Liza boyarskaya on instagram. Liza boyarskaya instagram. Childhood and adolescence of Elizabeth Boyarskaya

"Everything is Possible in St. Petersburg" - a series of meetings with famous people for students and graduates of St. Petersburg State University, organized by "Beeline", the Association of St. Petersburg State University Alumni and " Paper ". The project participants talk about how they managed to make their favorite business their profession.

How did Elizaveta Boyarskaya hide filming from her theatrical master, why is it easier to play Anna Karenina than the heroine of a two-page text, and what is the charm of the old St. Petersburg dacha?

"Paper" publishes a transcript of an open interview with actress Elizaveta Boyarskaya for SPbU students in the second season of the project.

Igor Antonovsky: Elizabeth, good afternoon.

Elizaveta Boyarskaya: Good day, hello.

IA: Today is the last day of spring, tomorrow summer will come.

EB: It will rain and snow.

IA: It seems to me that this is a kind of New Year.

EB: In fact, yes.

IA: Especially for us, Petersburgers, summer, white nights are the only time when you can live in our city. It seems to me.

EB: It’s like this for my whole life: everything lasts a very long time until May. And when it comes, we can assume that September has already [come]. You think: "Wait, we were just waiting for these leaves and this spring." Summer always rushes very fast. But we were very lucky with May, I think. For almost the entire month I was on tour in London with the Maly Drama Theater, but I was regularly informed that the weather in St. Petersburg was amazing. Let's see what happens in the summer. We are used to different things. It's a sin for us to complain.

IA: By the way, I wanted to start with this - knowing that you are now between London and New York, where the next tour will be. It’s very interesting who in London goes to the performances of the MDT. As far as I know, not only Russians.

EB: Mostly the British.

IA: I would like to ask you about the difference between the London and St. Petersburg public. And what kind of audience do you expect in New York - this is not the first time you go there.

EB: It seems to me that there is no global difference between the St. Petersburg and London public. We drove Grossman's Life and Fate, which is a complex work: both the performance is complex in itself, and the topic is complex. But the viewer was very responsive, very attentive. The performance raises an infinite number of topics: the totalitarian regime in the Soviet Union, Nazism in Germany, the relationship between man and state.

The tour organizers were hoping for the first show because the review system is very important [in England]. After good reviews, word of mouth helps, and as a result, all the tickets are bought up. Fortunately, this is what happened here. England has a five-star system [of reviews], and all the reviews for our show were top rated. Very good critics wrote great words, which was nice. Until the end of the tour, the hall was packed full of applause.

In St. Petersburg, of course, our theater is well known and loved, and there is an audience who goes to the Maly Drama Theater. I even remember two spectators who travel to our theater from the Urals - buy tickets for performances and organize trips to St. Petersburg. It is also very pleasant to know that they want to come back to us.

In America, the audience is different - very responsive. When we came out to play The Cherry Orchard two years ago in New York, everyone started laughing after the first three lines. It turns out to be a funny play. I never would have thought.

IA: Comedy. In Chekhov, it is listed as a comedy.

EB: The first few introductory remarks - and we see a live audience that is ready to swallow, hunger for the emotions that we broadcast to them from the stage. They follow the translation and react very vividly to humor. And, for example, the Japanese audience is completely different. We drove "Cunning and Love" (a play based on the drama of the same name by Friedrich Schiller - approx. "Papers"). This, of course, is not Chekhov, not Grossman, not Abramov - this performance is more graphic, more structured. But there are also many feelings, emotions. We were absolutely discouraged, it seemed to us that we were playing in an empty hall: people simply did not breathe. We thought: is it really that bad? Failure? And then, at the end - a loud ovation. Apparently, it is in their culture - not to react during the performance. Maybe it's indecent, maybe not accepted. I dont know.

IA: Disciplined.

EB: Disputed. This, of course, is a completely different culture. I've never been to the East before. Japan remained an under-tasting mystery for me: I really liked the people, culture, customs. Everything is special there. I would like us to return there again.

Australia was also in our life with the theater: we also took Grossman there. We came to the festival in Perth, it was +33, - and so we [play on stage] in felt boots, fur coats, in prison uniforms. They looked at us with regret, horror and respect for how much [people in Russia] managed to endure: "Lord, poor, how did you live there, poor fellows." And we played and thought: they have sun, ocean, surfing here. And they looked at us: “Hmm. Here you guys got it right. What kind of movement did you have a hundred years ago? But they, of course, cried, they were touched by a lot.

In terms of mentality, we are closest to Europeans. If we compare with the Petersburg public - [we are close to] France, Paris.

IA: And the Petersburg audience differs from the Moscow one more than the Petersburg audience from the European one?

EB: Petersburg audience, it seems to me, is more strict. But I like it, by the way. This sets some kind of benchmark.

IA: Is he strict in judgment?

EB: In judgments, tastes, views. It is clear that someone accepts a specific director, someone does not; some love modern drama, some don't. But the Petersburg audience must please. In Moscow everyone will find their own. And how many theaters are there in Moscow! I don't know how many are officially registered, but there are a lot. Although when we go to Moscow with the Maly Drama Theater, we always worry, we worry - this is very responsible. They look at us like this: "Well, Petersburgers, let's see what you brought us."

I play in Moscow in two more theaters: in the Youth Theater - in the play "Lady Macbeth of Our District" by Leskov, and in the Theater of the Nation - in the play "Ivanov", which was staged by Timofey Kulyabin. And this is a completely different feeling: I play on the Moscow stage, with Moscow artists, and I no longer have this exam in front of the Moscow public. I am inside [the process] - not as a Muscovite, but as a part of this theater.

IA: And in Moscow there is no feeling that people come not for content, but for names: you, Yevgeny Mironov ...

EB: There is. Although my personal, audience impression is that if you like the performance, you stop paying attention, a famous artist or an unknown. A well-known artist can play very badly, and there may be an actor nearby whom you do not know, but you cannot take your eyes off him.

IA: And if we abstract a little from the theater and return to the topic of our meetings "Everything is possible in St. Petersburg": Is St. Petersburg a European city in comparison with London, Paris? In terms of opportunities, life, feelings of being here?

EB: In my opinion, yes. We travel a lot, and St. Petersburg is in no way inferior. I'm not even talking about our tourist architectural wealth - this is understandable. Sometimes you walk down the street, a foreigner stops someone, asks for english languagehow to get through - they answer him completely freely and help him with pleasure. In French, in German, in English. There are many signs for foreigners.

Another thing is that there is a Russian mentality that will not go anywhere. Everyone expects a catch in something. Which, maybe, is not bad. But in general, it seems to me that the city is people, first of all. Tour guides, cafe staff, baristas from whom you take coffee, guys who stand at the reception at the hotel - all this gives an impression, and it seems to me that it is positive. Everyone I talked to - Italians, French, Americans - was completely delighted: from the people, from the traditions, from the fact that everything works at night and does not close at 11 o'clock in the evening.

IA: And in terms of job opportunities - in theater, cinema, TV series, media industry? Would you advise young people who want to build their careers to stay in St. Petersburg, hold on to it - or need to go to Moscow? As you know, we have one city in the country: did you manage to defeat this curse?

EB: It seems to me that we are now so interconnected and mobile ... I live in Moscow, and I work in St. Petersburg. I go to work by train. I play a play, get on the train and go back. These cities have already become communicating vessels.

As for the acting profession - yes, we have one main theater institute on Mokhovaya (Russian State Institute of Performing Arts - approx. "Papers"). There are probably more prospects in Moscow. But now there are so many theatrical organizations, courses, institutes - state, private ... Offices that promise to make you an artist in two weeks. You need to choose your own path and go into the profession with the right ideas. Choosing the right places, showing yourself to the right masters - if you seriously want to do this profession. And so, it seems to me, it is not important - Moscow, St. Petersburg.

IA: I received a lot of information about you through your instagram. There you have under a million subscribers, and it is semi-official, semi-personal - as, in principle, many have. If earlier people went to the acting profession for fame, popularity, a desire to speak out, now we see that it is not necessary to be an actor - it is enough to be a participant in the show "Bachelor": there will be two million subscribers. The first question is: does Instagram take up a lot of your time?

EB: Everything is complicated for me with instagram. Let's call it "I don't like". It seems to me that this is the greatest evil that our time has invented. I understand that you can make money there, get a lot of information, but this is such an infection. At one time I was more dependent on Facebook, but at some point I deleted it, because I realized that it was taking an impossible amount of my time.

IA: Were you addicted to journalism?

EB: Yes, I was subscribed to interesting people - scientists, journalists - I was interested in their reasoning. But at some point I realized that I myself do not think, I do not develop when I contain it [in myself]. And Instagram, it seems to me, is generally some kind of fiction - endless flipping through photos, likes. But people are really addicted to it: who has how many subscribers, who has how many likes. “You wrote me a bad comment. Oh, you are so and so. Unsubscribe! " A whole system of relationships.

Many artists started Instagram just to keep some kind of reporting to the audience. When necessary, I do some kind of posts. Naturally, I don't track comments. But I would be happy if the fashion for this passed. It seems to me that this should sometime get bored - being inside the network, communication within the network, information that passes through the brain and leaves no trace, except for [the feeling of] tinsel, complete dissonance.

I don't know how to use gadgets, I don't have a laptop. I have a paper diary, I have a pen, I have the Internet to search for information. I order books for myself on Ozon: I love everything on paper.

Now in our thinking the chain of connections has become short. In order to remember something, you need to find this information on Google. Earlier, in order to remember a date, you built a connection: so, it was this year, that was that ... Then there was that king, and then serfdom was already abolished ... You were doing some work in your brain ... And now, not even clip consciousness, but leafy one. The first post is about the fact that someone passed away and you are grieving ...

IA: And then he rose again.

EB: Yes, like yesterday (talking about journalist Arkady Babchenko - approx. "Papers"). And then someone laid out a nice joke, and you sit there laughing. Absolute dissonance - internal and intellectual. I am a disgusting adherent of the past, but I am so calmer, and I trust myself in this sense. When I think with my head, feel with my heart - I am so honest.

IA: Do you treat this as some kind of social lift? As we know, Irina Gorbacheva, thanks to Instagram, starred in the film "Arrhythmia".

EB: Well this is talent. What is truly healthy and talented deserves both respect and attention. Irina is a wonderful actress, with a great sense of humor, a very serious and deep person. It is not something bright, but meaningless. No. Behind this is a huge talent, background, the Fomenko theater. All this shines through what she does. That is why she is so charming and really talented.

I recently downloaded the Arzamas app and listen to their lectures. I like it a lot more. I can listen in the car, on the plane, on the train. And it gives food for the mind. Sometimes you will find interesting information - both for yourself and for work. There is some kind of spiritual development, not an endless "oversight" of unnecessary information. This format is closest to me. Now technology is developing like this ... I graduated from the institute in 2007 and realized that I did not have a single photo from there, because I did not have a smartphone yet. It was ten years ago.

IA: Isn't it a pity that there is not left?

EB: God bless him. I have a few paper photographs - that's enough. Ten years ago, no one had a smartphone, and now every course has its own blog. But I hope it looks like a fashion for fast food: all the same, they came to a healthy lifestyle. I hope it will be just as fashionable to be an intellectually developed person.

IA: Do you have the same conservative position in the theater? MDT is a classical theater. There is a lot of innovation, but not in form. What is your attitude to modern theater and the use of technology, interactive, which often happens in the Gogol Center?

EB: Theater, it seems to me, is exactly the platform that should develop in step with the times. The main thing is that the essence is not lost. So that it was about a person, reflecting time, our era, our problems. Excellent, talented, and somewhere - amazingly, things are done in the "Gogol Center". The Maly Drama Theater, in fact, does not lag behind in this regard either. It's just more, let's say, classic in perception. Let's say the play "Fear, Love, Despair" is our premiere based on Brecht. Or "Enemy of the People". These performances are blatantly modern. And Grossman is terrible, but he has become modern again. Sometimes you read and think: “How? It was written about then and about that. " But in fact, no.

I try to watch productions by different [contemporary] directors. It is a little more difficult for me with the new drama in terms of drama, because, perhaps, I have not grown up to this yet. It's not always easy for me to take it. But, for example, classical works interpreted by modern directors in a new form are always very curious for me. Therefore, I am all for it. If an artist expresses his thoughts in the most appropriate and accessible way, no one should censor it.

IA: And if we talk about cinema: do you have any projects now?

EB: No.

IA: Is this your principled position?

EB: Well yes.

IA: Unlike many artists, you do less TV series and feature films.

EB: I just love theater more, let's put it this way. There I feel calmer, more confident. And maybe it's easier for me there. For me, theater is a more deliberate approach to craft and profession. There is a piece, there is time, there are rehearsals. There is a deep dive. It is necessary to bypass the role from different sides, to find new meanings. Play the same scene many times in very different ways. That is, to work on the future work for a long, long time. And in the cinema - we quickly met, here's the text for you, rehearsed, filmed - that's all, we parted. I cannot say that I slow down and do not have time. I always work in the rhythm set by the film crew, the director. But this is much harder, because for me it is a much more unnatural process. I do my best, try to work with maximum concentration and quality. But this is much more difficult - no repetition and the margin for error. There is no such thing: today I played like this, and next time I will play like this, I will try to check it - like in a theater. I played in the movie once - and everything was filmed.

IA: No more dependence on the director?

EB: Yes, I just wanted to say that in cinema, not everything depends on the artists. And you know very well such cases when the cast is amazing, and the movie, unfortunately, is unsuccessful. And vice versa: no one has ever seen the film, the rating is zero, and you watch - and you can't come off, because the movie is very simple and human.

And theater is a more harmonious process for me. Of course, I'm incredibly lucky that I work for Lev Abramovich (Lev Dodin, artistic director of the Maly Drama Theater of Europe - approx. "Papers"). Probably, there are more successful performances, there are less successful ones. But, nevertheless, this is some kind of thoughtful, correct, serious, harmonious process. I got used to it, as one gets used to all good things.

If such conditions exist on the set, which is very rare, it is, of course, a luxury. "Anna Karenina" was filmed by Karen Georgievich Shakhnazarov: "Mosfilm" is his domain. And, of course, we were in no hurry, filming one scene a day, doing several takes. Classic, perfect on-set process. And there are others: “So, we have two hours, we have to shoot eight scenes. Guys, pull yourself together! "

IA: It's on TV shows.

EB: Usually on TV shows, yes. Every time you believe it will be different. Thank God, we have a lot of good people working in our cinema, and all of them are enthusiasts. In America, there are trade unions, you can say: “Guys, I have overwork in an hour. I will never get out of this chair. " Everyone has trade unions: lighting, make-up artists.

IA: At the drivers.

EB: At the drivers. My last shift in the picture lasted 21 hours. Instead of 12. I was told: “Liza, we understand everything. Can you have another hour? " What can I say? I understand that there is no more shooting day. If I say no, they will decide: “So capricious, cannot work.” The cameraman could not shoot my close-up, he was shooting me from the side, because my eyes became different from fatigue: one big, the other small. I say: “Guys, I can't take it anymore. I'm going to die right here on the site. " And as luck would have it - the most difficult scenes.

I remember at some point I was arguing with my "young man": beauty, emotions. You had to be at a high emotional point. And I burst into tears. It was half past three, and we filmed until seven. From seven in the morning to seven in the morning. My legs and knees were shaking. And I burst into tears just from resentment. I felt so sorry for myself. I think: God, what the hell! At the same time, feeling that I was crying, I do not forget about the acting nature, I say: "Let's shoot soon!" They say to me: "Oh, and now it's good!" They took it off. Then: "Well, moving to another point?" Restaurant scene, new makeup. At half past four I was re-painted in the make-up car. Therefore, you know, in the theater I am somehow calmer.

IA: Isn't there a 12-hour rehearsal in the theater?

EB: There are, of course. We generally like to rehearse very much. But somehow everything is more logical and calmer there. Some kind of stability is dearer to me. Of course, when interesting movie roles come along, I agree. But not so rabid.

IA: Nevertheless, now, one might say, the heyday of domestic cinema and TV series, they shoot a lot. Including your friend and colleague Danila Kozlovsky directed the film "Trainer" as a director. Did you support him?

EB: Yes of course. I went to the cinema in the city of Krasnoyarsk. I really liked the movie.

IA: Did he offer you a role there?

EB: No. I wouldn't have found a place there. But I know that Danya had been hatching this idea for a very long time, he told me about it almost after graduation. I am very glad that he came to this - and he would have come to this anyway. Danya is such an active, bright, gushing person, splashing with energy, talent, charisma, who can be enough for everything. And for whatever he undertakes, he does it to the end and always at the highest quality. With great seriousness and never for the sake of some kind of shocking or something else. He is a man of incredible taste. It is clear that we studied acting with Lev Abramovich, but nevertheless. We have walked side by side for over ten years. Fifteen years. It seems to me that he will go very far and very successfully in the directing field. And God forbid, because there are not so many such energetically charged and talented, organized, responsible people - [rarely] that everything would come together like that in one person.

IA: By the way, there are many actors' debuts as directors. For example, Konstantin Khabensky made a film. Do you have any directorial ambitions?

EB: No. The only thing in recent times I had a need to learn. Naturally, I would not want to abruptly depart from the profession, but I would go to the screenwriting or directing department. For yourself. I want some kind of upgrade in terms of theory. I already know a lot about the profession from different angles, and I would like to raise some kind of internal level - knowledge. This can be done in absentia, after all. So I have such an inner need. But I'm not sure if it's practical.

IA: Now I would like to talk about this. We are still within the walls of the Faculty of Economics. And it so happened that you are a representative not only of the Petersburg dynasty, but also of the Petersburg brand. The Boyarskikh family brand, the MDT theater brand. What is the responsibility for the surname, for the brand? What are the pitfalls there?

EB: Fortunately, I don't feel like a brand, so I probably don't have a problem with that. It just so happened that dad is a Petersburg resident and stayed in Petersburg, did not leave for Moscow. We have artists from St. Petersburg - for example, Ivan Ivanovich Krasko - who graduated from here, became successful and remain to live here. But there are not many of them. Dad, for example, thanks to his roles in The Three Musketeers and many other films, became a great creative unit in Soviet cinema at one time.

Children [celebrities] are always very prejudiced. I believe that everyone faces this - and not only in the acting profession. If, say, a small surgeon grows up in a family of surgeons, everyone will immediately say: “Oh, look, we have a new one here. Daddy's son. " And where else should a child go, whose mother is a pathologist and dad is a surgeon? Not to go to the librarians. It is clear that one thing is being said at home. Therefore, professional dynasties are quite natural. But the actors are always in sight - so they can be discussed. The Mironovs, Yankovskys, Efremovs, Boyarskys always came across such a story in one way or another. I am very lucky that I [work] in St. Petersburg: it’s easier here.

When I entered, it was difficult. There was a huge competition for admission to Dodin: several hundred people per place. And everyone said: “Look, she's doing it. Will not enter. Ha ha ha. " I absolutely sincerely did not understand this. I was discouraged. Fortunately, it was such a difficult endeavor that there was no time for it to be distracted. When I began to study on the course, individualities were erased: everyone in black, all with slicked hair, pale, unhappy students of the theater academy. Who you are doesn't matter. Moreover, it seems to me that in the acting environment it is very easy to identify. You can't write off an exam here. When they look at you, it's either "yes" or "no." You can't deceive, everything is there.

We were wrapped in a ram's horn and immersed in Grossman's novel: we rehearsed Life and Fate for five years. Last name, not last name - I had my own problems. When I started acting, I was a little jarred by [the title of] "daughter", but then it all sank into oblivion: probably because I stopped thinking about it. I was mostly engaged in a profession: it constantly demanded something. And now it is a matter of pride: I understand that I am the twelfth actress in the family. We have artists from the Komissarzhevskaya Theater and the Alexandrinsky Theater. Serious theatrical history.

IA: Was there any moment when you realized that your parents are proud of you?

EB: Fortunately, my parents, as probably all the right people do, are not very generous with compliments, but when they say a few important, serious words, this is more than enough for me. Several times people whom I respect - Oleg Basilashvili or Liya Akhedzhakova - said important words after the performances. A little, but those that you remember for the rest of your life - and you feel more confident that you are not doing this profession in vain. Likewise, parents - they find some important laconic words. And if [I played] badly, they will tell the truth.

They may say that they liked my role, but did not like the performance. Or vice versa: the performance is wonderful, but I haven’t thought of something, I haven’t felt it, I have to tighten it up. Give some hints. At the same time, realizing that we still have very different schools. School Vladimirov and school Dodin - two different planets (Mikhail Boyarsky and Larisa Luppian were students of the director of theater and cinema Igor Vladimirov - approx. "Papers"). But, nevertheless, they, of course, treat the Maly Drama Theater and Lev Abramovich with great reverence. And what I'm doing there. For them, every performance, every premiere is an event. As for the films where I participate, the same is true. And [find a response] the most unexpected. What seemed more serious to me can be taken calmly. And what seemed more transient to me may [provoke a strong reaction]. For example, dad is very fond of the movie "Status: Free". Says: "Such a good movie."

IA: The movie is really interesting.

EB: It is unexpected that in people of this generation such a film about youth love relationships can respond like this.

IA: I cannot but ask: I know that you and Danila Kozlovsky were the first artists of the MDT, whom Lev Abramovich released into the media voyage. Do you get any feedback from him?

EB: At first he let us go with difficulty, but let go. And, of course, in the beginning we shot a lot at night so that no one would know anything. I had to dodge. But then he began to let go. Of course, we have ironclad agreements with the theater. Let's say we knew that we would have "Hamlet" in such and such year. And none of us takes anything for this period. Even though you crack. And so please - shoot. Tours, repertoire - theater always comes first.

As for the assessments, I don't think that Lev Abramovich looks at everything, he doesn't have time for that. He always congratulates, treats us with sincere kindness. I think he is pleased that his chicks were able to achieve something. Lev Abramovich said pleasant words to me about the same "Anna Karenina". The same applies to Valery Nikolayevich Galendeev, our speech teacher and theater director, professor, Dania and I. A wonderful person and a legendary person. The opinion of our masters and teachers is very important for us. We always listen to him. I'm not even talking about the fact that when I was preparing for the tests of "Anna Karenina", I came to Valery Nikolaevich and said: "Let's get ready together." So that I can be sure that I am on the right track.

IA: Returning to the family. You now live in Moscow: did your father ever comment on this? Didn't you say: "The boyars must live in Petersburg"? Did you feel like a prisoner of a city where 12 actors [families] lived and where should you meet your old age?

EB: Maybe I will. I will work, the children will grow up ... Internally, St. Petersburg remains my home. But now my child will go to a Moscow school. Three days in Petersburg, three days in Moscow - this is how my week passes. My husband works at the Moscow Art Theater and at the Tabakerka. And I'm near. But I consist of Petersburg, I am woven out of it. I understand that Moscow is perhaps more hospitable, the people there are simple and open. But I like it better when people are more closed and don't always accept you at first sight. I like everything about the character of Petersburg. I love that it's challenging. I like that people are more complex, not so unambiguous. I like to feel like a part of this city. Although I have taken root very well in Moscow, one cannot say that I feel like a foreign body there. But in terms of character and atmosphere, Petersburg is closer to me - in every sense.

IA: Do you have vivid childhood memories of how you and your dad walked around St. Petersburg?

EB: Try taking a walk with your dad. Can you imagine [this]? In the 1980s. I don't remember how I walk with my dad. I walk, dad is walking in front, a crowd of people around him. Of course, he took me somewhere, but where there were fewer people.

I have a lot to do with St. Petersburg: all our lives we live in the same apartment on the Moika. All childhood passed there. The only difference between the life of children then and now is that the child walked a lot. I remember we spent an endless amount of time in the courtyards, wells, played in "Cossack robbers", classics, towns.

IA: Is it possible in the city center?

EB: Well, there is also three meters of grass there. And some kind of slide. In 1992, we got a summer residence. Sometimes it seems to me that people do not believe and it seems to them that this is some kind of joke. Let's say they ask: "What is your father's car?" - "Opel". - "Yes?" - "Yes". There is a stereotype that artists - especially famous ones - are some celestials who sleep in rose petals, put on gilded slippers, and wash themselves with dew. And when the three of us sit at the dacha at the table, I say: "People should see now how we are sitting." All old clothes are taken to the dacha: it's a pity to throw them away, but in the dacha [in it] it is normal to walk. And you understand that you have everything of different sizes, different colors, some kind of stupid caps. You go into the forest in rubber boots: in one pocket there are seeds, in the other - a bag [for husks]. You go and gnaw seeds, because it's cool. How we look, how our dacha looks, how dad looks ...

IA: No hat.

EB: No hat. In a country training suit. We never rebuilt the dacha, fortunately. She stayed wooden house, in which there is no hot water in winter, no double-glazed windows. They tried to rob us several times: they opened the door and didn't take anything - nothing. We only had the hardest Sony TV: it was stolen, and two months later we found it in the woods.

IA: They didn't report.

EB: Apparently, they thought: oh well, it nafig. We put it back on and it worked.

It is the charm of an old Petersburg dacha - simple, wooden, cold, with rotten boards. But this is so much comfort, so much history; so much our family experienced there. Our summer cottage village is called "Culture", and choreographers, choreographers, conductors and musicians live there. And they all have the same summer cottages. And the road will never be repaired. And what we are there - the real, what no one could imagine us - is an ordinary acting family.

When my parents' friends come, it's not a restaurant on the top floor of some hotel, but boiled potatoes, vodka from the fridge, pickles that my mother has pickled. This is from somewhere there - from the youth of the parents. Rostropovich and Vishnevskaya told how they celebrated the wedding. They met a friend on the street, took a bottle of vodka and a bag of herring and went to celebrate the wedding in this way. And there is an incredible charm in this, which, it seems to me, is more connected with Petersburg. I would like this charm not to be lost as long as possible.

I recently had a meeting with friends, I invited them to a restaurant next to the theater. My friend came from Moscow, a journalist. And it is customary for us to sing songs with a guitar. We sat down, drinking wine, starting to sing the songs "Kino", "Splin", Shevchuk - everything. He looks and says: "Lord, it seemed to me that this simply does not happen." This charm of live communication can never be replaced by paging on the phone. Fortunately, I have a lot of this in my life. And thanks to the theater, and thanks to our family, and thanks to our traditions. I would hate to change that.

IA: And now it is possible for young artists or it was due to The Soviet Union, 1990s? Now, it seems to me, the first thing celebrities do is build summer cottages and lose contact with reality.

EB: I understand, but it depends on the values. All my friends love such gatherings, companies, conversations. We all know Vysotsky's songs. Someone can sit and read aloud Tsvetaeva or Pasternak. Discussing movies. In Moscow, everything is a little different. Artists are younger, oddly enough. They are already out there somewhere.

IA: In the Hollywood Hills

EB: If a person goes into an acting career for fame, you can immediately say that nothing will work out. And if he goes for a craft - to turn into this pale student in black clothes, to sit locked up for five years and devote himself to the profession - it’s probably a good thing.

IA: Perhaps the plus of this era is that it will filter out the actors: those who go into the profession for fame will go to Instagram, and those who are interested in craft will go to the theater academy.

EB: And the former will make a lot of money, and the latter will eat crusts of bread.

IA: Does anyone have any questions? Let's listen to the audience.

Woman from the audience: You said that you play the same show in different ways. How does the director feel about this?

EB: It's not that I'm changing something globally - say, the mise-en-scene. We simply have no right to change the direction itself. Moreover, we have a very tough discipline in the theater, which I really like. For example, if we say the text incorrectly, we may be charged a salary for it. I think this is great. Sometimes you will hear enough of such gag. We are not allowed to take liberties.

I mean that you can check, change some internal connections. Lev Abramovich is very fond of such things. The performance must grow and develop. When Three Sisters was released, I was not married, I did not have a child. But along with the events in your life, you change, and the words that you utter on stage for the hundredth time suddenly acquire new meanings. It is very interesting to watch the play develop. This is the most interesting thing. When we rehearse before the tour, Lev Abramovich tries to give new meanings, signs: it would be unbearable to play the same thing every time. And the search for something new gives growth.

Girl from the audience: Thank you for your creativity. Tell us about your theatrical preferences: what you like, what you can go to.

EB: There is almost no way to walk at all. But, one way or another, I am a very grateful spectator - and therefore I enjoy watching performances of various directors. And I like almost everything. I watched the performances of Bogomolov, Butusov, Moguchy, Serebrennikov, Fomenko. And there was always something that resonated [with me]. If we talk about younger directors, I watched something from a new drama: Dima Volkostrelova, Semyon Aleksandrovsky. New drama, new views - all this is interesting to me.

For me, the worst is when there is only form. If there is no content, I do not feel, do not worry and do not think, for me it is empty. Such performances also occur. But this, as they say, is on the director's conscience - when everything is for the sake of shocking, for the sake of form. But, for example, I really liked the very shocking performance "Mueller's Machine" at the "Gogol-Center". This frank visual form influenced me so strongly emotionally, the performance is so intellectually loaded that I need to go to it five more times in order to delve into these complex, detailed, interesting texts.

If a performance makes me think and worry, that already means a lot. Form is already the prerogative of the director. I can watch a superclassical show with classic costumes and sets - and feel that it has to do with me and today... "God, it was written a hundred years ago, but nothing has changed." It is important to be in touch with today's time.

A man from the audience: Have you already decided on the Brothers Karamazov?

EB: You know, just in time for the premiere, which threatens [to take place] in April 2019, we will decide. Not earlier, for sure. This is the process in our theater. Creative cauldron: everyone tries everything. We explore the depth [of the piece]. There are so many complex, deep, bottomless thoughts. God willing, we will release it in April, but we will comprehend this for decades.

IA: We know the theatrical legend about Yuri Yakovlev, who, playing Myshkin, almost went crazy. The Karamazovs are an even more complex story. Do you even see the sun, summer?

EB: Of course not. Firstly, Lev Abramovich is very fond of rehearsing in the summer. Secondly, he is very fond of air conditioning. We always have about +16 degrees in the reproom. We come from the street in sandals, then put on fur coats, uggs, scarves, sit down and give birth to a performance. All works are not easier than one another, but The Karamazovs are a special story. It has never been so difficult for me personally.

IA: Is there any cure for this penetration of Dostoevsky's head? It seems to me that this is generally important for Petersburgers - a cure for Dostoevsky.

EB: In theory, you should think about it all the time. But sometimes you just need to shake these thoughts out, put them to dry and put them back [in the head]. Very difficult topics, too lofty matters - both religious, moral and spiritual. And when you come to the rehearsal of Abramov's Brothers and Sisters, it’s so good. Everything is so clear about people. Play what you feel, that you have pains and boils.

Well, let's break through. But this is not easy, very difficult. This is the first Dostoevsky in my life, and I never thought it would be so hard. Interesting, but very difficult.

Girl from the audience: Elizaveta, do you like football?

EB: Are you filming? Yes of course.

Girl from the audience: Zenit or Tosno?

EB: Or who?

IA: The trick question is simple. Your father was recently spotted supporting Tosno.

EB: "Zenith". I said correctly, right?

Girl from the audience: Everyone is so passionate about the football championship and they only talk about it. Will you get sick? What matches will you attend?

EB: So far, the plans are as follows: to evacuate to the dacha. I definitely won't go to the matches. I believe there will be a difficult situation in the city.

IA: Yes, it will.

EB: And as I understand it, I will have several more performances in Moscow, and I will need to get there. Therefore, I hope that the championship will not disrupt my personal plans. I will move on foot - and rejoice from afar the victories of the players.

Girl from the audience: I would like to thank you for your work in the film "Admiral". I would like to see you more on the TV screen. Values \u200b\u200bquestion: What are your three core values? And what would you wish to graduates who are just starting their adult life?

EB: It's always exciting when in front of you clear sheet, which must be filled on the sly. First, you shouldn't be afraid to try and make mistakes. And do not try to climb the highest without having passed all the steps. Many artists start out as editors and then become theater directors - or good actors and directors. It seems to me that in any field one should not be afraid to do simple or dirty work: start small. Because all this is an invaluable experience. In my opinion, the main thing is to be able to work. We must love to work in any profession. It is very difficult to be a good housekeeper and it is not easy to find one. You also need to be able to clean: do it well and love what you do. If you are a good housekeeper, there will be a line for you. Everyone will understand that in front of them is an ideal person who knows how to keep the house completely clean, because this is his vocation.

It doesn't matter if you work as a theater director or as a driver - be the most accurate, the most punctual. In any profession, you need to try to be better than yourself. And therefore, even when you start with a courier service, you need to do something so that only you are trusted - because you are the best in this very simple matter. Wherever you go, never let yourself relax and do something slipshod. It happens that you can't go to a good restaurant because the quality deteriorates. Everyone takes off very quickly, but it is difficult to stay at this height. This can be done if you promise yourself never to be a mess. Character, self-exactingness and colossal responsibility to others and to oneself are probably the most important thing.

Girl from the audience: How hard is it to get used to the role? And how do the plays you play affect your daily life?

EB: The more complex and detailed the process of immersion in the role, the easier it is for me. You come to audition, they give you two pages of the text of the heroine Masha. There is little text. I learned it. But what is he talking about? Who is this Masha? What is her job? Who are her parents? How did she spend her childhood? And it seems like two pages is very simple. But in reality it is very difficult. And then there is Anna Karenina and Leo Tolstoy's novel. And I feel so good: I have so much information. I have lectures by our wonderful teacher from the theater academy Yuri Nikolaev Chirov: he read all the lectures amazingly, but I remember very well the lecture about Anna Karenina. I can read on the Internet what Nabokov said about this. I can watch programs where various directors and critics discuss the novel. I can read the diaries of Lev Nikolaevich. But the main thing is that I have a book where everything is written. And you just have to play it. Reproduce as I understand it. And this is a huge help. Therefore, playing Masha can be much more difficult: you have to pile up some internal circumstances yourself, invent, if no one gives you them.

The work on Anna Karenina became the most harmonious work in my life: I had a lot of time to prepare. I started a role-playing notebook, in which I wrote scenes from the script and remarks from the novel that showed all its turns. It was necessary to know the whole novel practically by heart. Of course, this role is emotionally challenging. In the end it was hard, the role took a lot of energy. But it was very interesting. I well understood how I want to play and what I want to tell the story about. It so happens that from the lack of content, you waste your emotions and energy on the role. And it happens that you play a difficult performance, but you understand that it was good. Everything happened, all the turns were turned, the whole score was performed - plus something new was discovered. It is extremely satisfying.

Does it affect life? On my no. I heard a lot of all sorts of stories that artists turned into maniacs, their families suffered: "You have become not like that, stop, come back." I don’t have that - I have too many worries in my life: I’m a mother, a wife, I need to buy bread, pay for an apartment, take clothes from dry cleaning. I go out [from the stage], take off my suit - and only you saw me.

But there was such a funny incident. Maxim (Maxim Matveev - husband of Elizabeth Boyarskaya, theater and film actor - approx. "Papers") plays the play "Kinaston" in "Snuffbox". A very popular performance in Moscow now. Everyone goes to him because he is cool, fashionable. And they go largely because of Maxim, because he built a brilliant role. Kynaston is a real person who has played female roles in Shakespeare's theater. And just in his lifetime there was a change when women were allowed on the stage. And here Maxim became a woman in front of me for three months. At some point I thought that I would strangle him: "Enough, why do I live with another woman at home?" And Maxim is a wonderful artist, very corrosive. When we met on one site of "Anna Karenina", it was such a rapture of two idiotic lovers of grains. We sat at night, took it all apart and composed. Two crazy people. We were incredibly comfortable with each other. Maxim very carefully, in detail, composed the role of Kynaston. Plus, he lost weight, brought himself into a certain shape, worked with a plastic teacher for a very long time.

When I saw the performance itself, I understood what it was all for: I was in shock. Absolute perfection on stage - truly a woman. A man, but a woman. My jaw fell off, like in a cartoon, I could not believe that such a thing was possible at all - to build a role so delicately. There was a very funny situation: one day he came up to me, took my hands, looked me in the eyes for a long time. I think: how nice. And then we both run, sometimes such moments are not enough. I say: "What, Maxim?" - "I can see how your eyes are painted." In the morning comes to prepare breakfast - a graceful woman. Well, the family. Some kind of perverts. But it's good that I'm an artist - I understand that. Another woman, probably, would hardly have resigned.

IA: Thank you very much, great conversation. Special thanks for describing your dacha - I smelled this dacha. I wanted to leave urgently by train. You definitely need to study to be a screenwriter and a director after this story.

EB: Thank you very much. I hope you all will be fine and you will follow the right path - with a sense of responsibility and love for your work. Good luck to all.

Liza Boyarskaya was born in 1985, in cultural capital St. Petersburg. Her father, the famous theater and film actor Mikhail Boyarsky, like his daughter, was born into a family of actors. It would seem that the fate of Elizabeth is predetermined - the continuation of the dynasty. But since childhood, the girl dreamed of a career as a journalist, completely not planning to connect her life with cinema.

But the craving for creativity and the stage pursued the girl from her youth - she studied dancing, graduated model school... Having entered the faculty of journalism, she came to the conclusion that this profession was no longer interesting to her, so she moved on to study at the theater institute. Today, the account of Elizabeth Boyarskaya Instagram regularly views more than 260 thousand followers, each of whom does not get tired of admiring the talent of the actress.

Lisa played her first role back in 2001 and, surprisingly to herself, coped well with it. In the filmography of the actress, there are already more than 40 different roles in films and TV shows, as well as many theatrical works. Today Liza Boyarskaya Instagram often replenishes with pictures from the latest film "Status: Free", where she played the main role.

Romantic and bright Instagram

This girl attracts many people with her romantic, delicate and sincere nature, as evidenced by the large number of Lisa Boyarskaya's followers on Instagram. Many of the happiest and most joyful moments in life are sanctified in social network... There are often posts dedicated to charity - so the actress not only helps those in need, but also encourages users to do the same.

Elizaveta Boyarskaya on Instagram often communicates with fans by discussing publications in the comments. She is not like most stars, like her official blog, with her openness, lack of glamorous shots. On the contrary, home photos often appear on the page, without makeup and retouching.

Many fans of Elizabeth's work are also interested in her family life. And not in vain, because the couple Boyarskaya and Matveyev are one of the most beautiful in the domestic show business. Liza Boyarskaya on Instagram often publishes their joint photos - from filming, meeting with friends, or simply from the home sofa. Followers have been following the life of the union since the filming of the film "I Will Not Tell" in 2010, when their relationship was just beginning to develop.

What fans will not see on the official page of Elizabeth Boyarskaya on Instagram is her son Andrei. The acting family very anxiously protects the baby from prying eyes.

Liza Boyarskaya is a domestic actress, daughter of Mikhail Boyarsky. As a child, she dreamed of a career as a journalist and PR manager, especially since her desires were supported by ample opportunities, since at school she was a mass entertainer and organizer of parties. She first starred at the age of 13 - she played a drug addict girl. After leaving school, she entered the theater university and became the ninth actor in the dynasty.

After graduating from the institute, she worked at the MDT, where she was involved during her studies. Later, the cult Russian directors became interested in the girl and she was offered to star in the military drama "Bunker". Lisa was showered with proposals for filming in historical and dramatic films. Triumphant was the film about the war "I'll be back", and then the picture "Irony of Fate. Continuation ".

Personal life did not develop for a long time. In 2010, during the filming of the film I Will Not Tell, the actress met Maxim Matveyev, who later became her husband. Young people hid their relationship for a long time, since Maxim was married to actress Yana Sexte. The couple got married in 2010. Raises his son Andrey.

More than 406 thousand people have subscribed to Lisa Boyarskaya's page. Instagram: lizavetabo.

Our company provides wrapping services. Apply - Become Popular!

In contact with

Classmates

Video clip: ordering, presentation !!!

You may also like other articles

• 1 Lisa Zharkikh Instagram

  Russian model and TV presenter Liza Zharkikh is a native Muscovite. Lisa is only 26 years old, but she has already realized herself in several areas of show business. There is little information about Lisa's childhood - her ...

• 2 Julia Mikhalkova-Matyukhina Instagram

  Yulia Mikhalkova-Matyukhina was born in 1983. She was in good standing at school, was fond of fashion and loved to arrange home concerts. As a high school student, she led a youth ...

• 3 Instagram Maria Kozhevnikova

  Actress Maria Kozhevnikova was born in 1984. Father - Alexander Kozhevnikov, a famous hockey player, two-time Olympic champion. Almost no one doubted that her life would be cramped ...

• 4 Instagram Taisiya Vilkova

  Taisiya Vilkova was born in 1996 in a creative family. She made her film debut at the age of 7 starring in the historical series "Star of the Era". The actress Marina Aleksandrova became a partner in the film ...

• 5 Instagram of Valentina Rubtsova

  Valentina Rubtsova is the star of the TV series "SashaTanya" and "Univer". Born in 1977 in a large family... Her grandfather was the main director of the theater. The dream of becoming an actress took possession of Valya in the early ...

• 6 Katya Starshova Instagram

  Katya Starshova is a young actress who played a little Button in the TV series "Daddy's Daughters". The girl was born into a family of figure skaters. She studied in the center of beauty and aesthetics "Katyusha". Trains in ...

• 7 Instagram Anastasia Sivaeva

  Actress Anastasia Sivaeva is one of the famous "daddy's daughters" who became famous for the comedy series. She was born in 1991. As a child, she was an active and naughty child. IN...