Ben Benzinov Biography

Of course, not all images, reprisals, purchases, monologues are remembered. But much of its vast programs even over the years remains in memory. For example, the monologue “What would you do? It tells how by accident the “Zaporozhets” gently touched the “Lada”. An angry guy in a sheepskin coat jumps out of the car and beats the driver of the Cossack, a disabled war, legless.

And then an elderly man in his modest car with manual control is completely consciously going to the ram, the dandy "Lada" is crushing. Excuses to the police officer, the veteran admits: “In vain, in vain! And suddenly he sees in the eyes of the guard of the law not condemnation, does not reproach and hear unexpected words: “Not in vain! I would also have a unanimous one in response: - The same!

.. And here is a new meeting with Ben Benzianov. This time another kind. Ben Benzinov. They come to life, because the author does not act as an ordinary researcher. All that he writes about, rather, on the story of an actor in which he does what he does on the stage. Moreover, M. Green tells how his own reprisals, scenes, monologues that entered the actor’s repertoire were prepared and performed for many years.

But the author’s story is not limited to personal memories. The main character remains Ben Benzinov, his skill. The artist of the stage has his own performing feature, which is determined by the attitude to the “fourth wall”. The pop actor, unlike dramatic, does not try to pretend that he does not notice the reaction of the hall to his every word. On the contrary, he knows how not only to look through the conditional “fourth wall”, but also to talk, entering into a dispute, to agree, to convince everyone who is behind this wall in the hall.

Maybe because, as the author of the book notes, Ben Benzinov, appearing on the stage, requires light in the hall, and the brighter the better. He approaches the ramp and carefully peers at the viewer who filled the stalls. Then he raises his head to the “upper floor” - a balcony, and the moment of trusting communication comes, which continues all evening. This means that the viewer is actively attached to action, it becomes like an actor’s partner.

And at the end of the performance, the artist necessarily addresses everyone: “How gloriously we talked! And here, of course, is not up to the "fourth wall." This is the specificity of the stage. It took a lot of time before Ben Benzinov earned the recognition of the viewer. But since his pop biography began, he affirms his originality on it. According to M. Green, the creative originality of the artist is in satirical hyperbole, which he knows how to serve in an acute form, but without pressure, without excesses - no more, no less, exactly as much as it is required to debunk the vice, shortcomings, make them the subject of publicity and condemnation.

At the same time, it is necessary to fulfill this so that boredom does not leak, so that there is no failure of the festivities with which people came to the concert. The artist all the time monitors the mood of the listeners. He has a serious fact and a ridiculous reprise, and both reach the necessary, important generalizations. As you know, B. Benzinov performs with partners.

Green notes an important condition: among them he is a leader. It has responsibility for the performance, with him the demand for everything that succeeded and failed.

The reader learns from the book about the artist’s creative laboratory. For many years, he has been collecting a file of life facts, and it has been compiled in sections: work, life, rest, army service, children, pensioners, new buildings for all this are real facts, people. Penetration into the actor’s laboratory helps to understand where the vitality, the moment of his programs from.

Once Igor Gorbachev said about Benzianov: "On stage, he does what we do to all theater." And Vladislav Strzhelchik supplemented: "He has the prime minister every day." Today, such a premiere will take place in Leningrad, tomorrow - in Rostov, and then in Novosibirsk, Omsk, Tashkent, Chisinau, in villages, at new buildings, in factory workshops, at stadiums, at any impromptu site.

The paths of the actor of the stage run everywhere. He is a "man with a suitcase." And this symbolic suitcase contains a wealth of thoughts, feelings, emotions, moods that artists carry people. In the book M. Green is not a meticulous analysis of all the programs of the artist, his repertoire. The most significant are named. But no matter how stingy these stories, an integral impression of the artist’s art is created, about his place on the Soviet stage.

The book is written in such a manner that it creates that we have been at the concert itself, were imbued with an atmosphere of elation, the significance of those and the ideas of modern life. This is its undoubted dignity.