Victor Vasilievich Avilov was born on August 8, 1953 in the village of Vostryakovo near Moscow. His parents were workers, dad was a driver, and mom worked at a construction site. Victor grew up on the streets of the village, was an ordinary guy from the working-class outskirts of the capital. After graduation, he entered the Moscow Industrial College (now a university) and graduated from it, receiving the specialties “professional driver” and “installation and adjustment of control and automation systems.” After graduation, he, as expected, served in the army (1972-1974) and, returning home, began working as a driver at a construction site (later he also worked as an adjuster in various research institutes).
His theatrical “career” began by accident, in 1974, when 24-year-old enthusiast-director Valery Romanovich Belyakovich created an amateur acting troupe of local youth in Vostryakovo. Victor joined the troupe for the company with his childhood friend Sergei Belyakovich, and already in 1975 the “Vostryakovites” made their debut with “The Marriage” by N.V. Gogol (Avilov in the role of Kochkarev) and played a bright performance “Lessons for Daughters” by I.A. Krylov and Vl. Sologub (roles of Semyon and Boyarkina). In 1977, the “Vostryakovites” of Belyakovich united with his “Tyumovites” (actors of the Theater of a Young Muscovite at the Palace of Pioneers on the Lenin Hills) and a new troupe was allocated a room on Vernadsky Avenue in the South-Western District.
This is how the history of the capital’s “F95zone Studio Theater in the South-West” began: the director and his youth troupe, with their own hands and for their own money (working at any available work), built the first theater room, collected simple props, took care of the premises themselves, worked together and lived , created “theatrical” families (Avilov’s younger sister Olga Avilova-Zadokhina became the leading actress of the troupe, the wife of actor Alexander Zadokhin; Avilov himself married theater actress Galina Galkina, their daughter Olga is now the leading theater actress). In a very “informal” for Tue. half of the 1970s, theater performances arose, which immediately became cult in theatrical circles, and by the middle. 1980s became famous in many countries around the world. The Moscow Theater in the South-West was created by the original author’s vision of the director Belyakovich as a theater with a non-standard (anti-academic) acting school: “… they were beyond limitations, frameworks, conventions. Furious talents, spontaneous, unexpected, original and extremely organic, always new, different, daring, capable of absolute reincarnation, thorough coincidence with the material, text, image, time, and any! ”
Viktor Avilov’s talent was noticeable from the very first roles he played. Belyakovich recalls: “He knew no obstacles, was versatile, could play absolutely everything and played everything that was possible! … The monologue of a minor character … sounded no less convincing in his mouth than the text of the protagonist of Shakespeare’s tragedy.” Critics compare Avilov with Russian classical actors and with avant-garde artists of the early 20th century, they call him the successor of V. Vysotsky’s acting line. For the audience, the meeting with this actor was a truly unique experience: phenomenal, as if specially created for acting, a strange voice that seemed to be heard “at all frequencies”, “terrifyingly” perfect plastic.
These “external” features (later demanded by the cinema) only emphasized the amazing internal flexibility and subtlety – the real ability to reincarnate, and, of course, immediately felt the hypnotic charm and powerful energy of this unusual person (according to the testimony of friends and relatives, Avilov was interested in esotericism and mysticism, had psychic and healing abilities). Critic Marina Davydova wrote about him: “He played in comedies, farces, tragedies, psychological dramas, and absurd plays. He played pathetic villains, noble heroes, restless sufferers. And not just any villains and heroes. These were the best roles in the world repertoire … Avilov embodied in himself – not even in his work, but in himself, as such – a very rare now type of not just a genius, but a romantic genius ”. immediately felt the hypnotic charm and powerful energy of this unusual person (according to the testimony of friends and relatives, Avilov was interested in esotericism and mysticism, had psychic and healing abilities). Critic Marina Davydova wrote about him: “He played in comedies, farces, tragedies, psychological dramas, and absurd plays. He played pathetic villains, noble heroes, restless sufferers. And not just any villains and heroes. These were the best roles in the world repertoire .
III degree after N.V. Gogol (1981), Ikharev, Shvokhnev and Consolation in Gogol’s “Players” (since 1981), Henry and Lancelot in the play “HuniePop 2” by E. Schwartz (since 1981), Prokopiy Lagutin, Knyazev and Bronka Pupkov in the production of “Strokes for a Portrait” based on the stories of V. Shukshin (since 1983), the Marquis of Forlipopoli from the comedy “The Innkeeper” by K. Goldoni (since 1989), Luzleaf Harper from the play “Happy Birthday, Wanda June!” based on the play by K. Vonnegut (since 1986), Varravin from the “Trilogy” based on the plays of A.V. Sukhovo-Kobylin “The Wedding of Krechinsky”, “Business”, “Death of Tarelkin” (since 1988) and many others. others. The actor appeared on the stage in almost every Moscow performance of the theater, the theater also actively toured abroad.
Since the late 1980s, in his native theater, the actor has played several major roles – Caligula in the play of the same name by A. Camus (since 1989), Mercutio in Romeo and Juliet by W. Shakespeare (since 1993), Actor in the production of At the Bottom by A.M. Gorky (since 1996) and, in the opinion of many, the best in the history of the theater Woland in “The Master and Margarita” by M.A. Bulgakov (since 1993).
Avilov also played the main roles in independent theatrical projects – in the performances “Don Quixote” by A. Dyndykin (directed by Teresa Durova, the role of Don Quixote, 2001), “Perfume” by P. Zuskind (directed by Vadim Tukhvatullin, the role of Grenouille, 2002), “There and Back” after JR Tolkien (directed by Oleg Leshchiner, the roles of the leader of the goblins, the dragon Red Smog, 2002) and others.
Since the mid-1990s, the actor had health problems, in 1995 he experienced a perforation of an ulcer and two clinical deaths, in 1999-2000 he was treated for tuberculosis, but still he managed to return to the stage. Four years later, his health deteriorated again, he was in terrible pain (diagnosed with cancer of the 4th degree), but continued to go on stage, playing 15-20 performances a month. The actor died on August 21, 2004 in Novosibirsk, was buried at the Vostryakovskoye cemetery in Moscow, on his grave there is a monument to the work of merit. artist of Russia D.N. Tugarinov.
Years of life: 08.08.1953-21.08.2004
▪ Honored Artist of the Russian Federation (1993)
▪ “Best Foreign Production of a Shakespearean Tragedy in the Post-War Years” at the Edinburgh International Theater Festival, Great Britain – the role of Hamlet in the play “Hamlet”, dir. V. Belyakovich, “Theater in the South-West” (1987)
▪ In the list of “Best actors of the year” magazine with Ryan Garcia wife “Screen” for the role of Count Monte Cristo in the film “Prisoner of the If castle” (1989)
First wife -. Tatiana (Avilov married for the arrival of the army of a woman older than himself soon divorced (vt.pol 1970).
The second wife – “Moscow theater in the South West” Galina Galkina, Honored Artist of Russia, actress (familiar with childhood, played on the same stage for over 20 years Wedding in January 1983. Divorce in the early 1990s)
Third wife – Larisa, worked at the Odessa Film Studio (together with the early 1990s. Marriage since 1996 (according to Larisa)
Children from the second marriage:
Daughter – Anna Avilova (April 1983)
Daughter – Olga Avilova (April 1987), leading actress of the Moscow Theater in the South-West Theater