Who are you - Malvina, Pinocchio, Pierrot or Duremar? Actors and roles

The charlatan and greedy man Duremar from the tale of exciting adventures is included in the quartet of main negative characters. The leech seller is an excellent marketer in the field of pharmacology. And this is his only talent.

History of creation

Reshaping in a new way the magical story of the Italian writer Carlo Collodi “The Adventures of Pinocchio. The Story of a Wooden Doll”, left only the idea of ​​the original. The fairy tale “The Golden Key, or the Adventures of Pinocchio” turned out to be completely different from the overseas source, both in the set of characters and in the storylines.

Although the writer borrowed some of the characters from his European colleague, he modified them beyond recognition. Thus, Pinocchio is made of logs, like Pinocchio, but in appearance and character it bears little resemblance to his predecessor. A “Russian” boy’s nose does not grow from lies, and the results of adventures do not depend on funny pranks. Some heroes are completely figments of Alexei Nikolaevich’s imagination. These include, for example, and. Duremar is also an exclusively author’s idea.

The prototype of Duremar is considered to be the eccentric contemporary of Alexei Tolstoy. At the end of the 19th century, the French doctor Jacques Boulemard settled in Moscow, who used a treatment method that was unconventional at that time. The healer considered leeches to be a cure for 100 diseases.

In the summer, the funny old man caught these unpleasant worms with his own hands in the swamp, wearing a long robe that protected him from mosquitoes - in such attire his lanky figure acquired a comical appearance.

His unusual appearance invariably attracted the attention of children, for which the children, changing the doctor’s last name, teased him with Duremar. The man became a real city attraction and a regular guest at secular salons: the audience roared with laughter when Jacques showed himself the rules of treatment with leeches.

However, some researchers of Tolstoy’s work are confident that the details of the story are a parody of the confrontation between two theaters and directors that broke out at the beginning of the 20th century.

Duremar is very reminiscent in appearance of Meyerhold's assistant Vladimir Solovyov, who was hiding behind the pseudonym Voldemar Luscinius - he is just as thin, tall and wears a long coat. According to this analogy, the meaning of the word “Duremar” is also guessed: supposedly it occurred as a result of the merger of the name Voldemar and the offensive “fool”.

Today, the word “duremar” has become a common noun for people who like to play the fool, fool those around them, and “toil about senseless foolishness.”

Image and plot

The flattering sycophant Duremar from “Pinocchio” has perfect sales skills. The hero catches leeches in swampy ponds and advertises their healing power to the sick. Ethics for the character is an unknown thing; the healer does not see the fragile boundaries between good and evil, putting service to those who are stronger in the first place.

For them, he is ready to provide all possible services, not hesitating to commit meanness. However, he does not take any business under his leadership - Duremar is lacking initiative and is distinguished by reinforced concrete calm. Pierrot gave a laconic assessment of this vile character in his poem, where he calls him “the ugliest morel.”

In the fairy tale by Alexei Tolstoy, the leech catcher is submissive to the will of Karabas-Barabas and does not forget to ingratiatingly note: “I am glad to serve you.” Although the director of the puppet theater uses the services of a dubious doctor, the specifics of the treatment terrify the bearded man.

The servant and informer also turns out to be a traitor: when the smell of frying begins and it becomes clear that Karabas is defeated, Duremar instantly goes over to the side of yesterday’s enemy. The leech seller asked to serve Papa Carlo in the new theater, but the author of the work never revealed the secret - whether they believed the repentant scoundrel or not.

In the fairy tale, Duremar appears only on the fifth day (the whole plot took six days). Buratino, who had escaped from the Country of Fools, met Pierrot on the way, who also escaped, but from the theater. It turned out that at night the sad doll overheard the conversation between the owner of the Melpomene temple and Duremar. The leech seller told about a golden key resting at the bottom of a pond near.

After the fight with Pinocchio, Duremar peeled Karabas-Barabas’s beard off the tree and went with him to the Three Minnows tavern. Having had a thorough dinner, they planned to chase the escaped dolls.

When the road to the almost rescued heroes was blocked by a quartet consisting of Karabas and Duremar, Papa Carlo came to the rescue. The swamp creature merchant backed away and fell down the slope into his element - the frog pond.

Actors and roles

The characters of Tolstoy's work came to life thanks to the Soviet film industry, and even today directors do not stop turning to the plot of the fairy tale in order to please the viewer with bright projects.

The creative treasury of director Alexander Ptushko is decorated with the unusual production “The Golden Key”. The 1939 film features both puppets and actors dressed in "muppet" costumes. The film adaptation is also notable for the fact that Alexei Tolstoy himself worked on the script. Duremara played in this film.

The iconic film adaptation was written by director Leonid Nechaev - the two-part musical film “The Adventures of Pinocchio” became a sensation in 1976. The main villains were brilliantly played by (Karabas-Barabas), (Basilio the cat) and (Alice the fox).

He fit the description of the bookish Duremar perfectly - just as thin and lanky. Although he managed to add touching features to the hero. And how the actor sang “Duremar’s Song”, created with music and lyrics! Today, Russian viewers joke that this composition could serve as an anthem for distributors of dietary supplements.

"Home"

Since the late 90s, the adventures of the wooden boy have become the basis for the fantasies of show project directors. Dean Makhamatdinov presented an amazing interpretation of the fairy-tale plot to the TV viewer. In the film “The Newest Adventures of Pinocchio,” the wooden boy suddenly turned into a girl singer (), Karabas became a crime boss (), and Duremar became a producer ().

In the New Year's musical "Golden Key", which entertained viewers of the Rossiya-1 channel in 2009, he reincarnated as Duremar.

The leech also appears in two cartoons. In the cartoon "The Adventures of Pinocchio" (1959), the character speaks in a voice. In 2013, animator Ekaterina Mikhailova created a continuation of the Soviet cartoon, calling it “The Return of Pinocchio.” According to the author's idea, the heroes found themselves in modern Moscow, while some of the characters changed their names and even their occupations. For example, Duremar is now called Maredur - the former leech charlatan kept a net with him and makes a living by catching toys. The antagonist was voiced by an actor.

Quotes

“And I have nothing to do with it. Nothing to do with it at all! Oops! Out!"

“Another five thousand buckets, and, most honorable one, consider that the key is in your pocket!”

“Bon appetit, sir! By leeches, spaghetti is wonderful!”

“What have you done, you old floating suitcase!”

“Karabas: - There’s something white turning black there.
Duremar: “There’s something black and white there.”

Few people know that the hero of the fairy tale “Pinocchio” Duremar had a very real prototype. Literary scholars believe that this is Dr. Jacques Boulemard, who practiced in Moscow in 1895. He became famous for the fact that his favorite method of treatment was the use of leeches - the doctor caught them personally.

The doctor himself contributed a lot to the formation of his comical image, showing the effect of treatment on himself and in every possible way promoting the use of leeches. Dr. Boulemard was often invited to the best houses of the time as entertainment. He also amused the children living in the villages near Moscow. Dressed in an absurd robe and armed with a net, he invariably served as a target for jokes from the children, who nicknamed him Duremar, thus pronouncing his French surname.

Karabas Barabas also has its own prototype. Literary scholars believe that Tolstoy’s prototype was the famous director Vsevolod Meyerhold. This is indicated by both the “theater named after me” - by analogy with the “Meyerhold Theater”, and the pseudonym of the director “Doctor Daperutto”, who transformed into the “Doctor of Puppet Science”. Analogies also arise when comparing the atmosphere reigning in the theater of Mayrhold, who, according to contemporaries, was a strong dictator, with the situation described by Tolstoy in the Karabas theater.

fairy tale “The Golden Key, or the Adventures of Pinocchio” Alexey Tolstoy wrote based on the fairy tale “Pinocchio” by C. Collodi. Both the plot and the system of images differ significantly from the original. Tolstoy's characters were so life-like that many of his contemporaries recognized them as people famous at that time. Some researchers are sure: this is not a children's fairy tale at all; in the images of Pierrot and Karabas Barabas, the writer ridiculed the poet A. Blok and theater director V. Meyerhold.

In 1934, A. Tolstoy began translating the fairy tale by C. Collodi, but in the process of work, the characters began to live their own lives. "I'm working on Pinocchio." At first I only wanted to write the contents of Collodi in Russian. But then I gave up on it, it turns out a bit boring and bland. With Marshak’s blessing, I am writing on the same topic in my own way,” Tolstoy wrote in his diary. The author himself defined his work as “a new novel for children and adults.”

M. Petrovsky calls Tolstoy’s fairy tale a dispute with the author of “Pinocchio” and suggests that the writer created a parody of Blok and Meyerhold’s theater. There are indeed grounds for making such assumptions. One of Meyerhold’s most famous productions was the play based on A. Blok’s play “Balaganchik”. The premiere took place in 1906 at the V. Komissarzhevskaya Theater, director Meyerhold himself played the role of Pierrot. The Meyerhold Theater was closed in 1938, and until that time its productions were quite popular and were actively discussed.

Meyerhold was known for his despotic character and, according to many contemporaries, including A. Tolstoy, treated his actors as puppets. K. Stanislavsky had a different approach; he wrote about Meyerhold: “The talented director tried to cover up the artists, who in his hands were mere clay for sculpting beautiful groups, mise-en-scenes, with the help of which he realized his interesting ideas.”

Meyerhold wore a long scarf, the end of which he often tucked into his pocket. Tolstoy's Karabas does the same with his beard: “It was dropped to the bottom of a pond by a man with a beard so long that he put it in his pocket so that it would not interfere with his walk.” The seven-tailed whip that Karabas carries with him is, according to researchers, an allusion to the Mauser that Meyerhold carried with him after the revolution and placed in front of him during rehearsals.

A. Tolstoy treated with rejection and ridicule the aesthetics of the Silver Age, symbolism and its main representative - the poet A. Blok. This gives researchers reason to claim that in the image of Pierrot he ridiculed both the poet himself and the literary movement. During the same period, in “Walking Through Torment,” Tolstoy, in the image of the decadent poet Bessonov, also embodied the cartoonish features of Blok and his numerous epigones.

It should be noted that in the Italian source material there was no such character as Pierrot at all. Malvina, a collective image of a “romantic lover,” is also the creation of a Russian writer, as is the unexpected motif of Pierrot’s selfless love for her in a fairy tale. M. Petrovsky suggests that this is an allusion to Blok’s family drama and to “The Beautiful Lady,” to which he often refers in poetry. In addition, Pierrot dedicates lines to Malvina that contain phrases very reminiscent of Blok’s (for example, “shadows on the wall” is a frequent image in the poetry of Blok and other symbolists).

In the depiction of two theaters - Karabas and the one that was hiding behind the hearth painted on the canvas - researchers see the history of the confrontation between two theaters and two directors - Meyerhold and Stanislavsky. And Karabas’s assistant Duremar is Meyerhold’s assistant in the theater and the magazine “Love for Three Oranges” V. Solovyov, who bore the pseudonym Voldemar Luscinius. The similarity can be seen not only in the names Voldemar-Duremar, but also in appearance: a tall, thin man in a long coat.

A. Tolstoy's fairy tale is a multi-layered work with symbolic overtones | Photo: funlib.ru

Be that as it may, even without searching for subtexts, “The Adventures of Pinocchio” remains one of the most popular children's fairy tales, and its film adaptation is among the first heroes of the fairy tale with whom the reader meets - Papa Carlo and his friend Giuseppe, nicknamed Gray Nose. Giuseppe is a carpenter, an old cowardly drunkard who loves... Papa Carlo is an organ grinder who lives in a small closet under the stairs. It only has a hearth on the canvas. True, his barrel organ broke long ago, and he is forced to beg.

Papa Carlo carves the main character of the fairy tale from a talking log - a wooden doll with a long nose named Pinocchio. This is a gullible, stupid fool. He is very curious, kind, open to the world, ready for adventure. Pinocchio tries to help everyone, dreams of finding true friends, trusts people. At the same time, he is careless and restless, abruptly stopping all attempts by Malvina and Papa Carlo to re-educate him.

Unlike Pinocchio, who never succumbed to re-education, his prototype Pinocchio eventually turns into a well-mannered boy.

At the end of the fairy tale, the hero comes to his dream. In the puppet theater of Karabas-Barabas, Buratino meets puppet actors who will later become his true friends.

Malvina is a girl with hair and a porcelain head. This is a doll that escaped from the theater and lives in a small house in the forest. Beautiful, smart, well-mannered, she takes care of herself and dresses up. She loves to be the center of attention and boss others around. Therefore, Pinocchio considers her pestering and a crybaby in class and upsets Malvina.

Pierrot is a melancholic, sad, unhappy poet with a white face and painted eyebrows. He wears a long-sleeved shirt and a white cap. Pierrot falls in love with Malvina, considers himself her fiancé and constantly suffers from his feelings.

Artemon is a black poodle, Malvina's devoted friend. He takes care of the girl with blue hair, protects her and fulfills all her whims.

Turtle Tortila - a calm, old, wise, dim-eyed inhabitant of the pond gives Pinocchio the Golden Key. True, she cannot tell which door he unlocks, but she is sure that this is the door to happiness.

Negative characters

Karabas-Barabas is a huge man with a long black beard. He owns a puppet theater and calls himself a Doctor of Puppet Science. A harsh, scary character who treats his actors cruelly. He is chasing Pinocchio, trying to take the Golden Key from him. But the wooden boy with a long nose turns out to be more cunning, and his friends always help him.

The prototype of Karabas-Barabas, the puppeteer Mangiafoko from the fairy tale about Pinocchio, is just an episodic, positive hero.

Duremar is a cunning, greedy suck-up and deceiver who sells medicinal leeches. Helps Karabas-Barabas and other enemies of Pinocchio.

Fox Alice - has all the fox qualities of Russian folklore. She is cunning, a masterful flatterer, and gets her way through deception and false kindness. A highway swindler is trying to trick Buratino into taking five gold coins.

Cat Basilio is the friend and accomplice of Alice the Fox. Pretends to be blind and beggar and begs for alms. He is stupid and comical. Fox Alice pushes him around and uses him for her own cunning purposes.

Red-haired, cunning, dangerous, attractively beautiful - such a Fox entered the lives of many generations of children in the first days of the New Year holidays in 1976 and forever remained for them the personification of fox nature, habits and character. Just a reference Fox!

On the streets of a big, cheerful, colorful, noisy city, a little boy with a mischievous smile from ear to ear meets magic - ! And in it there are boys just like him who play on stage... Yes, yes! On a real theater stage they sing and act, they are watched and applauded. But getting into this magic is not easy. Entrance is expensive, and for those whose pockets on their new jacket are empty, it is closed. But this boy from his first moment does not look for easy ways. This tomboy is one of those lucky guys who is looking for trouble. Or rather, they find him with pleasure, turning into a beautiful, red-haired, funny and cunning lady Fox, and not alone, but with a “suitcase without a handle” - a scary, evil, stupid and funny Cat.

When director Leonid Nechaev invited Rolan Bykov and Elena Sanayeva to star in the film “The Adventures of Pinocchio,” Rolan Antonovich did not like the idea at all, but Elena said: “They don’t refuse such roles!”

Moments

Ironic and reverent, funny and dangerous - this is Alice performed by Elena Sanaeva.

“There are not living people in the world, but survivors. Childhood is a phenomenon of human survival and soul formation.” Rolan Bykov

This role became for the actress both a real gift of fate and a concrete pedestal that walled her up. Having played a little over forty roles during her creative life, the actress was destined to be remembered by the audience not in the role of the subtle, sonorous and sublime Lena from “Once Upon a Time There Was a Tuner” and, of course, not in the eternal roles of someone’s friends, daughters and fellow travelers, but in a vivid image of a unique personality - a negative, but no less charming character.

Theater and film actress, public figure Elena Sanaeva was born on October 21, 1943 in the family of actor Vsevolod Sanaev. Her husband was actor and director Rolan Bykov. Elena Sanaeva is the mother of writer and director Pavel Sanaev.

Having dedicated her life to the brilliant director and, importantly, the brilliant man Rolan Bykov, the main roles of Elena Sanaeva’s difficult life were the roles of wife and mother.

A little about justice

The roles of mother and wife are undoubtedly beautiful, but fate, for some reason giving one thing - the chance to play the main female roles in the lives of two wonderful men, took away from her the opportunity to fulfill another purpose: to realize the enormous acting potential inherent in this unique woman - both dramatic and dramatic. and comedy.

The role of Alice the Fox played by Elena Sanayeva can be treated differently. It is accepted (and, of course, it is correct that it is so accepted!) to be treated as the brightest image. But in this role you can also see sketches, grains of unplayed roles that slip through the eyes of the fox Alice, in relation to the Cat and even to Pinocchio, in all the grotesque dances and songs.

Pavel Tsypin

Typing the characters of the cartoon “The Adventures of Pinocchio” (1959)

Pinocchio. PT, Jack. Always cheerful, never discouraged in any situation - a positivist, outwardly the complete opposite of the gloomy Pierrot. Pinocchio never thinks for a long time about alternative actions, but immediately not only makes a decision, but also begins to be active. For example, when he is seduced by the Fox Alice with enrichment, or when the bat offers to follow him to the land of fools. Buratino's determination is not only socionic, but also everyday.

The energy consumption of Pinocchio is beyond doubt, as is the fact that he is motivated by events in the surrounding world, and not by internal experiences; Pinocchio is a clear extrovert.

So far it turns out that this hero can be either FR or PT. Let's clarify the situation.

Buratino is not interested in power as such and influence on people; he doesn't push himself. He becomes a spontaneous leader In action- when you need to escape from Karabas or free your friends from the clutches of detectives. Buratino’s attitude towards the ethical rules that Malvina constantly broadcasts is childishly capricious and somewhat naive. In any case, he himself does not invent these rules, but simply accepts them as they are.

Pinocchio is exceptionally resourceful, for example, in a tavern, where he manages to scare Karabas with a terrible voice from a jug, and then uses the rooster not only to escape persecution, but also to bombard the jailers guarding the cart with his captive friends. This is a classic manifestation of demonstrative I, which is included in difficult, critical moments without reasoning or hesitation.

Finally, Pinocchio’s burning interest in technologies for making money and increasing them is characteristic. This is typical for all TIMs of the 3rd quadra, but most of all for PT.

Papa Carlo. TE, Yesenin. What is most striking is his everyday and financial impracticality: he “does not know how to earn bread.” The old organ grinder is quiet, passive, modest in his needs, but loves to dream (in his sleep!) about a delicious dinner (the cartoon begins with this scene). This is a clear introvert with a very vulnerable P. He comes to his friend Giuseppe for advice on this aspect.

However, having made a wooden man, Carlo, contrary to the advice of the carpenter, is not going to sell it - for ethical reasons, under the influence of a surge of emotions towards his brainchild. The financial rescue plan was not implemented, and Carlo had to sell his coat. The organ grinder is not resourceful and enterprising; he does not see any constructive opportunities to improve his situation; apparently, I is in the restrictive channel of model A.

Carlo’s sensory skills are not zero (he successfully sews Pinocchio’s clothes, and even whittles him out of logs), but he is not able to provide himself with everything he needs on a regular basis. This fact does not give us the opportunity to install S in the program channel. Therefore, Carlo is an introvert, an ethicist, an intuitive with a restrictive I.

Carpenter Giuseppe. PS, Stirlitz. The complete opposite of Papa Carlo’s character: lively, enterprising, skillful, loving to teach (he gives advice to Carlo on how to make money), a little smug. And, most importantly, a professional in his field, who will never be left without a piece of bread. He himself admits the potentiality of his intuition at the end of the film: “Well, am I not an old fool: to give away SUCH a log?!”

Karabas-Barabas. FL, Zhukov. The owner of the puppet theater is undoubtedly a negative character. Let us try, however, to move away from his moral assessment and impartially diagnose his TIM.

The main thing for Karabas is power, real physical power over the dolls. He rules his theater with an iron fist, without knowing compromises or reservations. The dolls hang on nails and are punished for the slightest disobedience; Malvina ran away from such an attitude. A programmatic F is clearly visible here. Karabas-Barabas has completely undeveloped ethics in relationships: he is almost always rude, extremely frank, and shamelessly expresses his aggressive plans. Here are phrases characteristic of his vocabulary: “I swear by my beard, this big-nosed piece of wood will burn well” or a reproach to the innkeeper “you’re laughing, but your wine is rubbish!” R for this character is clearly not in the Ego block.

Karabas is well versed in the social hierarchy, in particular, he successfully bribes the city mayor and immediately obtains an arrest warrant for Carlo. At the same time, Karabas lacks the resourcefulness of Pinocchio; he always acts in a stereotyped manner, achieving his goals with the help of aggression and the repressive police apparatus.

Duremar.TP, Balzac. Duremar is, first and foremost, a business man: he tirelessly catches leeches in ponds and sells their healing power to the suffering. He is highly technological in his field, he has mastered catching leeches and treating them with perfection (P in Ego). Duremar is always submissive to the will of Karabas, declaring: “I am glad to serve you, Karabas-Barabas” (F in Superid). He does not have his own ethical assessments, good and evil worries him little, he focuses on those who are stronger and does for them what he can. By himself, Duremar is calm, lacking initiative, and inert. This indicates introversion.

Cat Basilio. SE, Dumas. In principle, he is a typical cat: cunning, greedy for treats, quite artistic (successfully portrays a blind man; apparently, E in the Ego block). He is as dexterous as a sensory person (for example, he instantly climbs a tree to punish a crow for telling the truth). As an introvert, he is not very proactive; uses the Fox’s ideas, he is only the executor of her plans, a junior ally, companion, but not a leader.

Malvina. RF, Dreiser. She is exceptionally rational: everything is according to the rules, all things are in their places, cleanliness and order always reign. The ostentatious S matches her bright, always perfectly groomed appearance. A significant part of her time is spent on beauty restoration.

To everyone who is within reach, Malvina broadcasts an incessant stream of rules of good manners: wash your hands, brush your teeth, eat with a spoon and fork, not with your hands, etc. Malvina is dogmatic in preaching these rules. She loves to teach, including arithmetic, but the example of Pinocchio shows that her teaching is normative in nature and does not take into account the characteristics of a particular student. She simply hammers into him, without much success, by the way, the obvious truths. Apparently, her L is in the Superego, in the normative channel of Model A. Malvina loves to punish and command, she does it easily and freely, in particular, for “inability to learn” she sends Pinocchio to the closet. She always reinforces her ethical rules with a strong-willed message; she does not ask, but demands. This is because F is located in the Ego block.

Malvina, as an introvert, is generally passive and in a critical situation tends to panic and trust more enterprising and courageous characters (such as Pinocchio). Having escaped from the unethical Karabas, she created a small, clean kingdom for herself with the help of friendly animals, and is ready to live in it as long as external circumstances allow.

Pierrot. ET, Hamlet. A pronounced negativist is always on the verge of tears, in anguish: “Malvina, my bride, has disappeared, she ran away to other lands, I’m sobbing, I don’t know where to go…”. Pierrot, as an intuitive, is impractical, lives on the sublime - singing, poetry, to which he even prefers his daily bread: “... I haven’t eaten anything for a long time, I write poetry.” Pierrot's feeling for Malvina is an “ideal” feeling, extremely far from physical attraction, purely poetic. Pierrot is an obedient object of Malvina’s upbringing; he obediently submits to someone else’s will (F in the Superid block). Pierrot is driven by emotions, and only by them; no other incentives or considerations touch him.

Artemon. LF,Maxim. An extremely disciplined dog, he does everything as expected and almost on schedule - rationality, logic. When necessary, he was enterprising, in particular, he quickly called in ants to saw the rope on which Pinocchio was hanging, and then invited doctors to treat him. At the same time, Artemon is not proactive, he does not implement his will, but the wishes of the mistress - introversion. The poodle is very well-groomed - a demonstrative S. And, finally, he showed himself in an unequal battle with two fierce dogs of Karabas, demonstrating cunning and ingenuity, and the ability to fight unconventionally - not head-on, but creatively, as a result of which the dogs fell into the abyss. Such pronounced fighting qualities, combined with flexibility, can be considered a good sign of a creative F.

Tortilla. Spends most of the time in a passive state at the bottom of the pond - this is a sign of a receptive-adaptive temperament. Having met Buratino, who was thrown into the pond, he does not show him any emotional sympathy, but helps him in action, handing over a golden key - this is an argument for logic. Further, it becomes known from the words of the frog that Tortilla, under threat of violence, told Karabas-Barabas to whom she gave the golden key. Most likely, breaking the will of the intuitive Karabas turned out to be not so difficult... The appearance of the Turtle - its gloominess, isolation, stiffness - indicate negativism. So the turtle is apparently TP (Balzac).