Monument
... And then, after a year, - As the crown of my correction - A solidly built cast monument With a huge crowd of people They opened it to cheerful singing, Under mine - from magnetized ribbons ...
January 25, 1985 in the theater was the day of memory of V. Vysotsky. Of course, the theater wanted to celebrate the birthday with the play "Vladimir Vysotsky". But, mindful of previous futile attempts, we decided to celebrate in a different way.
In his opening speech, V. Zolotukhin congratulated the poet's parents present at the evening, and said many good words about Vysotsky. And then in the first part, in honor and glory of the poet and citizen, the Moscow Virtuosos ensemble performed under the direction of V. Spivakov, I. Smoktunovsky, M. Zhvanetsky, B. Okudzhava, E. Maksimova and S. Isaev, V. Krainev, S. Yursky, Yu. Kim, A. Pugachev ...
In the second part of the evening, Vladimir Vysotsky spoke and sang to the audience from the screen.
On October 12, 1985, the tombstone of Vysotsky was unveiled at the Vagankovsky cemetery, designed by sculptor Alexander Rukavishnikov and architect Igor Voznesensky.
The director of the theater N. Dupak was the first to speak at the opening of the monument. Sorrowful words and stanzas were uttered by A. Voznesensky. With difficulty overcoming the excitement, cosmonaut G. Grechko shared his thoughts about Vysotsky.
After the end of the official part, the entire foot of the monument was covered with flowers. A wreath stood out from I. Kobzon, who was absent from the celebration on the occasion of the next tour.
The appearance of this particular monument was preceded by the events that began three years earlier ...
In 1982, the Taganka Theater decided to organize a competition for the best project for a tombstone. At that time, it was impossible to talk about the openness of the competition. The theater artists called the familiar artists ... Experienced sculptors responded:
V. Klykov, L. Berlin, G. Brener - and a few young ones. It turned out to be an exhibition of monuments for every "taste and color", the most varied both in unexpectedness of solutions and in the skill of incarnations: from abstract compositions and allegories to simple figures and busts.
There were many disputes... M. Vladi rejected the idea of the image and suggested installing just a stone block:
- Let him be ugly, but he must convey the image of Volodya. Nature, which created Vysotsky, unlike anyone else, will express what no artist can do ...
V. Tumanov: “When Volodya died, Marina asked to find a wild beautiful stone for the grave. I had such an opportunity. Geologists went and in Kazakhstan they found a rare variety of troctolite - a stone pushed out of the ground. A stone weighing about six tons, dark gray, overgrown with moss, silvery on a chip. If you hit it, it rings - it sings.
To deliver the stone, a team of enthusiasts was formed who hired a KamAZ and a crane for their own money and brought it to Moscow, but ... it remained lying at Tumanov's dacha.
On January 25, 1983, an exhibition of these projects opened at the Taganka Theatre. D. Borovsky was responsible for its organization. About thirty sculptures were exhibited. And about the same number of graphic and pictorial portraits. And on each of them Vysotsky is different!
A variant that embodies the idea of M. Vladi was implemented in the layout by D. Borovsky: a real celestial meteorite set in granite. The curators of the national collection of meteorites agreed to provide a large and beautiful specimen for the monument.
V. Abdulov: “Marina chose the project of David Borovsky: a real celestial meteorite set in a strict earthly stone. We even went to an appointment with Academician Yanshin - with a request to the Academy of Sciences to stand out a meteorite for the monument to Vysotsky. Yanshin read it and without saying a word wrote on the request to “Extrad”.
A. Demidova: “I don’t remember who had the idea that it was necessary to find a piece of a meteorite or an asteroid, put it on Vysotsky’s grave, and write “Vladimir Semenovich Vysotsky” in small letters below. 1938-1980". So that a person, reading, involuntarily bends over - to bow to this asteroid and the grave of Vysotsky, and the old church behind it, and the whole cemetery.
The sculpture of L. Berlin - "The Bard" deserved attention. The sculptor, apparently, literally took the definition of Vysotsky as a man with a naked soul and depicted him in full size, with a guitar in his hands and completely naked. According to the author, the singer's nakedness should symbolize the nakedness of a true artist in front of people. The people nicknamed the sculpture "Conscript in front of the medical board." The monument received the third prize.
M. Vladi: “Of all that was shown, I liked the monument in the form of a block of granite grown into the ground, into which a meteorite crashed, from which splashes on the stone. And only one word "VYSOTSKY" is embossed. After all, everyone knew who he was, when he was born, when he died. And if someone did not know, then that person does not need to know. It would be a monument-symbol, laconic, but it would say much more than those where they wanted to convey a portrait resemblance.
Vladi-Borovsky's project was ardently supported by Lyubimov: “There was a great idea - to put a piece of a meteorite on the grave. And scientists gave a meteorite. This is a unique case - they gave a real meteorite!
Alexey Porai-Koshits (head of the artistic and production part of the Taganka Theater): “Lubimov himself went to the corresponding institute of the Academy of Sciences, which dealt with this matter, reached the corresponding member of the Academy of Sciences (I don’t remember his last name), who is in charge of all these meteor affairs, hardly persuaded him. He gave instructions to his employees to show where the meteorites were stored and to let Borovsky into this storage. Borovsky went there, chose a meteorite. Then he told how this meteorite looked: such a burnt, as if a metal stone, looking dirty, scary, and at the same time not scary. As if there is nothing special in it, and at the same time there is, when you realize that this is a real meteorite. Everything was done, everything was agreed ... "
Vladi also liked the project of the Kyiv architect Anatoliy Ignashchenko “The Broken Nerve”. The proposed option was extravagant and was a twisted and "torn off" cast four-meter rusty metal bar. According to the author, "the monument resembled a broken nerve or a guitar string and symbolized a broken connection between galaxies." As a token of gratitude for the unusual project, Vlady presented its author with Vysotsky's death mask.
But the parents were categorically against all kinds of symbols. They wanted to see their son "as alive", and they liked the work of the sculptor A. Rukavishnikov. V. Tumanov had an influence on the parents' opinion - he always admired the monument presented by Rukavishnikov: “Looks like it! Looks like it!
The idea of the monument to Rukavishnikov was suggested by Vysotsky himself. True, he was just protesting against such his appearance: “Is this the kind of me you need after death? ..” The initial sketch was more concise and simpler: there was more impulse, inner movement in the figure ... In the final version, there are many allegories, symbols, splendor and brilliance, a guitar above the head - like a halo, behind the back - the muzzles of horses, wheezing, rushing towards the abyss ... Some Vysotsky seemed to be swaddled, as if breaking out of his fetters; others saw not swaddled, not bound - it was the drapery that had not yet slipped off the monument, the figure of Vysotsky, as it were, had not yet fully opened, and this has a kind of symbolism, a guarantee of future discoveries that will really happen soon.
The leitmotif of the monument Rukavishnikov chose the poetic confession of Vysotsky - his famous "Fussy horses". Supporters of the Vladi and Borovsky variants believed that this project did not correspond much to the living Vysotsky whom they knew and loved.
A. Rukavishnikov: “But we see in him, first of all, an earthly person, our contemporary, who walked the familiar streets of Moscow.”
Parents choose Rukavishnikov's project. For two years, the officials of the Main Directorate of Culture, who are in charge of monuments in Moscow, delayed the installation. They demanded changes in the project: remove the ropes, reduce the size to a standard height of 150 centimeters, remove the horse muzzles, remove the halo guitar ... Semyon Vladimirovich, with the support of his friend Marshal N. Skomorokhov, seeks permission from the first secretary of the MK party V. Grishin to implement A. Rukavishnikov's idea.
A monument was made at the Mytishchi Art Casting Plant named after I. E. Belashova. Funds for the casting of the sculptural figure - eight thousand rubles - were contributed by parents and sons. This is evidenced by the inscription on the plinth: "From parents and sons."
The sculptor refused a fee for the project.
"Tastes do not argue, there are a thousand opinions" - Vysotsky had to test this law on his own monument.
S.V. Vysotsky, admiring the monument, expressed concern: “If only he didn’t turn green!” Rukavishnikov did not upset him - he knew that over time the "samovar" would disappear and the monument would be tinted, it would become nobler.
A. Shturmin: “If you look at him carefully, you see that Vysotsky, as it were, rises from the ground. The earth opened up and he rose up. The shroud that falls from him seems to bind him. He's been tied up all his life! Vysotsky has a guitar behind his back. From a certain angle of view, it turns into a halo above your head. And if you look at horse heads from the same angle, they look like angel wings. There is a point from which all this is visible.
E. Yevtushenko also liked the monument, seeing poetic allegories in it: “I think that the monument to Vysotsky on Vagankovo is beautiful. He's good and approachable. It may not be as aesthetic in terms of sculpture, but it appeals to a very wide audience.”
Y. Kim: “I came to Vagankovo, I look at the monument. I do not like. Hero on fire. Entangled hand and foot, with an inflexible face. What do you hear when you look?
Our proud "Varangian" does not surrender to the enemy ...
But, pardon, what enemy? What "Varangian"? What are the ways?
The darling of unheard of lifetime glory, the subject of universal admiration and worship, traveled around Europe, sang in the USA and Canada, was in Hawaii, the first actor of the famous theater ...
Well, they didn’t publish it during their lifetime - was it really that they aspired to? Did he really suffer from it? And millions of kilometers of his records - is this not a circulation? Well, of course, officials got in the way, sometimes with a visa, sometimes with a concert, but it wasn’t harassment, it wasn’t a raid, it wasn’t even a fight, whatever. He was not a martyr, he was not a sufferer, but a joker, a clown, a mocker - he was, which is rather difficult to imagine, looking at the monument. And a blind face. And the inflexibility of the picture ...
But then I realized: this bronze embodies the heroic myth, the popular idea. After all, Vysotsky himself always wanted to be a winner. In the songs you can hear how he wants, how he likes to be strong, tough, confident, to know firmly what you want, what you don’t like. Overcome everything and achieve at all costs. He repeats this intonation, varies ... it seems that he needs to constantly prove this - to himself? Or us? So it's not that strong, is it? Not so sure?
And then suddenly I still understood: what line, what frenzied verse the sculptor wanted to say:
I'm torn from strength and from all tendons ...
But it turned out: the enemy does not surrender ...
Then he remembered that the meteorite was going to express unusualness ... extraterrestrial? What kind of alien is there? All the more foreign...
Then I went to Yesenin, there is a new monument, some kind of sugar. At first I thought: “It’s better this way: a simple external resemblance.” But still a feeling of some resentment ... “No, guys, it’s not like that…”
M. Kozakov: “There is some literary bad taste in the monument. His face? Absolutely not him. Sensation of a mustache above the upper lip. Although he once wore a mustache, but on the monument they, in my opinion, are useless. But this is not the main thing: the monument, of course, will cause the “necessary” reaction. Proof of this is the phrase of cosmonaut Zhora Grechko: “I thought that this monument would not be allowed. Look, it's worth it. Great!""
M. Shemyakin: “I like the monument. It would be possible to make that “abstruse” monument - a stone, a fragment of a meteorite ... But one must not forget that Volodya is a folk poet ... This monument is, as it were, a delivered speech, which cannot be dispensed with. I understand that maybe this is not a masterpiece and not quite what friends would like to see... But friends can normally come and just be silent for a minute... Let it be too deciphered, if I may say so... But it was made a long time ago... The monument was made at the right time, there is this chainedness... People go there - the whole Russian land comes to bow, so such an image is needed ... "
“That’s really it: everything is relative, everything, everything, everything ...”
V. Drobot
At the monument
Not a grateful crowd
No flowers - nothing:
guitar deck only
Serves as a halo to him.
It's been that way for a long time
And which year
He is on tape, not published,
Don't give up, live.
And meet at the cemetery
And hysteria, and thief,
To join the singer
After all, he cannot be driven away.
Everyone is looking for something...
But when it's hard
From the shoulder of the unfree
The wing grows.
With exposed nerves
He who appeared before the Court...
The horses broke the reins
And they carry ... And they carry ...
The news that a monument was erected on the grave of Vysotsky spread throughout the country through visitors to the cemetery who came to Moscow. The newspaper Moskovskiye Novosti, which was then published in several languages, was bought up mainly by students for the parallel translation of political texts. In one of the November issues of the 85th, Moscow news published a photograph of the bronze Vysotsky, over whose head the heads of two "fastidious horses". Subscribers of this newspaper in Canada, USA, Egypt, Germany learned about the opening of the monument to Vysotsky immediately. But the Muscovites themselves, readers of Moskovskie Novosti, did not see the notes “In memory of Vladimir Vysotsky” and photographs of the monument. There was no white spot on the newspaper strip. Instead of a monument to Vysotsky, a stallion named Kvadrat, the ancestor of the famous Oryol breed, flaunted on a pedestal near the Horse Breeding pavilion at the USSR Exhibition of Economic Achievements.
“The glory of the Square was so great,” the newspaper informed Soviet readers, “it stepped so far that it was decided to erect a monument to him and place it on the main square of the country.”
It was a real mockery of the name and memory of Vysotsky. In three years, the newspaper will "grow wiser", or maybe it will stop being afraid of shouting "from above".
M. Vlady saw the monument for the first time in January 1986, said: “A dwarf with a guitar over his head,” and burst into tears ...
I. Kobzon: “She did not come to the opening of the monument. She said she wasn't interested in him. But with pleasure, as an official wife, she came to receive huge foreign exchange fees for publishing millions of copies of Vysotsky's books, audio, video recordings and other things. In any case, she behaved unworthy of the wife of the great Vysotsky. So I think."
Aesthetic disagreements about the monument led to a cooling, and then to a break in relations between Vladi and Vysotsky's parents.
The second part of the conflict is M. Vladi's claims for a posthumous burial next to V. Vysotsky. The following document was preserved in the archive of A. Makarov: “In the event of my death, I ask you to bury me next to my husband Vladimir Semenovich Vysotsky. Marina Vlady de Poliakoff. However, the legal owners of the plot of land for burial were the parents, and on the basis of their protest, Vladi's request was denied by the decision of the Moscow City Council. M. Vladi stated that she was deprived of the right to be buried next to her husband.
V. Yanklovich: “She was not deprived of this right openly. Behind her back, her parents registered Volodin's grave for themselves. Since Marina is not a Russian citizen, they received a certificate that this land belongs to them. And no one consulted with her, said nothing to her. That's what she was just offended. Marina was sure that from the point of view of all legal norms - Russian, union, international - she, as a direct heiress, has the right to this land. But it turned out that she was nobody. That was the main insult! After that, she packed all her things, left, and never returned to her apartment on Malaya Gruzinskaya again.”
From the book The Tale of the Great Engineer author Arnautov Leonid IppolitovichA monument of the era Radiograms from the Shabolov station are confidently received in such distant cities as Tashkent, Novo-Nikolaevsk (now Novosibirsk) and Chita. Major European radio stations are in a hurry to announce that they would like to work not with Khodynka, but with Shabolovka. It is through
From the book Life of Georgy Ivanov. Documentary Narrative author Ariev AndreyMonument of Glory "Monument of Glory" appeared in May 1915. It was published by the Petrograd magazine "Lukomorye", in which Georgy Ivanov actively collaborated. Decorated by artist Yegor Narbut. Circulation 1000 copies.
From the book by Kathe Kollwitz author Prorokova Sofia AlexandrovnaSoldier's monument Almost eighteen years passed from the first thought to its completion. She comes to the studio and bends over the sprawling figure of the murdered soldier. At his head, a heartbroken father will kneel, at his feet - his mother, also on her knees. She folded her arms and
From the book At Lukomorye author Geichenko Semyon StepanovichMONUMENT TO PUSHKIN When the coffin with Pushkin's body was brought to the Svyatogorsk Monastery, AI Turgenev ordered that the peasants of Mikhailovsky and Trigorsky be sent for the peasants to rush to the monastery to dig a grave. The winter was severe. The earth is like a stone. Neither a crowbar nor a shovel
From the book Frosty Patterns: Poems and Letters author Sadovskoy Boris AlexandrovichMY MONUMENT My modest monument is not Belvedere marble, Not eternal bronze, not copper pillars: An arrogant young man looks with a bold smile At the jubilation of the crowd. Let all of me not die: but no one in the world will stop before my statue And the civil barbarians of late
From the book Przhevalsky author Khmelnitsky Sergey IsaakovichMONUMENT The city of Karakol, where Przhevalsky ended his journey, was renamed Przhevalsk. Outside the city, on the steep bank of Issyk-Kul, at the threshold of Central Asia, there is a monument. It is composed of blocks of Tien Shan granite. In the middle is a bronze medal depicting
From the book Andrei Tarkovsky author Filimonov Viktor PetrovichMONUMENT. EPILOGUE ...Where is he? - He is there. - Where exactly? - We don't know. We only weep and cry: “Oh, woe to us who were born into the world!” G. R. Derzhavin. On the death of Prince Meshchersky. 1779 ... I grew up in a hurry, slipped past something, perhaps especially important ... From an interview with Andrey
From the book The Truth of the Hour of Death. Posthumous fate. author Carriers Valery Kuzmich From the book of Gavril Derzhavin: I fell, I got up in my age ... author Zamostyanov Arseniy AlexandrovichMONUMENT In such holy places, nothing is done so easily. M.Shemyakin The dramatic history of the monument on the grave of V.S.Vysotsky began already on July 28, 1980. On the night after the funeral, someone stole (took it as a keepsake?) a standard peg “Vladimir Vysotsky. 1938–1980. What to be
From the book Nikolai Ernestovich Bauman author Novoselov M.MONUMENT Derzhavin did not get lost in the long series of Russian adaptations of Horace's program ode (from Lomonosov to Brodsky and, probably, further). He minted these proud lines in 1795, at the same time he published in "A pleasant and useful pastime" under a modest
From the book Magic and Diligence author Konchalovskaya NataliaI. MONUMENT TO THE BOLSHEVIK A granite monument rises on one of the squares of great Moscow. In the rapid movement forward, as if hurrying to an underground meeting of workers, a slender man, with an open Russian face and a small beard, froze on a high pedestal, modestly
From the book Ugresh Lira. Release 3 author Egorova Elena NikolaevnaMonument in the forest Once upon a time my father, Pyotr Petrovich Konchalovsky, was friends with the artist Vasily Ivanovich Kachalov. And somehow, in the early thirties, Vasily Ivanovich suggested to his father: - Let's go, Peter, to Nikolina Gora. This is a village near Perkhushkov. The location is excellent, on a steep
From the book of Joseph Brodsky. Eternal Wanderer author Bobrov Alexander AlexandrovichMonument I dreamed that I became cast iron. The pedestal prevents me from moving. In the mind, as in a box, cast-iron metaphors lie in a row. And I follow the succession of days from under cast-iron shifted eyebrows. Around me, the trees are all empty, leaves have not yet grown on them. At my feet
From the book Vladimir Vysotsky. Life after death author Bakin Viktor V.Monument to Pushkin ... And Pushkin falls into the bluish prickly snow. E. Bagritsky ... And silence. And no more words. And echo. And also fatigue. ... Finishing their poems with blood, they deafly fell to the ground. Then they looked slowly and tenderly. They were wild, cold and strange. Above them
From the book Through Time author Kulchitsky Mikhail ValentinovichMonument ... And then, after a year, - As the crown of my correction - A firmly knocked down cast monument With a huge crowd of people They opened it to cheerful singing, Under mine - from magnetized tapes ... On January 25, 1985, V. Vysotsky's memorial day was held in the theater. Of course the theater
From the author's bookMonument They did not erect a marble slab. On the hillock, where the coffin was covered with earth, as a feeling of eternal height, a faulty propeller was placed. And it’s too early for them to face the inscriptions - after all, everyone who saw the sky read when the propeller carved the words of high chasing in the sky. And though
The death of an idol quarreled his close relatives
After the death of Vysotsky, close people became concerned - what should be the monument on his grave? The issue turned out to be very difficult: the disagreements between the relatives escalated so much that they even had to announce a competition for the best sculptural image for the tombstone. The result was an exhibition of projects in the Taganka Theater. On January 25, 1983, more than thirty layouts were presented there.
The monument itself appeared at the burial place of the idol of millions only on October 12, 1985. It was a sculpture by Alexander Rukavishnikov. It was she who liked Vysotsky's parents.
Let's tell a little story related to an unusual stone, which the poet's widow Marina Vlady dreamed of putting in her husband's burial place. But it didn't happen...
It is interesting that this remarkable natural phenomenon - a stone pushed out of the bowels of the earth by some forces known only to her, no one has seen either on video or in photographs. Although there is a description and mention of it on the Internet. - Such a mysterious stone ...
The main character of this story was Vysotsky's close friend Vadim Ivanovich Tumanov. It was he, at the request of Marina Vladi, who sent his comrades in the Pechora artel in search of a natural miracle. Knowing about the painful scrupulousness of everything that concerns Vysotsky, I asked Tumanov purely informative questions related only to this stone.
- The stone was searched immediately after Marina's request. - Vadim Ivanovich began the story. - She said that she would like to see a wild, some unusual stone on the grave.
- Let him be ugly, but he must convey the image of Volodya ... - These are her words, which I once quoted somewhere. Marina was convinced that “nature, which created Vysotsky, unlike anyone else, will express what no artist can do ...”
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But where to find such a stone? The base of the artel "Pechora" was then in the city of Berezovsky near Sverdlovsk. Knowledgeable people said that they saw some wonderful stones in the area of \u200b\u200bLake Balkhash. We sent a geologist to the Kazakh steppes to check. He returned delighted, found, he says, a beautiful stone - it is possible that a variety of troctolite, which is under 150 million years old. Not less! Only after they were convinced that there really was a suitable stone, they equipped a heavy crane and a truck for a long trip. The distance is not small, more than two thousand kilometers. But...let's go.
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There were several people in the group. One no longer lives in this world - Mikhail Myshelov. The group was led by geologist Mikhail Alekseev. He is now in Peru washing gold. There is practically no connection with him. And only he knows the details of the trip.
They brought the stone to Moscow. For some time he lay in the courtyard of the Taganka Theater. Then I had to move it to one safe place. And only when I got a dacha, they sent me there.
And the stone itself, look, there it is in front of you. True, it does not weigh six tons, as it is written somewhere. But two tons, three in it for sure! And when struck with a hammer, it really rings. You could say he sings. The stone is truly unique. It is a pity that he does not lie on the grave of Vysotsky. Slava Govorukhin said: "Which of us dies first, he will get it."
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Truly a rare sight! - The stone makes an impression - an ancient giant, striking with its natural beauty! He lies on a shaded lawn in front of Tumanov's country house. On the "back" lies - as the owner of the house says. Introduced him standing on the grave of Vysotsky. - Very unusual.
It is difficult to say whether it is troctolite or some other rock? Some experts, for example, argue that there are no troctolites in Kazakhstan.
Project by David Borovsky
But after the death of Vysotsky, Marina Vladi's plans changed. According to her next idea, the monument to her husband should be from a real celestial meteorite. Which, according to Vsevolod Abdulov, they agreed to issue at the Academy of Sciences. The well-known artist of the Taganka Theater David Borovsky began to work on the project of such a tombstone. Friends conditionally called his creation "a meteorite in stone." And when the stone that Tumanov's specialists found in the steppes of Kazakhstan was delivered to Moscow, David Lvovich was already finishing his project. It was said about him as "a celestial meteorite set in a strict earthly stone - granite." Borovsky even went to choose a space object himself.
“... I liked the monument most of all in the form of a block of granite grown into the ground, into which a meteorite crashed, splashing on the stone from it. And only one word "VYSOTSKY" is embossed. Marina Vladi recalled. - After all, everyone knew who he was, when he was born, when he died. And if someone did not know, then that person does not need to know. It would be a monument-symbol, laconic, but it would say much more than those where they wanted to convey a portrait resemblance.
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But I did not manage to look at the drawing of the monument from Borovsky's project. For some reason, even his closest relatives could not find him in the artist's archives. True, in the museum-workshop of David Lvovich, unique sketches of the memorial space for the grave of Vysotsky, made jointly with the artist Sergei Barkhin, were discovered.
In principle, it is clear why Marina chose this particular project? In the idea of a meteorite, the meaning, the idea of a monument manifested itself more consciously - Vysotsky, as it were, was compared with a star that sparkled brightly in the earth's sky.
The death of Vysotsky quarreled relatives
In fact, it was the death of Vladimir Semenovich (and the question of the grave and the monument here is the main one) that became the subject of serious disagreements, and in fact a gap, between Marina Vlady and other close relatives of Vysotsky.
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After the death of her husband, Marina Vladimirovna Baidarova-Polyakova, (Artur Makarov and Valery Yanklovich recalled this), considered that, as a direct heiress, she had the right to be buried next to him. The archive of Arthur Makarov contains a document in which it is written in black and white: “In the event of my death, please bury me next to my husband Vladimir Semyonovich Vysotsky. Marina Vlady de Poliakoff. It is these lines that Makarov himself reads in Pyotr Soldatenkov's film "In Memory of Vladimir Vysotsky". But the poet's parents, without informing Vladi, issued their son's grave to themselves. It became an insult to her.
Vladi did not come to the opening ceremony of the monument on the grave of her husband. She first saw the monument in January 1986. Vadim Ivanovich Tumanov, who was present at the same time, recalled that on that visit, Marina “did not see her parents. I visited only Evgenia Stepanovna. (Evgenia Stepanovna Likholatova - Vysotsky's stepmother - B.K.), who was then in the hospital.
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And here are the words that the French actress said about the tombstone in one of the interviews: “This is some kind of ugliness - a dwarf with a guitar over his head. I would like to put a meteorite on Volodya's grave, which was presented to me by the Geological Museum of the Soviet Union. And the artist David Borovsky made a very beautiful model with a meteorite, which says "Vysotsky" and the dates of his life. Surprisingly beautiful and makes sense - a star flew across the sky ... "
In her book “Vladimir, or an Interrupted Flight,” Vladi wrote: “From now on, a brazen gilded statue rises on your grave, a symbol of socialist realism - that is, what made you sick during your lifetime. And because it's less than two meters high, you have the look of a dwarf there with an angry face and a guitar instead of a hump, surrounded on all sides by the muzzles of horses. It’s ugly, it doesn’t fit into any gates and it’s just ridiculous.”
The book was first published by the Parisian publishing house Fayard in October 1987. Two years later, the publication appeared in Russia. It put an end to relations between relatives.
Thematic selection dedicated to photography monuments to Vladimir Vysotsky.
Monument in Samara in the public garden named after Vysotsky, erected in 2000
Monument in Moscow, on Strastnoy Boulevard, opened in 1995 
monument in Odessa, opened on April 1, 2012. Vysotsky holds a heart of gold in his hands, around him there are muses, whose faces are similar to the face of Marina Vlady 
monument in Novosibirsk, opened on July 25, 2005. On a pedestal made in the form of a stylized
blade, on which Vysotsky walks barefoot, Yorick's skull is made of bronze. It was repeatedly stolen, found, returned to its place, but now the skull has been lost. A similar monument is located in Montenegro, Podgorica. Both monuments were created by the same sculptor, only in Montenegro Vysotsky stands on the ground. 
monument in Dubna, opened in 2008 on Vysotsky Alley 
so far only the project of the monument to Vysotsky in Kyiv 
monument in Naberezhnye Chelny, opened December 2, 2003 
monument in Kaliningrad, on the Singing Field 
bust in Barnaul, opened in 2002 opposite the main building of the Barnaul State Pedagogical University 
monument to Vysotsky and Marina Vladi, Yekaterinburg. Opened on February 3, 2006 opposite the Bolshoi Ural Hotel 
monument in Melitopol 
monument in Voronezh, opened on September 9, 2009 
Monument to Vladimir Vysotsky (1938–1980), the famous Soviet bard, theater and film actor. The bronze sculpture was installed at the Vagankovsky cemetery in Moscow.
Vladimir Semyonovich Vysotsky (1938–1980)- the famous Soviet bard, theatrical And film actor. A pupil of the Moscow Art Theater School, Vysotsky began his creative career at the Moscow Children's Theater. Pushkin, receiving mainly episodic roles. The fateful decision was to enter the Taganka Theater, where he played from 1964 until the end of his life. Incredible performance, sincerity, the ability to give all the best brought Vladimir Vysotsky fame in the theater, and especially in the cinema. His songs became a special cultural phenomenon, which the whole country knew and loved, despite the prohibitive barriers from the “official” sound recording and television.
Vladimir Vysotsky died on July 25, 1980, and was buried in Moscow (site No. 1, to the right of the entrance).
Monument and grave
October 12, 1985 on the grave of the artist was opened, made by the sculptor Alexander Rukavishnikov. Vysotsky is depicted in full growth, as if he is escaping from a torch of flame, wrapped in a straitjacket. Behind him is a guitar, a faithful companion and an invariable attribute. The statue is installed in the center of a square stand formed by a curbstone, on the front face the name and years of Vysotsky's life are inscribed in gold letters. The burial site is lined with paving slabs, surrounded