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\n \n PEVTSOV Illarion Nikolaevich (1879-1934, Leningrad), actor, pedagogue, People's Artist of Russian Soviet Federative Socialist Republic (1932). In 1902, completed drama courses at the Musical Drama School of Moscow Philharmonic Society. In 1902-15, performed mainly in the provinces. In 1902-05, worked in the Troupe of Russian Drama Actors under the leadership of A.S. Kosheverov and V.E. Meyerhold (from 1903, the New Drama Theatre), in 1905 in the studio of the Moscow Art Theatre. In 1915-18 he worked as a leading actor at the Moscow Drama Theatre of the Sukhodolskys (in 1919-20 the State Demonstration Theatre of the Theatre Department of the People's Commissariat of Education). In 1922, he worked at the Moscow Academic Art Theatre, in 1922-25 at the first Studio of the Moscow Academic Art Theatre/Second Moscow Academic Art Theatre, and in 1924, concurrently, at the theatre of the Moscow City Soviet of Trade Unions. In 1916-17, he lectured at the studio of the Moscow Drama Theatre, F.F. Komissarzhevsky's Moscow Studio, and S.V. Aydarov's Theatrical Studio. In 1920-22 he was director and teacher at the Young Masters Moscow Studio, which was transformed into the Second State Theatrical College. He lived in Leningrad from 1925. In 1925-34 he worked as an actor at the Leningrad Academic Drama Theatre (see Alexandrinsky Theatre). He perfected his roles over many years and performed them in various theatres, including Protasov in The Living Corpse by Leo Tolstoy (1925), Stranger in Masquerade by M.Y. Lermontov (1926 and 1933), and Paul I in Paul I by D.S. Merezhkovsky (1928). He often resorted to his refined psychotechnics, painting the images of his characters with large brush strokes, representing their most prominent features (Krutitsky in What a sudden change from scarcity to plenty!, 1926, and Chugunov in Wolves and Sheep, 1927, by A.N. Ostrovsky; Tartuffe in the play of the same name by J.B. Moliere, 1929; Repetilov in Woe from Wit by A.S. Griboedov, 1932). Pevtsov's also had a separate group of parts called his \"former characters,\" exemplified by Sevostyanov from the End of Krivorylsk, 1926, and Gennady from The Fire Bridge, 1929, both by B.S. Romashov; Nezelasov from Armoured Train 14-69 by V.V. Ivanov, 1927; and Colonel Borozdin in the film Chapaev, 1934. The dramatic aspect of the ideology of individualism was exposed in the character of Professor Borodin in Fear by A.N. Afinogenov (1931). In his last years, he took a great interest in the cinema, having started acting in films in 1916 with The One Slapped on the Face. In 1926-27, he taught at the studio of the Academic Drama Theatre. Pevtsov's literary works and memoirs of his contemporaries were published in the collection Illarion Nikolaevich Pevtsov (Moscow, 1978). Buried at Necropolis of Artists.

References: Цимбал С. Л. Творческая судьба Певцова. Л.; М., 1957.

A. A. Kirillov.\n
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