, his feelings were difficult to convey: he seemed to feel like the “most important” director in the country. The history of the theater is the great directors V. Meyerhold, N. Khmelev, A. Lobanov... Andreev had the opportunity to work with outstanding actors of the old school - Ordanskaya, Kirillova, Solovyov. At one time, the theater grew out of courses founded by actors of the Maly Theater with the blessing of the great actress Maria Nikolaevna Ermolova, and over time began to be called after her. In 1937, it was headed by Moscow Art Theater student Nikolai Khmelev, then Andrei Lobanov, a subtle, thoughtful innovative director. The house on Tverskaya, where the theater is located, has been standing for many centuries. Experts claim that in its vaulted basements one can find stones from the time of Ivan the Terrible. The lower part of the house still remains intact; later a passage was built on, and it turned into a real temple for artists. Then music, singing, and poetry came to these walls.
The very first production of Vladimir Alekseevich Andreev as chief director was the play “Don’t Get in Your Own Sleigh” by A.N. Ostrovsky (1971), in which comedy and drama are organically connected.
One of the amazing creative encounters for the director was his acquaintance with the plays of Alexander Vampilov - at that difficult time he had to obtain the right to exist for these performances, because Vampilov’s dramaturgy was called “hooligan”. But Andreev staged everything - both “Duck Hunt” and “Last Summer in Chulimsk” - these productions went down in the history of the national theater.
New topics became a manifestation of the craving for authentic Russia. And the director turned not only to Vampilov, but also to V. Astafiev, V. Rasputin, V. Belov - not only creatively, but also simply as a human being. After all, it is impossible to live without true faith and hope!
Directing and acting within the walls of the Theater named after M.N. Ermolova is always at her best, and the audience’s interest has not diminished over the years. Vladimir Andreev brilliantly masters the form of realistic and psychological theater, and he always tried to work with actors carefully.
Among the audience are people of all ages, many long-term admirers, which is especially dear to the actors. Over the years, the theater has staged countless plays, and today it continues to delight audiences with new performances. It is very important that, alongside famous masters, wonderful aspiring directors emerged - Rodion Ovchinnikov, Vladimir Danziger. V.A. Andreev often rehearsed with young actors and believed that their names would soon be on everyone’s lips, just like the names of his famous students - Viktor Rakov, Elena Yakovleva, Marina Dyuzheva... This is fundamentally important for the theater and means that it is moving forward. Vladimir Alekseevich constantly attracted young people to work, often these were his students, who were always glad to have the opportunity to work with their teacher. More and more young spectators came to the theater, they go to performances with themes close to them - these are “The Young Lady-Peasant”, “The Deceivers”, “The Slave of Her Lover”, a play about Pushkin with the participation of Sergei Bezrukov. Not a single premiere remained without the attention of the public, press and television. “My life, or did I dream of you”, “Crossroads”, “Invisibles”, “The Death of Tarelkin” and other performances became real events in theatrical life.
The appearance on stage of Sergei Bezrukov and Kristina Orbakaite is not accidental. Orbakaite studied at GITIS, in the workshop of Vladimir Andreev, who became her artistic mentor, and the play “The Young Lady-Peasant” was Christina’s diploma work. The production was carried out by another talented student of Vladimir Alekseevich - Natella Britaeva. At first the performance was performed on a small stage, but it turned out to be so fresh and unexpected that it aroused great interest among the public and began to be performed on a large stage.
Andreev noticed Sergei Bezrukov when he was still a student of O.P. Tabakov and performed on the stage of the St. Petersburg House of Artists, in the student reading competition named after Yakhontov. Bezrukov simply amazed the director - a thin young man with a huge reserve of temperament, charm and intelligence. Then he was remembered by many for his heartfelt reading of the story about the fate of dogs. And later, when they began to look for an actor for the role of Yesenin in the play “My Life, Or Did I Dream About You?..”, Vladimir Alekseevich said that Bezrukov was exactly the one they needed. And the very first rehearsals confirmed this.
Along with the classics, the group’s repertoire includes many plays by contemporary authors. The play “The Deceivers” by M. Carne and N. Ptushkina is based on the film of the same name by M. Carne, which was a great success abroad in 1958, but for censorship reasons was not shown in our country - they knew about it only from photographs and rumors. Andreev was “pierced” by the script published in 1961. He really felt that history was unwinding in a spiral and much of what in the past made him suffer, worry, and make mistakes was returning again in the present. Protest and despair, the need to live and love, to believe in tomorrow or not, to burn oneself in a host of vices and mistakes, to resist the magnetic attraction to everything that dries up the soul and nature - all this has worried humanity at all times. The main thing that made me turn to this topic was hope for the future.
Vladimir Alekseevich believes that if a teacher does his job with soul, then he cannot be indifferent to the fate of his students. Otherwise, you can’t do this, just as you can’t do theater if you don’t love it. The outstanding teacher and director Andrei Aleksandrovich Goncharov said that art should, even in the most tragic event, light a lamp or at least a candle of hope. The play “The Deceivers” is defined by the director as two acts about love. There are a lot of young people and only one adult character, a lot of dancing and music, which do not arise as an end in themselves, not in order to captivate the viewer or change the situation. Everything arises organically, as one of the manifestations of the marathon of life and the movement of love.
V.A. Andreev always says that there are only two options - in their work you can be either a professional or a non-professional. The difference is not just remembering what you love, but continuously living in your profession. This means that the thought of improvement never leaves a professional - it’s just that at certain moments in his existence he feels that he is able not only to protect his creative dignity, but also to teach, and also to introduce the viewer to his thoughts and feelings. In this case, this is not just a person who reads someone else’s text by heart, but a professional who takes his work seriously and with soul. Over the years, a person increasingly thinks, if not about the frailty of everything earthly, then about how he once suffered, suffered, loved... But if such thoughts come and if the ability to feel has not yet faded, it means that the person is alive, and the theater itself created to protect humanity.
The power of God's good and Satan's evil today openly fight each other, including in art, and the actor is, in essence, an inquisitive researcher of human nature. Innokenty Smoktunovsky, Evgeny Evstigneev, Anatoly Papanov were truly amazingly able to penetrate into the essence of a human being, and therefore Vladimir Alekseevich considers them great actors.
In addition to professionalism, two things are striking about Andreev - integrity of nature and modesty. The director is always interested in civil issues; he always thinks about what he is staging the play for, what will it give to the audience, what can be conveyed to their hearts? Vladimir Alekseevich really wants people not to be indifferent to each other; he believes that indifference is our main disease. In his performances, he appealed to conscience, which, in his opinion, is a “vaccination against indifference.”
Sometimes they say that inspiration, at its core, is a stupidly sensual thing. Andreev is sure that this is not true. Inspiration is when suddenly something thickens, feelings are concentrated and a desire is born to live, to come up with something new that will become significant and affirm some other faith. Inspiration is an impulse that can be extended over time, existing in it, and it’s good when it doesn’t immediately fall asleep, when you want to live, create, and be useful. And inspiration is not necessarily only joyful and cheerful. Sometimes in this case the definition “my sadness is light” is more appropriate, but what is sadness if it brings light? If a plan, a presentiment comes for good, then the inner nature itself becomes more talented from this grace.
Once, when Andreev had just entered the 1st year of GITIS, his father, leaving for Spitsbergen, said: “How I want you, with the help of your work, your perseverance, to achieve some serious degrees in life and thus make up for that what I failed to do!” The father was far from acting, but these words turned out to be very important for his son, and they helped him be persistent in achieving his goal. Many years later, during the filming of the film “The Tale of Tsar Saltan” in Sevastopol, the actor fell from his horse and was in intensive care with many fractures, but filming was not cancelled. Under the chain mail and dress of the king, the plaster torso was hidden, leaving only the right hand, free from plaster, uncovered. Later, as necessary and contrary to the doctors’ prohibitions, the arm was freed up to the elbow, then to the shoulder. In the frame, Andreev was lighting up cannons, stretching out his hands to the sails, greeting the guests with a broad gesture... This caused very sharp pain and forever left a mark - the usual dislocation of the shoulder.
When V.A. Andreev began staging the play “The Kreutzer Sonata”, he, like any normal person, was concerned with the thought - how can one kill if we are not talking about a bloody criminal, not about a misanthrope, but about simple life, about family, about human mistakes? Is it possible to solve problems only through violence? And one day at the dress rehearsal of the play there was a clergyman with absolutely stunning eyes. For Andreev, goodwill is always born if he sees eyes that are capable of helping, understanding, and if not justifying, then sympathizing. That man turned out to be the rector of the Church of All Saints and said: “I will pray to the Lord that this work of yours will be strengthened, that it will take place. Because in it you call, beg for mercy. You oppose the evil that creeps into the essence and spirit of man.” After this, Andreev often visited his church and did not just observe, but actually took part in the services, empathized, and this helped him bring his work to the point where the call for goodness and mercy turned out to be much stronger than just a plot or playing out human passions .
In the musical drama based on the works of Alexandre Dumas “Thank You Forever,” written by the famous poet Yevgeny Yevtushenko, Andreev played the role of the wise D’Artagnan. This production is a conversation about what the musketeers fought for, a confidential story about love and also about what happens when power puts pressure on an individual, because in the end she destroys herself. Through the performance, the audience is conveyed the idea that power languishes when it is unable to see honest, decent and enterprising citizens in people, when it does not allow them to develop even within the limits permitted by law, in this case it loses a lot - the respect and trust of society. “Thank you forever” is a romantic longing for the departed, hope for the future, for which the old musketeers who are fighting an unequal battle die.
During the production of the play, the actors did not look for direct projections and comparisons, but with the help of Yevgeny Yevtushenko and the old parable they sought to prove the importance of such concepts as romance and love, as well as the need for loud victories in the name of ideals and tomorrow. This is largely dictated by the heroic-romantic genre of the work. The elderly D'Artagnan meets his last love and utters the following words: “There are fewer and fewer roofs left under which they are waiting for us... Your Majesty, I thank you for uniting us all again!” Because a family is a platform, a roof that protects a person from troubles, it is both walls and a house, and in the house is all life.
Vladimir Alekseevich met his future wife, Natalya Selezneva, on the set of the television film “Caliph the Stork”. He played Caliph, she played Princess Owl. It was a fleeting acquaintance, but it turned out that in the process of work they reached out to each other - in pauses between scenes they talked about art, history, painting. One day, returning from filming, they asked to stop the bus and suddenly, to everyone’s surprise, they jumped out of it and ran up the hill to the Spaso-Andronikov Monastery, where the Andrei Rublev Museum is located. And we walked for a long time, looking at ancient monuments. This all gradually brought them closer together. Then she and Natalya Igorevna starred in the television film-play “Jackass,” but basically everyone did their favorite thing.
V.A. Andreev is a wonderful father, his love for his son is responsible and sacrificial, it is very serious and reverent. The fact that there are such good friendly relations in the family is largely his merit. And the son inherited a lot from his father, above all his decency. For him, family is the sum of responsibility, feelings, responsibilities; this is what will protect and support at a certain moment. When you travel and come home and feel understanding, it means a lot.
In theatre, cinema and television V.A. Andreev played about 100 roles. Among them: Golubkov in “Run” by M. Bulgakov, Vasilkov in “Mad Money” by A.N. Ostrovsky, Tsar Maximilian in Remizov’s work of the same name, Franz in L. Kohout’s play “Patath, or the Game of Kings”...
A notable phenomenon of theatrical art was the images in L. Zorin’s plays “The Missing Plot” and “Crossroads” - these performances were shown in many cities in Russia, Germany, France, the USA, Canada, Latvia, Estonia, Lithuania, Ukraine, and Belarus. Vladimir Andreev is the director of a number of performances not only in the Theater named after M.N. Ermolova, but also in the Academic Maly Theater of Russia, theaters in Finland, Germany, and Bulgaria.
He starred in the films: “A Man is Born”, “Cruelty”, “Night Patrol”, “Good Morning”, “The Tale of Tsar Saltan”, “Jamaica”, “Syndicate-2”, “Silence”, etc., which for many years they have not left the domestic television screen.
Andreev is known as a performer of works by A. Chekhov, I. Bunin, B. Pasternak, N. Rubtsov, D. Samoilov. Some of these authors were periodically performed by him on television and in the largest concert venues in Moscow, St. Petersburg, Tel Aviv, and Nizhny Novgorod. Many of Vladimir Alekseevich’s students became famous masters of theater, film, and television not only in Russia, but also in different countries of the world. The Test studio he created presented its performances in Western Europe.
V. Andreev - laureate of the Moscow Government Prize in the field of literature and art, for L. Zorin's performances "The Missing Plot" (1994) and "Crossroads" (2001) - laureate of international festivals: "Voices of History" (Vologda) for the role of Tsar Maximilian ( 2001), Volga International Festival “He and She” (Togliatti-Samara) - for the play “Crossroads” in 2001 he received the Grand Prix, in 2003 he received the prize “For Best Actor” in the play “The Missing Plot”.
V.A. Andreev wrote a number of articles on the theory and practice of acting, essays on memories of creativity, teachers, theater and cinema. Among them are works in the collections “That Same GITIS”, “Furious Goncharov”, conversations in the magazines “Theatrical Life”, “Foma”, “Peasant Woman”, “Soul of Moscow” and many others.
Vladimir Alekseevich Andreev successfully combines creative and pedagogical activities. He is the artistic director of the workshop at the Russian Academy of Theater Arts (GITIS), professor, associate professor of the directing department, and since 1972, head of the acting department. He was elected a full member of the International Theater Academy (2000), academician of the Academy of Humanities (1995).
V.A. Andreev is People's Artist of the USSR (1985), People's Artist of Tatarstan (1978), he was awarded the State Prize of the RSFSR named after K.S. Stanislavsky (1980). He was awarded the Orders “For Services to the Fatherland” II (2010), III (2005), IV (1995) degrees, Honor (2000), Red Banner of Labor (1979), Friendship of Peoples (1991), medal “In Memory of the 850th Anniversary Moscow." Awarded with a gold medal named after A.D. Popova. The director became a laureate of the Magdeburg Arts Prize in Germany and a number of international and Russian festivals. Awarded the Moscow Komsomol Prize (1973), the International Prize named after K.S. Stanislavsky (1993), the Moscow Mayor Prize in the field of literature and art (2000), the Theater Star audience award in the category “Legend of the Stage” (2012), the Russian National Theater Award “Golden Mask” (2018), the “For the Creation” award acting theater" of the I. Smoktunovsky Foundation.
Now Vladimir Andreev, despite his impressive age, continues to go on stage, organize creative and poetry evenings, and also share his own experience with budding talents.
Andreev is not exhausted by work, but sometimes he wants to be silent and be alone. He loves to relax in the summer at his dacha, where there is a very picturesque and untouched corner of a pine forest nearby, receiving true pleasure from contemplation and communication with nature. Loves animals. And his other passion is plants. Previously, when a director came on tour to another country, he always broke off a twig and said that a tree would grow from it in his homeland. Indeed, in his apartment there is a tree from Morocco and a palm tree from Syria.