Born August 18, 1921 in Petrograd.
In 1943, during the production of "Gadden"; The Blockade Theatre wanted to invite a first-year student of the Theatre Institute to the play "Gadden". But the future actress seemed too young, and the meeting with the stage of the V. F. Komissarzhevskaya Theater occurred much later. Galina Petrovna graduated from LGITMIK in 1946.
Throughout the war, Korotkevich performed with the brigade at the Leningrad House of the Red Army on the Volkhov, Leningrad and Ladoga fronts, went to the most difficult areas of the front line, gave concerts in military units near the Pulkovo Heights, during the battles near Sinyavino, at night - on Ladoga along the Road of Life.
Later, in the 50s, after the death of her teacher and director of the Lensovet Theatre Boris Sushkevich, she experienced a creative rise in a short but bright period of creativity of Nikolai Akimov. This is his play "Spring in Moscow" was translated into the film version, and Nadia Kovrov performed by Galina Korotkevich recognized the whole country. Akimov soon returned to his Comedy, and Galina Petrovna began to work at the V. Komissarzhevskaya Theater, where she has been working for more than forty years.
For me, the 60th birthday of the theater is an unconditional anniversary. I can't wait a century; there are very few of us left. People who did not know the war (how to understand the toothache of a stranger?), can understand what we experienced only speculatively. But what happened was phenomenal. This is a unique theater, a theater that spoke to the soldiers and defenders of the city, a theater in which people came from the front and went directly to the front. Many of those fighters may have seen only one performance, but it was a necessary and beautiful performance that warms the soul and supports the spirit: whether it is “Russian people” K. Simonov, “Invasion of L. Leonov”, or “Front” Korneichuk. Dystrophic people came to the theater to warm their hearts and realize that they were not alone. Not only the audience lost consciousness from hunger, the actors lived on the same cards. There was sincerity and purity of thought, it was a special thing to forget sin. That's what matters.
In the theater, Words not only entertain, but, above all, think and experience, compare their fate with the fate of the hero. A tenth-grader came to me one day after a performance and said, ‘Thank you! I will tell my parents to watch your play and understand what they are doing to us children. Today, drama theater is stymied. It is as if the book and the word develop and spiritualize a person. The war period instilled in the workers of our theater a special atmosphere, a special style and unity, when everyone shared a piece of bread and warmth, and were ready to help each other. And that turned into creativity. In our theater there was a special atmosphere even after the war, when the dressing room, costume, props and actors of any position lived as a family, because everyone realized the value of this life and dedication. To people who do not know our profession, it seems very simple and accessible to anyone - you think, went out, said, stood on stage and left. That's a lot of work. When in the coldest room with twisted fingers, in mittens, they rehearsed, and then went out in open dresses for the premiere. So we at the front with the brigade of the Theatre Institute - I was alone from the first year, the rest - undergraduates - I danced on Ladoga at 45 degrees in a concert dress. In any weather - in rain, snow, frost. And no one caught a cold, so tense were our nerves.
Fortunately, Ruben Agamirzyan managed to preserve this style, a style of special unity of creative and human beginnings. And the theater, indeed, for many years was famous for its unique atmosphere - creative dedication to the extent of strength and capabilities, attention and goodwill to each other. Everyone somehow understood that without attention neither creativity nor life can be joyful, and that a person must have joy, and that this joy is filled with attention and a stimulus to life. This is what Ruben Sergeyevich managed to keep. As long as he is alive, there will always be a military theme in the repertoire of the theater. And the last work of Ruben Sergeevich was a wonderful performance "Diary of Anne Frank", during rehearsals of which he died. The worst thing that can happen to a man is to forget his history. Forgetting means not living now, not being in the future. We must not forget the beautiful or the terrible. We can't forget the loss. What was created during the war cannot be forgotten. Therefore, the role of the Blockade Theater for the life of the city is not overestimated.
He is busy in performances: “Satisfy my sorrows”