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316:, petty scandals regarding wages and much intrigue on the parts of both her detractors and followers. Besides, her passionate, overemotional manner of playing was considered provincial and old-fashioned among the Petersburg theatrical society. She had more than thirty parts in Alexandrinka between 1881 and 1890, but of the 22 new ones only three were later recognized as consistent with the level of her scenic gift: Kruchinina (
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Strepetova started to perform at the Nizhny City theatre from age seven and was recognized as an exceptionally gifted child, but failed to receive any formal education. She made her major debut in 1865 on stage the
Rybinsk Theatre and in the course of the next three years undertook more than one
239:, by Nikolai Kulikov. The latter (taken in its development over the years) came later to be regarded as her most profound achievement on stage, next to Lizaveta, which continued to be her trademark part for thirty years. Her other notable roles of the time were Liza (
222:, her future husband. It was only in the 1880s that it became obvious that Strepetova's artistic palette was limited, and her inability to develop it or adapt to the changing public tastes started to undermine her reputation of a great actress.
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In 1886 Ostrovsky, who invariably supported
Strepetova in her feuds with the theatre administration, died. Unpopular with the troupe, she found herself in isolation, and in 1890 had to leave Alexandrinka. Her final success was Matryona in
352:, at the Literature and Art Circle theatre, in 1895. Strepetova spent the last years of her life in Petersburg, where in 1896-1897 she played at the Maly Suvorinsky Theatre and later worked on a book of memoirs called
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for the first time, as
Lizaveta again, but was invited to the troupe only five years later. Her nine year stay at the leading Imperial theatre was marred by conflicts with her more successful and versatile rival
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where she became the prima to a very strong troupe, but had to leave for
Petersburg after the theatre went bust. Before that she became hugely popular with the Moscow artistic and literary elite,
125:, born 17 October 1850, died 17 October 1903) was a Russian stage actress, renowned for her tragic parts, who provided a deep and expressive portrayal of "a suffering, protesting Russian woman."
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In 1873 Strepetova started to enjoy her first triumphs in Moscow where she joined the Moscow Public
Theatre, ran by Urusov and Taneyev. Later, in 1880, she had a stint with
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Strepetova died in Saint
Petersburg on 17 October 1903, of stomach cancer, and was interred in the
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Strepetova's success story continued in Kazan, where in 1871 she starred as Marya
Andreyevna in
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counting themselves among the admirers of her talent. The portraits of her were painted by
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hundred parts, moving from one provincial city theatre to another: from
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became a friend, and later published memoirs on
Strepetova.
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She enjoyed her first success in
Yaroslavl, as Lizaveta in
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268:Strepetova as Lizaveta. 1881 portrait by Repin
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430:Actresses from the Russian Empire
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445:Actresses from Nizhny Novgorod
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282:Vladimir Nemirovich-Danchenko
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42:Пелагея Антипьевна Стрепетова
411:Полина Антипьевна Стрепетова
450:Burials at Tikhvin Cemetery
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365:Masters of Arts Necropolis
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180:1882 portrait by Repin
309:Alexandrinsky Theatre
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252:Stay in Your Own Sled
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318:Guilty Without Fault
247:Alexander Griboyedov
233:Alexander Ostrovsky
361:Nikolskoe Cemetery
322:Close to the Money
298:Nikolai Yaroshenko
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237:The Family Schemes
216:Alexandra Schubert
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390:Ekaterina Yudina
349:Power of Darkness
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95:Years active
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20:Polina Strepetova
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302:Alexandra Jacobi
294:Viktor Vasnetsov
286:Pyotr Chaykovsky
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204:All Will Be Well
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73:(1903-10-17)
440:1903 deaths
435:1850 births
344:Lev Tolstoy
424:Categories
392:Strepetova
371:References
290:Ilya Repin
249:), Dunya (
87:Occupation
49:1850-10-17
258:The Storm
147:Yaroslavl
129:Biography
98:1865-1897
159:Novgorod
151:Simbirsk
133:Born in
196:A Child
149:, then
143:Rybinsk
119:Russian
331:Ivanov
163:Samara
103:Spouse
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171:Kazan
167:Oryol
155:Murom
296:and
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