1955-1963: Beginnings in theatre, cinema, and music In 1955, Vladimir enrolled in the
Moscow State University of Civil Engineering, but dropped out after just one year to pursue an acting career. Vysotsky was invited to join, and on 19 September 1964 he debuted in
Bertolt Brecht's
The Good Person of Szechwan as the Second God. Later that year he appeared on stage as a dragoon captain (Bela's father) in an adaptation of
A Hero of Our Time. Outside of the theater, in October 1964 Vysotsky recorded 48 of his songs in chronological order, creating his first
The Complete Works of... compilation. This boosted his popularity as a new Moscow folk underground star. It was at Taganka Theatre that Vysotsky first started to sing on stage. In January 1965 he appeared in the avant-garde production
The Poet and the Theater, which combined the poetry of
Andrey Voznesensky with sketches and music, and received his first-ever songwriting credit for his contributions. That same month he also appeared in
Ten Days That Shook the World, again contributing music and lyrics. In April 1965 Vysotsky also debuted as a solo musical performer, holding two live concerts at the Leningrad Nuclear Physics Institute. He then wrote multiple songs for, and appeared in, Yuri Lyubimov's World War II play
The Fallen and the Living, which premiered at Taganka Theatre in October 1965. Vysotsky's musical contributions included "Zvezdy" ("Stars"), "Soldaty gruppy Tsentr" ("Center Group Soldiers"), and "Shtrafniye batalyony" ("Penal Battalions"), all striking examples of a completely new kind of war song. On 17 May 1966 Vysotsky appeared in his first leading theater role, Galileo in Lyubimov's production of
Life of Galileo. The role required Vysotsky to perform numerous acrobatic tricks on stage. Press reaction was mixed, with some reviewers stating they disliked Vysotsky's overt emotionalism, but for the first time his name appeared in Soviet papers. Around this time Vysotsky also landed his first "serious" (neither comical nor villainous) film role, appearing as Volodya in Viktor Turov's
I Come From Childhood (1966). The film featured two of his songs, "Holoda" ("The Cold") and "Bratskie mogily" ("Mass Graves"), the latter sung for the film by
Mark Bernes.
Breakthrough role and rise to fame Vysotsky's major breakthrough came with his starring role in the mountain climbing drama
Vertical (1967), which prominently featured his songs. Mostly written during filming on
Mount Elbrus, these included "Pesnya o druge" ("Song About a Friend") and "Voyennaya pesnya" ("War Song"). Due to widely-circulated amateur recordings of his live performances, the songs were already widely known by the time the film premiered. When the film was released, Vysotsky skyrocketed to fame. In January of 1968, thanks to the efforts of producer Anna Kachalina (Chief Variety Editor for the record label
Melodiya) and permission from the head of Melodiya, music from the film was released on vinyl. The initial pressing sold out immediately, and record stores placed further orders directly to record factories without Melodiya's authorization. In 1967 Vysotsky also starred in
Kira Muratova's
Brief Encounters, which featured another off-the-cuff musical piece, this time the melancholy "Dela" ("Things to Do"). Vysotsky also continued his work at Taganka Theatre, taking the role of Mayakovsky in the experimental play
Listen! and holding regular semi-official concerts where audiences greeted him as a cult hero. At the end of 1967 Vysotsky landed another pivotal theater role, that of in
Pugachev, based on
Sergei Yesenin's poem
Land of Scoundrels. The play is often described as one of Taganka's finest. Several weeks after the premiere, infuriated by the actor's increasing unreliability due to worsening drinking problems, Lyubimov fired him—only to invite him back several months later. This began a cycle of Vysotsky being sacked and then pardoned which would continue for years. Marina Vlady, describing Vysotsky's popularity during this period, recalled going for a walk on a summer night and hearing his distinctive singing voice from literally every open window. At least four of Vysotsky's 1968 songs, "Spasitye nashi dushi" ("Save Our Souls"), "Ohota na volkov" ("The Wolfhunt"), "Variatszyi na tsiganskiye temy" ("Gypsy Variations"), and "Ban'ka po belomu" ("Steam-bath in White") were later hailed as masterpieces.
Official backlash In June 1968 a smear campaign was launched against Vysotsky in the Soviet press. Playwright
Alexander Stein, who had used several of Vysotsky's songs in his play
Last Parade, was chastised by a Ministry of Culture official for "providing a platform for this anti-Soviet scum." The phraseology prompted commentators in the West to draw parallels between Vysotsky and
Mikhail Zoschenko, another Soviet author who had been officially labeled "scum" some 20 years prior. Two of Vysotsky's 1968 films,
Gennadi Poloka's
Intervention (in which he was cast as a dodgy if highly artistic character) and
Yevgeny Karelov's
Two Comrades Were Serving (in which he played a gun-toting White Army officer who in the course of the film shoots his friend, his horse, the protagonist, and, finally, himself) were severely censored, the former shelved for almost twenty years. In 1969 Vysotsky starred in two films:
Master of the Taiga, where he played a villainous, timber-floating Siberian labour-brigade foreman, and
Georgi Yungvald-Khilkevich's
Dangerous Tour. The latter was criticized in the Soviet press for taking a farcical approach to the subject of the
Bolshevik underground activities, though it was well-received by the broader Soviet audience.
1971–1973 In 1971 a drinking spree-related nervous breakdown sent Vysotsky to the . Many of his songs from this period deal with alcoholism and insanity. After a partial recovery (owed largely to the supportive presence of Marina Vlady) Vysotsky embarked on a successful Ukrainian concert tour, and wrote a cluster of new songs. On 29 November 1971 Lyubimov's version of
Hamlet premiered at Taganka Theatre, a groundbreaking production with Vysotsky in the leading role—in this incarnation a lone intellectual rebel, rising to fight the cruel state machine. Also in 1971 Vysotsky was invited to play the lead in
The Sannikov Land, the screen adaptation of
Vladimir Obruchev's science fiction novel. He wrote several songs for it, but was dropped at the behest of the general director of Mosfilm, Nikolai Sizov, ostensibly for being too recognizable as a popular figure. One of the songs written for the film, the doom-laden epic allegory "Koni priveredlivye" ("Picky Horses") became one of Vysotsky's signature tunes. In 1972 Vysotsky starred in
The Fourth. He also appeared on
Soviet Estonian TV (
Eesti Televisioon) for an episode entitled "Noormees Tagankalt" (Young Man from Taganka), in which he performed his songs and gave an interview. Songs written by Vysotsky in 1972 included "Pevetz u mikrofona" ("Singer at the Microphone"), "Kanatohodetz" ("The Tightrope Walker"), "My vrashaem zemlyu" ("We Turn the Earth"), "Cherniye bushlaty" ("Black Pea-Coats"), "Beda" ("Disaster"), "Zhertva televidinya" ("Victim of Television"), "Chest' shashmatnoj korony" ("Honor of the Chess Crown"), and "Mishka Shifman." In April 1973 Vysotsky visited Poland and France. Difficulties with getting travel permits were resolved after
French Communist Party leader
Georges Marchais made a personal phone call to
Leonid Brezhnev, who, according to Marina Vlady's memoirs, rather sympathized with the celebrity couple. Upon their return, Vysotsky discovered that a lawsuit had been brought against him regarding unsanctioned concerts in Siberia the year before. In response, he wrote a defiant letter to the
Minister of Culture,
Pyotr Demichev. As a result, he was granted the status of a philharmonic artist, guaranteed a payment of 11.5 roubles per concert. Nonetheless, the court found that Vysotsky had to pay a fine of 900 rubles (a substantial sum, given that his monthly salary at Taganka Theatre was 110 rubles). In 1973 Vysotsky also starred alongside
Oleg Dahl in
Bad Good Man, playing the role of von Koren. His performance earned him the award of "Best Actor in a Male Role" at the 5th Festival of Nations competition at the
Taormina Film Fest in Italy. That same year Vysotsky wrote some thirty songs for
Alice in Wonderland, an audio play in which he also voiced several minor roles. His best-known songs from 1973 include "Chuzhaya koleya" ("Someone Else's Rut"), "Prervannyj polet" ("Interrupted Flight"), and "Pamyatnik" ("Monument").
1974–1977 In 1974
Melodiya released a 7-inch EP featuring four of Vysotsky's war songs: "On ne vernulsya iz boya" ("He Didn't Return From Battle"), "Pesnya o novom vremeni" ("Song About New Times"), "Bratskiye mogily" ("Mass Graves"), and "Pesnya o zemle" ("Song About the Earth"). This represented only a tiny portion of his creative work, by this point owned by millions on tape. In September 1974 Vysotsky received his first state award, an Honorary Diploma of the
Uzbek SSR, following a tour of the Taganka Theatre in
Uzbekistan. Also in 1974 he filmed in
The Only Road, a joint venture between Mosfilm and the Yugoslav Filmski Studio. In 1975 Vysotsky was granted membership in the Cinematographers Union of the USSR. This meant he was no longer "anti-Soviet scum," but rather an unlikely link between the state-sanctioned Soviet cinema elite and the "progressive-thinking artists of the West." More films followed, among them the science fiction movie
The Flight of Mr. McKinley (1975). Of the nine ballads he wrote for the film, only two made it into the soundtrack. This period was the height of Vysotsky's popularity. Songs he wrote at the time included "Instruktziya pered poyezdkoj zarubezh" ("Instructions Before a Trip Abroad") and "Pesnya o pogibshem letchike" ("Song About a Fallen Pilot"). Also in 1975 Vysotsky made his third trip to France, where he took the risk of visiting his former tutor, Andrey Sinyavsky, by then a celebrated dissident émigré. Vysotsky also became friends with the Paris-based artist
Mikhail Shemyakin, with whom he would often drink. Shemyakin recorded Vysotsky in his home studio. Subsequently, after a brief stay in England, Vysotsky traveled to Mexico and in April performed his first concerts there. During this time there were changes at Taganka Theatre. Lyubimov took a contract job with
La Scala in
Milan, and was replaced by
Anatoly Efros, who had a radically different directorial approach. Efros put on
The Cherry Orchard, which premiered on 30 June 1975 and starred
Alla Demidova (as Ranevskaya) and Vysotsky (as Lopakhin). The play caused a sensation, with critics praising the powerful interplay between Demidova and Vysotsky. Lyubimov, who disliked the piece, accused Efros of giving his actors "stardom malaise." In 1976, the Taganka Theatre made a visit to Bulgaria, where Vysotsky filmed an interview and recorded 15 songs for the
Balkanton record label. When the troupe returned to Moscow, Lyubimov (by then back from Milan) declared himself unable to work with Vysotsky any longer and gave the role of Hamlet to
Valery Zolotukhin, Vysotsky's best friend. Reportedly, this was when the stressed-out Vysotsky started taking
amphetamines. Songs written by Vysotsky in 1976 included "Kupola" ("Cupolas") and "Ballada o Lyubvi" ("Ballad of Love"). After another trip to Belorussia, Vysotsky and Vlady traveled to France and from there to North America, without requesting or receiving official permission to leave the Soviet Union. In North America Vysotsky stopped in New York City, where he met
Mikhail Baryshnikov and
Joseph Brodsky. He also recorded a segment for
60 Minutes with
Dan Rather, which aired on 20 February 1977. The program incorrectly stated he had served time in a labor camp and presented him as a dissident, though Vysotsky stressed during his interview that he loved his country and did not want to do it any harm. The unauthorized venture bore no repercussions at home, as by this time Soviet authorities were divided on Vysotsky up to the highest level: while
Mikhail Suslov detested the bard, Brezhnev loved his work so much that when Brezhnev was in the hospital he asked Vysotsky to perform at the home of his daughter
Galina so that he could listen over the telephone. During this trip Vysotsky also visited Canada, where he recorded an LP with
RCA Victor, backed by an orchestra. The resulting record was released in Paris in 1977 under the title
Vladimir Vissotsky and contained eleven songs. In September 1976 Vysotsky accompanied the rest of the Taganka Theatre troupe to
Yugoslavia, where
Hamlet won first prize at the annual
BITEF festival. He then traveled to
Hungary for a two-week concert tour. Once back in Moscow, he played the modest role of Ivan Bezdomny in Lyubimov's production of
The Master and Margarita, and the more major role of Svidrigailov in Yury Karyakin's take on Dostoevsky's
Crime and Punishment. Vysotsky's new songs during this time included "Istoriya Bolezni" ("History of Illness"), which concerned his health problems, the humorous "Pochemu Aborigeny Syeli Kooka" ("Why Did the Aborigines Eat Captain Cook"), "Ballada o Pravda i Lzhi" ("Ballad of Truth and Lies"), and "Dve Sud'by" ("Two Fates"), a chilling story of a self-absorbed alcoholic hunted by two malevolent witches. In 1977 Vysotsky's health deteriorated to such an extent that in April he found himself in a Moscow clinic's reanimation center in a state of physical and mental collapse. He suffered heart, kidney, and liver failures, a jaw infection, and a nervous breakdown.
1977–1980 In 1977 three of Vysotsky's LPs were released in France, including the one he recorded with
RCA during his trip to Canada in the previous year. Arranged and accompanied by guitarist Kostya Kazansky, this was the first time Vysotsky enjoyed a relatively sophisticated musical backing. In August 1977 Vysotsky performed in
Hollywood for the film crew of
New York, New York (1977), and, according to Vlady, was greeted warmly by actors including
Liza Minnelli and
Robert De Niro. Further concerts in Los Angeles were followed by an appearance at an annual event held by the French Communist paper
L’Humanité. In December 1977 the Taganka Theatre troupe traveled to France to perform
Hamlet, with Vysotsky back in the lead. The play received positive reviews. In March–April of 1978 Vysotsky did a series of concerts in Moscow and Ukraine. Subsequently, in May 1978 Vysotsky began filming in
The Meeting Place Cannot Be Changed, a five-part television film about two detectives pursuing a criminal gang in 1945 Moscow. Vysotsky starred as Gleb Zheglov, a ruthless and charismatic cop mentoring his milder and more rule-abiding partner Vladimir Sharapov (played by
Vladimir Konkin). The film premiered on 11 November 1978 on Soviet Central TV. During this time Vysotsky also became involved in Taganka Theatre's
Genre-seeking show (performing some of his own songs) and played
Aleksander Blok in Anatoly Efros'
Neznakomka (
The Lady Stranger) radio play, which premiered on 10 July 1979 and later released as a double LP. In November 1978 Vysotsky took part in the underground censorship-defying literary project ''
Metropol''', inspired and organized by
Vasily Aksenov. In January 1979 Vysotsky again visited America with highly successful series of concerts. That was the point (according to biographer Vladimir Novikov) when a glimpse of new, clean life of a respectable international actor and performer almost led Vysotsky seriously reconsider his priorities. What followed, though, was a return to the self-destructive theater and concert tours schedule, personal doctor Anatoly Fedotov now not only his companion, but part of Taganka's crew. "Who was this Anatoly? Just a man who in every possible situation would try to provide drugs. And he did provide. In such moments Volodya trusted him totally," Oksana Afanasyeva, Vysotsky's Moscow girlfriend (who was near him for most of the last year of his life and, on occasion, herself served as a drug courier) remembered. In July 1979, after a series of Central Asia concerts, Vysotsky collapsed, experienced clinical death and was resuscitated by Fedotov (who injected caffeine into the heart directly), colleague and close friend Vsevolod Abdulov helping with heart massage. In January 1980 Vysotsky asked Lyubimov for a year's leave. "Up to you, but on condition that Hamlet is yours," was the answer. The songwriting showed signs of slowing down, as Vysotsky began switching from songs to more conventional poetry. Still, of nearly 800 poems by Vysotsky only one has been published in the Soviet Union while he was alive. Not a single performance or interview was broadcast by the
Soviet television in his lifetime. In May 1979, being in a practice studio of the
MSU Faculty of Journalism, Vysotsky recorded a video letter to American actor and film producer
Warren Beatty, looking for both a personal meeting with Beatty and an opportunity to get a role in the film
Reds, to be produced and directed by the latter. While recording, Vysotsky made a few attempts to speak English, trying to overcome the
language barrier. This video letter never reached Beatty. It was broadcast for the first time more than three decades later, on the night of 24 January 2013 (local time) by
Rossiya 1 channel, along with records of TV channels of Italy, Mexico, Poland, USA and from private collections, in the film
Vladimir Vysotsky. A letter to Warren Beatty film by Alexander Kovanovsky and Igor Rakhmanov. While recording this video, Vysotsky had a rare opportunity to perform for a camera, being still unable to do it with Soviet television. On 22 January 1980, Vysotsky entered the Moscow
Ostankino Technical Center to record his one and only studio concert for the Soviet television. What proved to be an exhausting affair (his concentration lacking, he had to plod through several takes for each song) was premiered on the Soviet TV eight years later. The last six months of his life saw Vysotsky appearing on stage sporadically, fueled by heavy dosages of drugs and alcohol. His performances were often erratic. Occasionally Vysotsky paid visits to institute's ER unit, but would not hear of Marina Vlady's suggestions for him to take a long-term rehabilitation course in a Western clinic. Yet he kept writing, mostly poetry and even prose, but songs as well. The last song he performed was the agonizing "My Sorrow, My Anguish" and his final poem, written one week prior to his death was "A Letter to Marina": "I'm less than fifty, but the time is short / By you and God protected, life and limb / I have a song or two to sing before the Lord / I have a way to make my peace with him." == Death ==