He was born on March 9, 1964.
In 1991 he graduated from the Leningrad State Institute of Theatre, Music and Cinematography named after N.K. Cherkasov (class of Professor I.O. Gorbachev). After graduating from the institute, he was admitted to the Alexandrinsky Theatre, where in the first seasons he played many episodic roles in the performances of the current repertoire: Trishka (“Nedorosl” by D. Fonvizin, 1991), the Younger Son (“Mother of Jesus” by A. Volodin, 1991), Senya (“Mashenka” by A. Afinogenov,
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He was born on March 9, 1964.
In 1991 he graduated from the Leningrad State Institute of Theatre, Music and Cinematography named after N.K. Cherkasov (class of Professor I.O. Gorbachev). After graduating from the institute, he was admitted to the Alexandrinsky Theatre, where in the first seasons he played many episodic roles in the performances of the current repertoire: Trishka (“Nedorosl” by D. Fonvizin, 1991), the Younger Son (“Mother of Jesus” by A. Volodin, 1991), Senya (“Mashenka” by A. Afinogenov, 1991), Bedryag (“Fieldmarshal Kutuzov” by V. Solovyev, 1991), Leading (“Elegia” by P. Pavlovsky, 1991), Skomorokh (“Sech” “Search in the field” by V. V. Akperefleth, 1991), and Drakeshperek, 1991), “Shts” by Ushperek, “Shtsa”, “Shtsa”, “Shtscha” by Shakeletts” (Sh, 1991). The first major role of Yuri Ravitsky on the stage of the Alexandrinsky Theatre was the role of Yulius in the tragicomedy Love, Jazz and Hell by Yuri Grushas (1992). Light, plastic, musical, Yuri Ravitsky successfully played in comedies that immerse the viewer in the atmosphere of a festive mischievous performance. In his comedic characters, simple-mindedness and craftiness were organically combined – whether it was the mocking prankster Erast Nedonoskov (“Josters” by A. Ostrovsky, 1992) or the great-aged novice Mitrofanushka (“Nedorosl” by D. Fonvizina, 1993), the deft Andrash (F. Molnara, 1995) or the loving servant Fabrizio (“Hotel mistress” K. Goldoni, 1999). The ironic detachment that arises between the actor and his characters was especially evident in the play “Gorobogatyr Kosometovich” (1998), where Yuri Ravitsky played the main role. Stage reconstruction of the comic opera of Catherine the Great presupposed deliberate theatricality, elegant stylization and at the same time a kind of “playing an old opera”. Yuri Ravitsky used the techniques of theatricality in the role of Franz – a character in the modern German play “Echoes” by G. Koster (2001). In the play, built on the principle of “mounting attractions”, the actor briskly presented his hero to the public, deftly, as if “juggling” the text, he pronounced ornate monologues. Actors play traditional masks, and not at all impersonal as the roles are written. There was a place and ... a couple of arrogant Brigell (Yuri Ravitsky and Konstantin Filchenkov). Only masks usually interact, and here exist in parallel, like TVs on different channels in a store. (Nikolai Pesochinsky). "Conductor, take your time." Business daily, March 2001. During his years at the Alexandrinsky Theatre, Yuri Ravitsky played more than 40 roles. Today in the repertoire of the artist Golutvin (“At every sage is quite simple” A. Ostrovsky, director – V. Golub, 2002) and Official (“Double” F. Dostoevsky, director – V. Fokin, 2005), he is engaged in the play “Oedipus-Tsar” Sophocles, where he plays the role of a member of the choir of the Thebans (directed by Teodoros Terzopoulos, 2006), and in the play “Ivany” based on “The Tale of Ivan Ivan Ivan Ivan Ivan Ivan Ivan Ivan Ivan Ivan Ivanovich Fokin” and other works by Andrey.