Maxim Dakhnenko - photo, biography, personal life, news, films, performances 2021

Maxim Dakhnenko is a Russian actor who became famous not only for his acting, but also as a dubbing master. Moreover, he has duplicated not only duplicate roles in films, but also dubbed characters in computer games. Many note that Maxim’s acting is quite unusual, but at the same time interesting. And the actor’s beautiful voice goes well with it. In 2006, Maxim received the title of Honored Artist of the Russian Federation, which once again emphasized his talent. The actor’s personal life is a sealed secret, so the general public does not know whether Maxim Dakhnenko’s wife exists.

Childhood and youth

Maxim Arkadyevich Dakhnenko was born on March 31, 1972 in Omsk. The boy's parents were actors, which influenced his choice of life path.

When Maxim was 5 years old, the family moved to Kemerovo because his father was offered a role in the local drama theater. From an early age, Dakhnenko attended his parents’ rehearsals and performances, dreaming that one day he too would be able to play on stage. His parents supported their son’s endeavors and helped him prepare for entering university.

After graduating from school, the young man went to Moscow, where he applied to four educational institutions at once, eventually entering the Shchepkin Higher Theater School. He studied under the guidance of Vladimir Safronov and already in his student years was distinguished by charisma and stage skills.

Personal life

Maxim Arkadyevich does not like to talk about his personal life. He believes that the public should evaluate an artist by his work in cinema and theater, and not by his family status. He has an Instagram page, but the actor does not post photos from his family life there.

It is known that Dakhnenko is married to actress Maria Yanko. His wife also works with him in the theater. The lovers have been together for 20 years. The couple has two children growing up - 10-year-old daughter Daria and 5-year-old son Andrei.

In an interview, the artist said that his heirs do not watch NTV, because he believes that if they see “dad on TV with a gun,” this will not be the best example for them.

Perhaps the actor is doing the right thing by protecting children from intrusive media and violence on the blue screen. What do you think? Do you agree with Dakhnenko’s opinion?

Theater and films

Maxim's acting career began with short roles on the stage of the Gorky Moscow Art Theater. The first production in which the aspiring artist was involved was “The White Guard,” where he played a soldier in the crowd. After this, the young man repeatedly had the chance to play episodic characters, which is why he thought about quitting. But every time Dakhnenko returned to the theater to prove that he was capable of more.

Soon the actor’s potential was recognized; his first major role was Vaska Ash in the production “At the Lower Depths” directed by Valery Belyakovich. Then he played in “The Humiliated and Insulted,” “The Master and Margarita,” “Three Sisters” and “Hamlet.” Maxim's skill was rewarded with the title of Honored Artist of the Russian Federation.

I'M PROUD!
Published by Victoria Volkovskaya Tuesday, December 4, 2021

Maxim Dakhnenko and Maria Yanko
At the same time, Dakhnenko began to build a career in cinema. In his youth, he was an athlete, fond of fencing, horse riding and swimming, so he easily mastered the profession of a stuntman. Maxim played short roles in TV series and performed stunts. Soon the actor discovered a talent for embodying villains, and he began to be offered more memorable images.

In 2010, Dakhnenko joined the cast of the series “Notes of the Forwarder of the Secret Chancellery,” where he played the illusionist Van Hoover. The plot is based on the adventures of agents of a Russian secret society of the 18th century who travel the world to carry out an important mission.

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Maxim Dakhnenko and Alexey Nilov
In subsequent years, the artist’s filmography was replenished with such projects as “Exchange” and “The Last Day,” where he played the roles of the main villains. In addition to the image of an anti-hero, the man repeatedly had to embody harsh representatives of the law. He played an Internal Security Service major in the series “Nevsky,” an FSB officer in the sequel “Survive After,” and a police officer in the film “Realization.”

A breakthrough in Maxim’s creative biography was the role of the head of the security service, nicknamed Captain, in the series “High Stakes.” The plot of the crime film revolves around an underground casino in which high-ranking officials and real bandits play. Dakhnenko’s colleagues were Alexey Nilov, Sergey Gubanov, Lukerya Ilyashenko, Ekaterina Zorina and Kristina Dasarskaya.

In addition to his work in the theater and filming, the actor became famous thanks to his participation in voicing characters in computer games and feature films. His voice is spoken by Dettlaff in The Witcher 3, the Reaper in Overwatch and John Wick in the film of the same name starring Keanu Reeves.

An excerpt characterizing Dakhnenko, Maxim Arkadievich

“That’s true, but you need to know what and how many troops,” said Dolokhov, “you will need to go.” Without knowing exactly how many there are, you cannot start the business. I like to do things carefully. Now, would any of the gentlemen want to go with me to their camp? I have my uniforms with me. - I, I... I will go with you! – Petya screamed. “You don’t need to go at all,” Denisov said, turning to Dolokhov, “and I won’t let him in for anything.” - That's great! - Petya cried out, - why shouldn’t I go?.. - Yes, because there is no need. “Well, excuse me, because... because... I’ll go, that’s all.” Will you take me? – he turned to Dolokhov. “Why…” answered Dolokhov absentmindedly, peering into the face of the French drummer. - How long have you had this young man? – he asked Denisov. - Today they took him, but he doesn’t know anything. I left it for myself. - Well, where are you putting the rest? - said Dolokhov. - How to where? I'm sending you under the guard! – Denisov suddenly blushed and cried out. “And I can boldly say that there is not a single person on my conscience.” Is it really right for you to send away a person under escort in a city, what to do, I will tell you, the honor of a soldier. “It’s decent for a young count of sixteen to say these pleasantries,” Dolokhov said with a cold grin, “but it’s time for you to leave it.” “Well, I’m not saying anything, I’m just saying that I will definitely go with you,” Petya said timidly. “And it’s time for you and me, brother, to give up these pleasantries,” Dolokhov continued, as if he found special pleasure in talking about this subject that irritated Denisov. - Well, why did you take this to you? - he said, shaking his head. - Then why do you feel sorry for him? After all, we know these receipts of yours. You send them a hundred people, and thirty will come. They will starve or be beaten. So is it all the same not to take them? Esaul, narrowing his bright eyes, nodded his head approvingly. - This is all shit, there’s nothing to discuss here. I don’t want to take it on my soul. You talk - pomg'ut. Well, hog'osho. Just not from me. Dolokhov laughed. “Who didn’t tell them to catch me twenty times?” But they will catch me and you, with your chivalry, anyway. – He paused. - However, we have to do something. Send my Cossack with a pack! I have two French uniforms. Well, are you coming with me? – he asked Petya. - I? Yes, yes, absolutely,” Petya cried, blushing almost to tears, looking at Denisov. Again, while Dolokhov was arguing with Denisov about what should be done with the prisoners, Petya felt awkward and hasty; but again I did not have time to fully understand what they were talking about. “If big, famous people think so, then it must be so, therefore it’s good,” he thought. “And most importantly, Denisov must not dare to think that I will obey him, that he can command me.” I will definitely go with Dolokhov to the French camp. He can do it and so can I.” To all of Denisov’s urgings not to travel, Petya replied that he, too, was used to doing everything carefully, and not Lazar’s at random, and that he never thought about danger to himself. “Because,” you yourself must agree, “if you don’t know correctly how many there are, the lives of maybe hundreds depend on it, but here we are alone, and then I really want this, and I will definitely, definitely go, you won’t stop me.” “, he said, “it will only get worse... Dressed in French greatcoats and shakos, Petya and Dolokhov drove to the clearing from which Denisov looked at the camp, and, leaving the forest in complete darkness, descended into the ravine. Having driven down, Dolokhov ordered the Cossacks accompanying him to wait here and rode at a fast trot along the road to the bridge. Petya, transfixed with excitement, rode next to him. “If we get caught, I won’t give up alive, I have a gun,” Petya whispered. “Don’t speak Russian,” Dolokhov said in a quick whisper, and at that same moment a cry was heard in the darkness: “Qui vive?” [Who's coming?] and the ringing of a gun. Blood rushed to Petya's face, and he grabbed the pistol. “Lanciers du sixieme, [Lancers of the sixth regiment.],” said Dolokhov, without shortening or increasing the horse’s stride. The black figure of a sentry stood on the bridge. – Mot d'ordre? [Feedback?] – Dolokhov held his horse and rode at a walk. – Dites donc, le colonel Gerard est ici? [Tell me, is Colonel Gerard here?] - he said. – Mot d'ordre! - Without answering, the sentry said, blocking the road. “Quand un officier fait sa ronde, les sentinelles ne demandent pas le mot d'ordre...” Dolokhov shouted, suddenly flushing, running his horse into the sentry. – Je vous demande si le colonel est ici? [When the officer goes around the chain, the sentries do not ask for feedback... I ask, is the colonel here?] And, without waiting for an answer from the guard who stood aside, Dolokhov walked up the hill at a walk. Noticing the black shadow of a man crossing the road, Dolokhov stopped this man and asked where the commander and officers were? This man, a soldier with a sack on his shoulder, stopped, came close to Dolokhov’s horse, touching it with his hand, and simply and friendlyly said that the commander and officers were higher on the mountain, on the right side, in the farm yard (that’s what he called the master’s estate). Having driven along the road, on both sides of which French conversation could be heard from the fires, Dolokhov turned into the courtyard of the manor’s house. Having passed through the gate, he dismounted from his horse and approached a large blazing fire, around which several people were sitting, talking loudly. Something was boiling in a pot on the edge, and a soldier in a cap and blue overcoat, kneeling, brightly illuminated by the fire, stirred it with a ramrod. “Oh, c'est un dur a cuire, [You can’t deal with this devil.]” said one of the officers sitting in the shadows on the opposite side of the fire. “Il les fera marcher les lapins... [He will get through them...],” said another with a laugh. Both fell silent, peering into the darkness at the sound of the steps of Dolokhov and Petya, approaching the fire with their horses. - Bonjour, messieurs! [Hello, gentlemen!] - Dolokhov said loudly and clearly. The officers stirred in the shadow of the fire, and one, a tall officer with a long neck, walked around the fire and approached Dolokhov. – C'est vous, Clement? - he said. – D'ou, diable... [Is that you, Clément? Where the hell...] - but he didn’t finish, having learned his mistake, and, frowning slightly, as if he were a stranger, he greeted Dolokhov, asking him how he could serve. Dolokhov said that he and a friend were catching up with their regiment, and asked, turning to everyone in general, if the officers knew anything about the sixth regiment. Nobody knew anything; and it seemed to Petya that the officers began to examine him and Dolokhov with hostility and suspicion. Everyone was silent for a few seconds. “Si vous comptez sur la soupe du soir, vous venez trop tard, [If you are counting on dinner, then you are late.],” said a voice from behind the fire with a restrained laugh. Dolokhov replied that they were full and that they needed to move on at night. He gave the horses to the soldier who was stirring the pot, and squatted down by the fire next to the long-necked officer. This officer, without taking his eyes off, looked at Dolokhov and asked him again: what regiment was he in? Dolokhov did not answer, as if he had not heard the question, and, lighting a short French pipe, which he took out of his pocket, asked the officers how safe the road was from the Cossacks ahead of them. “Les brigands sont partout, [These robbers are everywhere.],” answered the officer from behind the fire. Dolokhov said that the Cossacks were terrible only for such backward people as he and his comrade, but that the Cossacks probably did not dare to attack large detachments, he added questioningly. Nobody answered. “Well, now he’ll leave,” Petya thought every minute, standing in front of the fire and listening to his conversation. But Dolokhov again began the conversation that had stopped and directly began asking how many people they had in the battalion, how many battalions, how many prisoners. Asking about the Russian prisoners who were with their detachment, Dolokhov said: “La vilaine affaire de trainer ces cadavres apres soi.” Vaudrait mieux fusiller cette canaille, [It’s a bad thing to carry these corpses around with you. It would be better to shoot this bastard.] - and laughed loudly with such a strange laugh that Petya thought the French would now recognize the deception, and he involuntarily took a step away from the fire. No one responded to Dolokhov’s words and laughter, and the French officer, who was not visible (he was lying wrapped in an overcoat), stood up and whispered something to his comrade. Dolokhov stood up and called to the soldier with the horses. “Will they serve the horses or not?” - Petya thought, involuntarily approaching Dolokhov. The horses were brought in. “Bonjour, messieurs, [Here: farewell, gentlemen.],” said Dolokhov. Petya wanted to say bonsoir [good evening] and could not finish the words. The officers were whispering something to each other. Dolokhov took a long time to mount the horse, which was not standing; then he walked out of the gate. Petya rode beside him, wanting and not daring to look back to see whether the French were running or not running after them. Having reached the road, Dolokhov drove not back into the field, but along the village. At one point he stopped, listening. - Do you hear? - he said. Petya recognized the sounds of Russian voices and saw the dark figures of Russian prisoners near the fires. Going down to the bridge, Petya and Dolokhov passed the sentry, who, without saying a word, walked gloomily along the bridge, and drove out into the ravine where the Cossacks were waiting. - Well, goodbye now. Tell Denisov that at dawn, at the first shot,” said Dolokhov and wanted to go, but Petya grabbed him with his hand. - No! - he cried, - you are such a hero. Oh, how good! How great! How I love you. “Okay, okay,” said Dolokhov, but Petya did not let him go, and in the darkness Dolokhov saw that Petya was bending down towards him. He wanted to kiss. Dolokhov kissed him, laughed and, turning his horse, disappeared into the darkness. X Returning to the guardhouse, Petya found Denisov in the entryway. Denisov, in excitement, anxiety and annoyance at himself for letting Petya go, was waiting for him. - God bless! - he shouted. - Well, thank God! - he repeated, listening to Petya’s enthusiastic story. - Why don’t I sleep because of you! - Denisov said. - Well, thank God, go to bed now. We'll rise again until the end. “Yes... No,” said Petya. – I don’t want to sleep yet. Yes, I know myself, if I fall asleep, it’s over. And then I got used to not sleeping before the battle. Petya sat for some time in the hut, joyfully recalling the details of his trip and vividly imagining what would happen tomorrow. Then, noticing that Denisov had fallen asleep, he got up and went into the yard. It was still completely dark outside. The rain had passed, but drops were still falling from the trees. Close to the guardhouse one could see black figures of Cossack huts and horses tied together. Behind the hut were two black wagons with horses standing, and in the ravine the dying fire was red. The Cossacks and hussars were not all asleep: in some places, along with the sound of falling drops and the nearby sound of horses chewing, soft, as if whispering voices were heard. Petya came out of the entryway, looked around in the darkness and approached the wagons. Someone was snoring under the wagons, and saddled horses stood around them, chewing oats. In the darkness, Petya recognized his horse, which he called Karabakh, although it was a Little Russian horse, and approached it. “Well, Karabakh, we’ll serve tomorrow,” he said, smelling her nostrils and kissing her. - What, master, aren’t you sleeping? - said the Cossack sitting under the truck. - No; and... Likhachev, I think your name is? After all, I just arrived. We went to the French. - And Petya told the Cossack in detail not only his trip, but also why he went and why he believes that it is better to risk his life than to make Lazar at random. “Well, they should have slept,” said the Cossack. “No, I’m used to it,” answered Petya. - What, you don’t have flints in your pistols? I brought it with me. Isn't it necessary? You take it. The Cossack leaned out from under the truck to take a closer look at Petya. “Because I’m used to doing everything carefully,” said Petya. “Some people just don’t get ready, and then they regret it.” I don't like it that way. “That’s for sure,” said the Cossack. “And one more thing, please, my dear, sharpen my saber; dull it... (but Petya was afraid to lie) it was never sharpened. Can this be done? - Why, it’s possible. Likhachev stood up, rummaged through his packs, and Petya soon heard the warlike sound of steel on a block. He climbed onto the truck and sat on the edge of it. The Cossack was sharpening his saber under the truck. - Well, are the fellows sleeping? - said Petya. - Some are sleeping, and some are like this. - Well, what about the boy? - Is it spring? He collapsed there in the entryway. He sleeps with fear. I was really glad. For a long time after this, Petya was silent, listening to the sounds. Footsteps were heard in the darkness and a black figure appeared. -What are you sharpening? – the man asked, approaching the truck. - But sharpen the master’s saber. “Good job,” said the man who seemed to Petya to be a hussar. - Do you still have a cup? - And over there by the wheel. The hussar took the cup. “It’ll probably be light soon,” he said, yawning, and walked off somewhere. Petya should have known that he was in the forest, in Denisov’s party, a mile from the road, that he was sitting on a wagon captured from the French, around which the horses were tied, that the Cossack Likhachev was sitting under him and sharpening his saber, that there was a big black spot to the right is a guardhouse, and a bright red spot below to the left is a dying fire, that the man who came for a cup is a hussar who was thirsty; but he knew nothing and did not want to know it. He was in a magical kingdom in which there was nothing like reality. A large black spot, perhaps there was definitely a guardhouse, or perhaps there was a cave that led into the very depths of the earth. The red spot might have been fire, or maybe the eye of a huge monster. Maybe he’s definitely sitting on a wagon now, but it’s very possible that he’s not sitting on a wagon, but on a terribly high tower, from which if he fell, he’d fly to the ground for a whole day, a whole month - keep flying and never reach it . It may be that just a Cossack Likhachev is sitting under the truck, but it may very well be that this is the kindest, bravest, most wonderful, most excellent person in the world, whom no one knows. Maybe it was just a hussar passing for water and going into the ravine, or maybe he just disappeared from sight and completely disappeared, and he was not there.

Maxim Dakhnenko: I am proud that in my life there is both cinema and theater

Childhood and youth

Personal life

Theater and films

Links

An excerpt characterizing Dakhnenko, Maxim Arkadievich