Theater biography of the house

For 10 years in the theater, he played many main roles, became an assistant to the artistic director and it seems that this energetic young man has a huge future ahead, because he will have enough strength and inspiration for many achievements. We met with the artist and talked about his life path and, of course, about the theater. How did the idea of ​​connecting your life with the theater, already being enough for an adult?

It so happened that since childhood I was engaged in the theater in the children's theater studio at the ZIL recreation, played there in performances. And at some point the question arose where to go to study-to theatrical or at Moscow State University. But I still wanted to engage in theater, and the thought did not leave me that you can try myself in the student theater.

In my first year, I decided not to act, in the second I did not dare, I thought: “But who would take me? As a result, in the third year, friends persuaded me to come to the audition, and I entered the educational studio of the bridge theater. When did you come to the theater, Moscow State University and languages ​​faded into the background? Evgeny Iosifovich, our leader, has such a policy that study is first of all.

He really encourages red diplomas and defense of dissertations, respects scientific work. Therefore, I had to combine. At first we were engaged in acting trainings, then sketches. I made a parody of Amayak Akopyan, because my hobbies were also tricks. I was lucky because just at that time the New Year's performance “Dreams on the Patriarchals” was produced, where the numbers of the original genre were needed.

My number fit into the program very well, and I was invited to participate in the play. And then what performances went? After “dreams on the Patriarchals” I was gradually introduced into all performances for different roles. For example, one of the first was Sirano. When I looked at him for the first time, I told our artistic director Yevgeny Iosifovich: “This is just amazing!

I cried! He says: “True, in this performance a new actor is just needed! And a year after my admission, I rehearsed the main role in the play “The Invincible Armada”. You see in the morning in the schedule that today it is to play, and it is good in the soul from this. For me now it is the play “Dear God! It is very good and warmly perceived by the hall. You just look forward to this role, wake up and think: “Oh, today“ Dear God!

Therefore, for me it is such a "performance of joy." Why do you think this performance is so English? Tickets are sold on him for several months in advance. I think, because a rather complicated topic in this performance is described in a simple language. It seems to me that now, in modern theatrical life, they like to complicate, dramatize a lot. And here, on the contrary,. Despite the fact that the performance about death, about the experiences of the child, he causes very bright feelings.

And the audience after him come out with the feeling that this story about good, the highest values ​​of being. We can say that it is “Dear God! What installation? We know them all somewhere inside. We understand that good, friendship, love - these are the highest values. These values ​​are above money. The task of our theater is to simply recall that each person knows so.

What is your team in the theater, friendly? For example, when 10 years ago I just came to the theater and entered the play “Sirano”, I felt powerful support for the older generation of actors - Ilya Kozhukhary and Leni Semenov. The guys explained to me how and what to do, they laid out everything on the shelves.

I was surprised at this approach and rejoiced at the same time. Now there are even more performances compared to the time I came to the theater. He became more successful, in my opinion. The repertoire has expanded greatly, there are many such inputs of the actors. But I never met such that someone new to a rehearsal criticizes or oppresses someone.

For 10 years in the theater did you meet many good friends here? Now almost all my friends work in this theater: my best friend, my girlfriend, my best friend’s wife ... My whole life passes here, the theater for me is a house and a family. It turns out that the bridge is such a family theater. For example, in the last days of December, we hold a cabbage in honor of the birthday of the director and director of the theater.

Before the New Year, we just have the play “Dreams on the Patriarchals”, during which the audience sits at tables, as in a cafe. It goes every day, from December 20 to 30. After the last performance, when the audience has already dispersed, we ourselves sit down at these tables, and we arrange a cabbage on the stage. It always takes place in a very warm and mental atmosphere. What do you think is the secret to the success of the theater, which was born as a student?

Firstly, it lasted years and eventually became the State Theater. Why did this success have developed and why did people do it who did not initially go to actors? When you play here, you perceive it not as a job, but as an outlet, rest from the main place of work or study. And our directors know how to make us professional actors. At the same time, earnings are not the main incentive for us.

We work here because we really want to do this.Everyone initially comes here not for money and not for fame, but for self -realization. Spectators feel this, and, I think, largely thanks to this position, the theater has become successful. How does the day go in the theater, what is included in your duties? Well, first of all and initially I am an actor. And when I was satisfied with the assistant to Evgeny Iosifovich, I was very interesting to the work of an acting study studio, because my life in the theater began with it.

Each time I am interested in watching how an ordinary student gradually turns into an actor. How to build a program so that in a short time a person really becomes an actor? What should be the main points in this program? We will not reveal all the secrets here laughs. We very slightly open the veil of secrets. Evgeny Iosifovich has his own installation, his own view, his own method of work.

We may pass some elements that take place in theater universities. But the main work was built according to the method of Stanislavsky, on faith in the proposed circumstances. How does it all begin? What is the first to happen to a person when he comes to the acting course here? Well, for example, there is such an exercise - to pay in order by the whole group, without agreeing and without interrupting each other.

That is: 1st, 2nd, 3rd, 4th. At first, of course, nothing happens. Then we give the Studios some proposed circumstances that affect them very much, and everything works out at once. It should be something that hurts the living. The conditions in which the guys in real life would not have another way out, except how to do what they say. This exercise helps to understand how well you can get used to the proposed circumstances.

And after the guys really believe in them, the exercise is obtained the first time, in the group 40 people. And such exercises are a whole block. We gradually approach the sketches in this way. Studies are observations of real people, in the learning process they grow into full -fledged numbers - parodies of media personalities and university teachers. It is not enough just to “copy” the voice of your hero, dress in a similar suit.

We are all the time in advance with Evgeny Iosifovich: “What does this person want? What is happening in his life outside the university? Further, everything that is needed, the actor gets himself, in the process of working on roles, preparation for the performance. This is like a program of the first two courses at a theater university. Well, someone does not understand these circumstances, cannot get used to it.

What to do in this case? Firstly, we are listening to the training before training, we do not take everyone in a row. And secondly, it is impossible to immediately determine exactly how talented a person is.