"Unfortunately, there are a lot of simple-minded goofs among our brother."
The microphone has brought up a generation of "droning actors-whisperers," and modern interpretations of classics are nothing more than a stamp, Honored Artist of Russia Alexander Yatsko is sure. He plans to return to directing in the near future, but in general he dreams of heading his own theater. In an interview with Izvestia, the actor told why he considers Alexander Rosenbaum's songs immortal, why he is going to resist the "lumpenization" of stage art, and how he feels about the fashion for modernizing classics.
"I'm still able to play big roles and move the plot, despite my advanced age"
— "Waltz-Boston" is in its eighth month. You've just played your 150th performance. Theatrical Moscow calls the musical one of the main events of the season. Did you predict such a reaction?
— You always expect success and a favorable reaction, but in this case, I will not hide my expectations, they were justified. The project is based on a serious foundation — the songs of Alexander Rosenbaum. They don't need advertising: they have a long, independent life. Without excessive pathos, we can talk about the immortality of these songs — they are in demand now and they will be listened to years later. Although a new generation of artists is striving to assert themselves, to find their own tone and note, the bard's work remains relevant.
Alexander Yatsko in a scene from the musical "Waltz-Boston"
— Young people also come to you. They probably hear something of their own in these songs.
— Indeed, after the premiere, there was a noticeable increase in demand for Rosenbaum's songs on music services. Young people are discovering this phenomenon of nature — the work of a unique, great author. Some things change over time, but not dramatically.
Our performance has a task — to reproduce the same performance from time to time, which is kept at a certain level. The only thing that changes is the voices, the actors. It's hard to play a play every day, so we have several line-ups. Everyone has their own voice, intonation. This change of performers brings some variety. But as for the drawing, the drama and the changing of episodes, everything is firmly established here, and there is no need to step left or right.
— The performance has a high tempo. You don't move as actively as artists who are constantly dancing, jumping and running.
"I could jump and run if I had to."
Actors in a scene from the musical "Waltz-Boston"
— Has Waltz Boston become a physical challenge for you?
— No, it's a familiar job that I love. I am still able to play big roles and move the plot, despite my advanced age. So far, there is a lot of vital energy, and I am very happy about it.
"I do not accept the tendency of the "lumpenization" of the theater and will actively resist it"
— Let's move on from "Waltz-Boston" to another premiere — "The Three Musketeers" at the Mossovet Theater. When Eugene Marcelli offered you the role of Cardinal Richelieu, were you surprised?
— The actor is always waiting for new offers. In this case, it didn't surprise me as much as the offer to play Ivan Podkolesin in "Marriage" once did. Then I wondered, "What does this have to do with me?" But this perplexity came in handy — it turned into the state of my hero: "What am I doing here? Why would I want to get married? I'd rather look out the window." Everything came together there.
Alexander Yatsko as Cardinal Richelieu, the play "The Three Musketeers"
In The Three Musketeers, the role had to be given to someone - it was given to me and Lesha Trofimov, the son of Alexander Trofimov, who played Cardinal Richelieu in the famous film. This is how generations of fathers and children were connected. In this role, everything is quite simple: he came out, said the right thing and left. It's a pity that I didn't have to sing — there is a duet of Cardinal Richelieu and Queen Anne of Austria in the performance, but Evgeny Josefovich decided not to include it. It's his decision, I won't comment on it. It's funny, when my daughter watched the play, she said, "Daddy is a vampire."
— Have you ever wanted to play D'Artagnan?
— In my youth, I only thought about acting, but it was a dream. Specific plans appeared in 1980, when I was graduating from the Polytechnic Institute. There was a great amateur artistic activity there, and it "ruined" the builder in me.
— You graduated from the Faculty of Architecture. Did you manage to play an architect during your career?
— Not yet, but I've been thinking about it. My experience in architecture helps me in my work as a production designer and set designer - it requires spatial thinking. Architecture is, in fact, a staged space, which is close to a director's work. I'm putting on performances and I plan to keep doing it.
Alexander Yatsko (Cagliostro) in a scene from the play "Formula of Love"
— You've staged plays and made films, but that was a long time ago.
— Yes, a long time ago. Then I started building a family and got distracted, but now I'm going to continue working as a director and set designer in the theater and maybe in the cinema.
— Are you already looking at the material?
- of course. I have unclosed gestalts. I hope to do some performances. It's going to be a classic. I'm an academic actor. I am very annoyed by some searches for the so-called actual theater. I want to object to them. I do not accept the tendency of "lumpenization" of the theater and will actively resist it.
The play "Marriage", Podkolesin — Alexander Yatsko
— Do modern interpretations of classics not cause irritation?
- no. This is already a stamp. The so-called modernization appeared back in the 40-50s and lost its value due to repeated repetition. Guys, come up with something new. Go back to the stove that made it all dance. Why not make "Three Sisters" not in a gym, like some madmen, but in a classic setting? This play in the gym is already a stamp. After all, this story has very beautiful costumes, good lyrics and eternal meanings.
"The microphone brought up a generation of mumbling actors-whisperers"
— What is the younger generation of the Mossovet Theater?
— I admire the young artists. I sympathize with everyone: Nika Zdorik, Nastya Belova, Mitya Fedorova, Misha Filippov — I play "Waltz-Boston" with them. It's nice to have our Mossovetovskaya team in the project.
The play "Marriage", Agafya Tikhonovna — Anastasia Belova
— Do young actors have any ideals?
— I don't know about the ideals, but I like the generation. And those who are now in the spotlight are the wonderful Yura Borisov and the wonderful Nikita Kologrivy. I really like Sasha Pal and Mark Edelstein, whom I starred with. He's a good guy. I can continue the list. I really like Lyuba Aksenova. I'm a fan of Anya Chipovskaya. A very good generation, talented. God grant them good luck, big roles and money. As long as they pass through the very copper pipes that sometimes spoil young people. I hope the aforementioned guys and girls will get past this evil cup. They're at their peak right now, and that's the whole risk.
— It is believed that the theater forms the actor, and the cinema is just a platform for the application of skill.
— It doesn't matter where you took place. There are examples where people have been acting in movies all their lives, and then they came on stage and really enjoyed it. Here are my friends, for example. Sergei Petrovich Nikonenko entered the theater scene at an advanced age. Or my beloved friend Vadim Andreev. He starred in films a lot, and now, no matter which city I come to, I see posters with his face. It's basically the same thing. You played something in a movie once and forgot. And you play the same thing many times in the theater.
And you need to talk a little louder in the theater than in the movies. And now that everyone is covered with microphones, you don't have to try. This, by the way, ruins the real theatrical craft. The microphone has brought up a generation of mumbling actors-whisperers. But this is a mundane, theatrical matter. It's just such an age — we got carried away with technology. Someone, perhaps, will return to the very stove that I was talking about: without microphones, without modern suits, but in suits of the corresponding era. I know what the public likes. The public likes human stories told with human voices.
— They say the audience needs to be constantly entertained.
— There are different ways to entertain. You can turn on loud music, or you can just play a high—quality role - and the audience's attention will be held. It all depends on the drama. If the material is good, the director is not a fool and will not show off and spoil a good drama, then success is guaranteed.
— Is there any good drama in theater and cinema today?
— I'm sure there is. Unfortunately, there is more hack work in screenplays. But there's a stream. Still, there are people who insist on a good script. For example, Zhora Gooseberry. He won't take a hack script, and he won't run a serial series. There are others like him. For example, Sergey Ursulyak. He works very carefully and will not allow any hacks. There's an old silly joke: "One Apollo needs at least four horses." Nothing offensive is said here for horses, but the meaning of the joke is clear.
"I need my own theater, but I don't have one."
— And how do you feel about the appointment of Sergei Bezrukov to the position of artistic director of the Moscow Art Theater. Gorky?
— This is the right decision. Seryozha proved that he is a powerful actor, a very good organizer, an energetic and bright person. I love him and wish him success.
Actor Sergey Bezrukov
— They say he got a very problematic farm.
— Yes, the household is very problematic, but Seryozha, I hope, will cope. Bezrukov made the Provincial Theater a very serious institution: he created his own audience, attracted people and funds there. He's doing great. I think his dad, Vitaly, is happy and proud of him. I remember from conversations with Seryozha's dad that he wasn't very happy with his career. But now his son has compensated for what he has not done. And even surpassed Dad's wishes, I suppose.
— Why are there so many remakes in the cinema and in the theater now?
— I don't know. This is a question for those who make decisions. Unfortunately, I'm not one of them. If I had these powers, I could talk about this topic.
— Would you like to run a theater?
— This is one of my unclosed gestalts. I need my own theater, but I don't have one.
Alexander Yatsko as a priest in the TV series "Lilies of the Valley"
— You starred in the second season of the acclaimed TV series "Lilies of the Valley". Can you explain the phenomenon of this project?
— Everything was correctly decided at the level of script and execution. The director did not spoil the idea, they conducted a good casting, Nika Zdorik justified the hopes placed on her. Honor and praise. Bravo. Well done, Nika. Get some kind of "Nickname" or "Golden Eagle".
— Did you think twice when you were offered to join the project?
— No, why hesitate? A job suddenly found you. Any job that appears on your horizon should be treated with gratitude. Thank you for coming. Come on, come in again.
"Unfortunately, my theatrical parents' generation is passing away"
— What kind of movie do you turn on when you come home?
— I started watching the series "Getting back on your Feet" with pleasure. Gosha Kutsenko is one of my closest friends, and I love him very much. And the girl next to him is a good one, Mila Yershova. And the topic is interesting. I've watched three episodes, and I like it. I'm not a movie fan, although I have my favorite movies. At one time, I even had the movie "My Friend Ivan Lapshin" on my phone, I could watch it on the train from anywhere. I have old tastes, old-school. I love Nikita Mikhalkov's early films, there's nothing I can do about it. I can endlessly review "An Unfinished piece for a mechanical piano", "Five Evenings". I love Stanislav Andreevich Lyubshin very much. And when I realize that he knows me and says, "Hello, Sanya," I am overwhelmed with a sense of self-importance. I am grateful to this generation. Unfortunately, my theatrical parents' generation is passing away. But never mind, I'm here. I'll pick up this flag if it falls from someone's hands.
A shot from the TV series "Get on your feet"
— Do you pass on this skill to the young?
— Recently, watching a performance that infuriated me, I thought: if I had my way, I would ban acting as such, exactly in the form in which it is demonstrated by the vast majority of artists who go on stage.
"What's wrong?"
— It's not like that. Excessive acting obscures the content of the play, when the actors get high just from going on stage, saying the words and playing the main role. Unfortunately, there are a lot of simple-minded idiots among our brother. There's nothing you can do about it, it's a certain professional formation.
— Is there any way to correct this?
— When I play, I don't allow this stuff. And when I work with actors, I try to take them down, but it doesn't always work out. Unfortunately, stupidity is invincible. It's a very big sin now that people don't read books. And we are victims of this great sin. But never mind, we'll manage somehow. I hope for the best.
Переведено сервисом «Яндекс Переводчик»
