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"Everything is possible in St. Petersburg" - a series of meetings with famous people for students and graduates of St Petersburg University, organized by Beeline, the St Petersburg University Alumni Association and Paper." 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 an old St. Petersburg dacha?
"Paper" publishes a transcript of an open interview with actress Elizaveta Boyarskaya for students of St. Petersburg State University 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: Essentially, 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: My whole life is like this: until May everything lasts a very long time. And when it comes, we can assume that September has already [come]. You think: “Wait, we just waited for these leaves and this spring.” Summer always goes by very quickly. But we were very lucky with May, I think. For almost the entire month I was on tour in London with the Maly Drama Theatre, 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. We are sorry 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 is very interesting who in London goes to MDT performances. As far as I know, not only Russians.
EB: Mostly English.
IA: I wanted to ask you about the difference between London and St. Petersburg audiences. And what kind of audience do you expect in New York - it's not the first time you've been going there.
EB: It seems to me that there is no global difference between the St. Petersburg and London audiences. We took Grossman's "Life and Fate" - this is a complex work: the performance is complex in itself, and the theme 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 the state.
The organizers of the tour hoped for the first performance, because [in England] the system of reviews is very important. After good reviews, word of mouth helps, and as a result, all tickets are sold out. Luckily, that's what happened to us. In England there is a five-star [review] system, and all reviews of our performance were with the highest ratings. Very good critics wrote wonderful words, which was nice. Until the end of the tour, the hall was packed, [there were] applause.
In St. Petersburg, of course, our theater is well known and loved, and there is an audience that goes to the Maly Drama Theater. I even remember two spectators who go to our theater from the Urals - they buy tickets for performances and organize trips to St. Petersburg for themselves. It is also very nice to know that they want to come back to us.
In America, there is a different audience - a brightly reacting one. When we went out to play The Cherry Orchard two years ago in New York, everyone started laughing after the first three lines. Turns out it's a fun play. Never would have thought.
IA: Comedy. In Chekhov, it is listed as a comedy.
EB: A few first introductory remarks - and we see a live audience that is ready to swallow, to hunger for the emotions that we broadcast to them from the stage. They follow the translation, they react very vividly to humor. And, for example, the Japanese public is completely different. We drove "Deceit and Love" (a performance based on the drama of the same name by Friedrich Schiller - approx. "Paper"). 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 so bad? Failure? And then, at the end - loud applause. Apparently, they have it in their culture - not to react during the performance. Maybe it's indecent, maybe it's not accepted. I dont know.
IA: Disciplined.
EB: Disciplined. It is, of course, a completely different culture. I have never been to the East before. Japan has remained an untasted mystery for me: I really liked the people, culture, customs. Everything is special there. I would like us to go back there.
Australia was also in our life with the theater: we also took Grossman there. We came to the festival in Perth, it was +33 there, - and we, therefore, [play on stage] in felt boots, in 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 people, how did you live there, poor fellows.” And we played and thought: they have the sun, the ocean, surfing here. And they looked at us: “Hmm. Well, you guys got screwed over. What was your movement a hundred years ago? But, of course, they cried, they were hurt by a lot.
We are closest in mentality to the Europeans. If we compare with the St. Petersburg public - [we are close to] France, Paris.
IA: And the St. Petersburg public differs from the Moscow one more than the St. Petersburg public differs from the European one?
EB: The Petersburg spectator, it seems to me, is more strict. But I like it, by the way. It sets some bar.
IA: Is he strict in his judgments?
EB: In judgments, tastes, views. It is clear that someone accepts a particular director, someone does not; some love modern drama, some don't. But the Petersburg audience must be pleased. In Moscow, everyone will find their own. And how many theaters are there in Moscow! I do not know how many of them are officially registered, but there are a lot. Although when we travel with the Maly Drama Theater to Moscow, we always worry, worry - this is a very responsible thing. 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 county" by Leskov, and in the Theater of the Nation - in the play "Ivanov", 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 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 to whether it is a famous artist or an unknown one. A well-known artist can play very badly, and an actor you don’t know can stand next to you, but you can’t 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 talking about our tourist architectural wealth - this is understandable. Sometimes you walk down the street, a foreigner stops someone, asks English language how to get through - they answer him completely freely and help with pleasure. French, German, English. Many signs appeared for foreigners.
Another thing is that there is a Russian mentality that will not go anywhere. Everyone expects a catch in something. Which might be a good thing. 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, the guys who stand at the reception in the hotel - all this creates an impression, and it seems to me that it is positive. Everyone I talked to - Italians, French, Americans - was completely delighted: from people, from traditions, from the fact that everything works at night, and does not close at 11 pm.
IA: And in terms of job opportunities - in the 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 should they 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 already so interconnected and mobile… I live in Moscow and work in St. Petersburg. I go to work by train. I play a play, get on the train and come 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. "Paper"). Probably more prospects in Moscow. But now there are so many theatrical organizations, courses, institutions - public, 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. Choose the right places, show yourself to the right masters - if you seriously want to practice this profession. And so, it seems to me, it doesn’t matter - Moscow, St. Petersburg.
IA: I got a lot of information about you through your instagram. There you have under a million subscribers, and it is semi-official, semi-personal - like, in principle, many. If earlier people went into 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 "The Bachelor": there will be two million subscribers. The first question is: does Instagram take up a lot of your time?
EB: I have a hard time with Instagram. Let's call it "I don't like it". It seems to me that this is the greatest evil that our time has come up with. I understand that you can earn 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 takes me an impossible amount of 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 scrolling through photos, likes. But people are really dependent on this: who has how many subscribers, who has how many likes. “You wrote me a bad comment. Oh you are so-and-so. I'm unsubscribing!" A whole system of relationships.
Many artists started Instagram just to keep some kind of accountability to the audience. When necessary, I make some posts. Naturally, I do not track comments. But I would be happy if the fashion for it passed. It seems to me that this should get boring sometime - being inside the network, communicating within the network, information that passes through the brain and leaves no trace, except [feeling] 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 my books on Ozon: I love everything paper.
Now in our thinking the chain of connections has become short. In order to remember something, you need to find this information in Google. Previously, in order to remember some date, you built a connection: so, it means that it was this year, it was that year ... Then there was already that king, and then serfdom was already abolished ... Some kind of work was going on in your brain . And now it’s not even a clip consciousness, but a leafy one. The first post is about the fact that someone has passed away, and you are grieving ...
IA: And then resurrected.
EB: Yes, like yesterday (we are talking about the journalist Arkady Babchenko - approx. "Paper"). And then someone posted a cute joke and you're sitting there laughing. Absolute dissonance - internal and intellectual. I am a disgusting adherent of the past, but I feel calmer this way, and I trust myself in this sense. When I think with my head, feel with my heart - I am so more honest.
IA: Do you think of it as some kind of social elevator? As we know, Irina Gorbacheva, thanks to Instagram, starred in the film "Arrhythmia".
EB: Well, it's a talent. What is truly great and talented deserves both respect and attention. Irina is a wonderful actress, with a great sense of humor, a very serious and deep person. This is not something bright, but empty. No. Behind this is a huge talent, background, the Fomenko Theater. It all shines through in what she does. That's why she's 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 thought. Other times you will get interesting information both for myself and for work. There is some kind of spiritual development, and not an endless "missing" of unnecessary information. This format is the closest to me. Now technology is developing so much ... I graduated from the institute in 2007 and realized that I didn’t have a single photo from there, because I didn’t have a smartphone yet. This was ten years ago.
IA: Not a pity that is not left?
EB: God be with him. I have several paper photographs - and enough. Ten years ago, no one had smartphones, and now every course has its own blog. But I hope that this is similar to the fashion for fast food: everyone still 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 - classical theater. There is a lot of innovation, but not in the form. And what is your attitude to modern theater and the use of technology, interactive, which often happens at the Gogol Center?
EB: The theater, it seems to me, is just the platform that should develop in step with the times. The main thing is not to lose the essence. So that it is about a person, reflects the time, our era, our problems. Excellent, talented, and somewhere - amazingly things are done in the "Gogol Center". The Maly Drama Theater, in fact, is also not far behind in this regard. It's just more, shall we say, classical in perception. For example, the play "Fear, Love, Despair" is our premiere according to Brecht. Or Enemy of the People. These performances are blatantly modern. Yes, and Grossman - terrible, but he again became modern. Sometimes you read and think: “How? It was written about then and about that. But actually no.
I try to watch productions by different [modern] directors. It’s a little more difficult for me with the new drama in terms of dramaturgy, because maybe I haven’t grown up to that yet. It's not always easy for me to accept this. But, let's say, classical works in the interpretation of modern directors in a new form are always very curious for me. Therefore, I'm all for it. If an artist expresses his thoughts in the most appropriate and accessible way for this, 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 appear less in serials and in feature films.
EB: I just love theater more, let's just say. There I feel calmer, more confident. And maybe it's easier for me. For me, theater is a more conscious approach to the craft and to the profession. There is a work, there is time, there are rehearsals. There is a deep dive. Need to bypass the role with different sides to find new meanings. It's different to play the same scene over and over again. That is, a long, long time to work on a future work. And in the cinema - they quickly met, here's the text for you, rehearsed, filmed - that's it, dispersed. I can not say that I slow down and do not have time. I always work in the rhythm set by the film crew, the director. But it is much harder, because for me it is a much more unnatural process. I give all my best, I try to work with maximum concentration, quality. But it is much more difficult - without repetitions and the right to make mistakes. 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 the theater. I played in the movie once - and everything is filmed.
IA: No more dependence on the director?
EB: Yes, I just wanted to say that in the cinema, not everything depends on the artists. And you know perfectly 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 it and you can't tear yourself away, because the movie is very simple and human.
And the theater is a more harmonious process for me. Of course, I am extremely lucky that I work for Lev Abramovich (Lev Dodin, artistic director of the Maly Drama Theater of Europe - approx. "Paper"). 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 everything good.
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 property. And we, of course, were in no hurry, filming one scene a day, doing several takes. Classic, perfect process on set. And there are others: “So, we have two hours, we have to shoot eight scenes. Guys, get together!"
IA: It's in the series.
EB: Usually in TV shows, yes. Every time you believe it will be different. Thank God, we have a lot of good people working in the cinema, and all are enthusiasts. In America - trade unions, you can say: “Guys, I have processing - an hour. I will never get up from this chair. Everyone has trade unions: the illuminators, the make-up artists.
IA: The drivers.
EB: The drivers. My last shift in the picture lasted 21 hours. Instead of 12. They told me: “Lisa, we understand everything. Can you have another hour?" What will I say? I understand that there is no more shooting day. If I say no, they will decide: "So capricious, can't work." The operator could not shoot my close-up, he shot me from the side, because my eyes became different from fatigue: one is large, the other is small. I say: “Guys, I can’t take it anymore. I'm going to die right here on your playground." And as luck would have it - the most difficult scenes.
I remember at some point I was arguing with my “young man”: showing off, 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 am crying, I do not forget about the acting nature, I say: “Let's shoot soon!” They say to me: “Oh, now it’s good!” Removed. Then: “Well, moving to another point?” Restaurant scene, new makeup. At half past three they re-made me in the make-up car. Therefore, you know, in the theater I am somehow calmer.
IA: Really in the theater there are no rehearsals for 12 hours?
EB: There are, of course. We generally love to rehearse. But there somehow everything is more logical and calmer. I like some kind of stability. Of course, when interesting movie roles come, I agree. But it's not so crazy anymore.
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, as a director, directed the film "Coach". Did you support him?
EB: Oh sure. 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 nurturing 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, bursting with energy, talent, charisma, who can do anything. And whatever he undertakes, he does it to the end and always to the highest quality. With great seriousness and never for the sake of some outrageous or something else. He is a man of incredible taste. It is clear that we studied acting with Lev Abramovich, but nonetheless. We have been side by side for more than ten years. Fifteen years. It seems to me that he will go very far in the director's field and very successfully. And God forbid, because there are not so many such energetically charged and talented, organized, responsible people - [it rarely happens] that everything fits together in one person.
IA: By the way, there are many debuts of actors as directors. For example, Konstantin Khabensky made a film. Do you have 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 myself. 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 bar - namely 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 here is what I would like to talk about. We are still within the walls of the Faculty of Economics. And it so happened that you are a representative of not only the St. Petersburg dynasty, but also the St. Petersburg brand. Boyarsky family brand, 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 this. It just so happened that dad is a Petersburger and stayed in St. Petersburg, did not leave for Moscow. We have St. Petersburg artists - for example, Ivan Ivanovich Krasko - who studied here, became successful and remain here to live. But there are not many of them. Dad, for example, thanks to his roles in The Three Musketeers and many other films, became a big creative unit in Soviet cinema at the time.
Children [of celebrities] are always very prejudiced. I believe that everyone is faced with 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 boy." And where else to go to a child whose mother is a pathologist and father is a surgeon? He shouldn't go to the librarians. It is clear that at home they are talking about one thing. Therefore, professional dynasties are quite natural. But the actors are always in sight - so they can be discussed. The Mironovs, Yankovskys, Efremovs, Boyarskys have always faced such a story in one way or another. I'm 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 for a place. And everyone said: “Look, she is doing. Will not do. Ha ha ha." I honestly didn't understand this. I was discouraged. Fortunately, it was such a difficult admission that there was no time to be distracted by it. When I began to study at the course, the individualities were erased: all in black, all with slicked hair, pale, unfortunate 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 an exam here. When they look at you, it's either "yes" or "no". You can't fool yourself here, everything is there.
We were wrapped in a ram's horn with immersion 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] “daughter”, but then it all sunk into oblivion: probably because I stopped thinking about it. I was more engaged in the profession: she 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 Theatre. Serious theatrical history.
IA: Was there a moment when you realized that your parents were 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. Not much, but those that you remember for a lifetime - and you feel more confident that you are still not in vain doing this profession. So do parents - they find some important concise words. And if [I played] badly, they will tell the truth.
They can say that they liked my role, but did not like the performance. Or vice versa: the performance is wonderful, but I didn’t think through something, didn’t feel it, I need to tighten it up. They give some hints. At the same time, realizing that we still have very different schools. Vladimirov School and Dodin School - two different planets(Mikhail Boyarsky and Larisa Luppian were students of the theater and film director Igor Vladimirov - approx. "Paper"). But, nevertheless, they, of course, treat the Maly Drama Theater and Lev Abramovich with great reverence. And what I do there. For them, every performance, every premiere is an event. As for the films where I participate, it's the same. Moreover, the most unexpected ones [find a response]. What seemed more serious to me can be taken lightly. And what seemed to me more transient, can [cause a strong reaction]. For example, dad loves the movie "Status: Single" very much. Says: "Such a good movie."
IA: The movie is really interesting.
EB: Unexpectedly, for people of this generation, such a film about youth love relationships can respond like this.
IA: I can't help but ask: I know that you and Danila Kozlovsky were the first MDT artists whom Lev Abramovich released into the media. Do you get any feedback from him?
EB: At first it was hard to let us go, but he let us go. And, of course, in the beginning we filmed a lot at night so that no one would know anything. I had to dodge. But then he started letting go. Of course, we have ironclad agreements with the theatre. Suppose we knew that we would have Hamlet in such and such a year. And none of us takes anything for this period. Even if you crack. So please, take it off. Tours, repertoire - the theater is always in the first place.
As for the ratings, I do not think that Lev Abramovich is looking at everything, he does not have time for this. He always congratulates, treats us with sincere kindness. I think he is pleased that his chicks were able to achieve something. Regarding the same Anna Karenina, Lev Abramovich said nice words to me. The same applies to Valery Nikolaevich Galendeev, our and Danya's speech teacher and theater director, professor. A wonderful person and a legendary figure. The opinion of our masters and teachers is very important for us. We always listen to him. I'm not talking about the fact that when I was preparing for the samples of "Anna Karenina", I came to Valery Nikolayevich and said: "Let's get ready together." To make sure I'm on the right track.
IA: Returning to the family. You now live in Moscow: did your father ever comment on this? Didn't he say: "Boyarskys should live in St. Petersburg"? Didn't you feel like a prisoner of the city where 12 actors [families] lived and where you should meet your old age?
EB: Maybe I'll meet. I will work, my children will grow up… Inwardly, St. Petersburg remains my home. But now my child will go to a Moscow school. Three days in St. Petersburg, three days in Moscow - this is how my week goes. My husband works at the Moscow Art Theater and at Tabakerka. And I'm nearby. But I am made of Petersburg, I am woven from it. I understand that Moscow may be more hospitable, the people there are simple and open. But I like it more when people are more closed and do not always accept you at first sight. I like everything in the character of Petersburg. I like that it's not easy. I like that people are more complex, not so unambiguous. I like to feel part of this city. Although in Moscow I got accustomed perfectly - it cannot be said that I feel myself there foreign body. But in terms of character and atmosphere, Petersburg is closer to me - in every sense.
IA: Do you have vivid memories from childhood, how did you and your dad walk around St. Petersburg?
EB: Try walking with your dad. Do you imagine [it]? In the 1980s. I don't remember how I walk with my dad. I am walking, dad is walking ahead, there is a crowd of people around him. Of course, he took me somewhere, but to where there were fewer people.
I have a lot to do with St. Petersburg: we live all our lives in the same apartment on the Moika. All childhood was spent there. The only difference between the lives 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 "Cossack robbers", classics, gorodki.
IA: Is it possible in the city center?
EB: Well, there are three meters of grass there. And some hill. In 1992, we got a dacha. Sometimes it seems to me that people do not believe and it seems to them that this is some kind of joke. Suppose they ask: “What kind of car does your father have?” - Opel. - "Yes?" - "Yes". There is a stereotype that artists - especially famous ones - are some kind of celestials who sleep in rose petals, put on gilded slippers, wash themselves with dew. And when the three of us are sitting at the dacha at the table, I say: “People should see now how we are sitting with you.” All is brought to the dacha old clothes: it's a pity to throw it away, but in the country house [in it] it's normal to walk. And you understand that you have everything in different sizes, different colors, some stupid caps. You go into the forest in rubber boots: in one pocket are seeds, in the other - a bag [for the husk]. You go nibbling seeds, because it's cool. The way 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 remained a 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 took nothing away - nothing. We had only the heaviest Sony TV: it was stolen, and two months later we found it in the forest.
IA: They didn't deliver.
EB: Apparently, they thought: well, fuck him. We put it back and it worked.
This is the charm of an old St. Petersburg dacha - simple, wooden, cold, with rotten boards. But there is so much comfort in this, so much history; Our family has been through so much. Our holiday village is called "Culture", and choreographers, choreographers, conductors, musicians live there. And everyone has the same dachas. And the road will never be fixed. And the way we are there - the real ones, how no one could imagine us - is an ordinary acting family.
When parents' friends come, it's not a restaurant on the top floor of some hotel, but boiled potatoes, vodka from the refrigerator, pickles that my mother 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 St. Petersburg. I would like to keep this charm as long as possible.
I recently had a meeting with friends, I called them to a restaurant next to the theater. My friend from Moscow, a journalist, came. And it is customary for us to sing songs with a guitar. We sat down, we drink wine, we begin to sing the songs "Cinema", "Spleen", Shevchuk - everything in a row. 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. I have this in my life, fortunately, a lot. And thanks to the theater, and thanks to our family, and thanks to our traditions. I wouldn't want to change that.
IA: And now it is possible for young artists or it was connected with Soviet Union, 1990s? Now, it seems to me, the first thing that celebrities do is build dachas 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 Tsvetaeva or Pasternak aloud. We discuss cinema. In Moscow, things are a little different. The artists are younger, oddly enough. They are already there.
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 be locked up for five years and devote himself to the profession - probably some sense will come out.
IA: Maybe the advantage of this era is that it will just filter out the actors: those who go into the profession for fame will go to Instagram, and those who are interested in the craft will go to the theater academy.
EB: And the former will earn 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 performance in different ways. How does the director feel about this?
EB: It's not that I'm changing something globally - say, mise-en-scene. We simply do not have the right to change the directing itself. Moreover, we have a very strict discipline in the theater, which I really like. For example, if we say the text incorrectly, our salary may be withdrawn for this. I think it's wonderful. Sometimes you will hear such gag. Liberty does not allow us.
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 say on stage for the hundredth time suddenly acquire new meanings. It's very interesting to see how the show develops. This is the most interesting. When we rehearse before a 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: Walking is almost non-existent. But, one way or another, I am a very grateful spectator - and therefore I enjoy watching performances by various directors. And I like almost everything. I watched the performances of Bogomolov, Butusov, Moguchy, Serebrennikov, Fomenko. And something always resonated [with me]. If we talk about younger directors, I watched something from the new drama: Dima Volkostrelova, Semyon Aleksandrovsky. New drama, new views - I'm interested in all this.
For me, the worst thing is when there is only form. If there is no content, I do not feel, do not experience 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 outrageousness, for the sake of form. But, for example, I really liked the very outrageous performance "Muller's Machine" in the "Gogol Center". This frank visual form had such an emotional impact on me, the performance is so intellectually loaded that I need to go to it five more times in order to delve into these complex, detailed, most interesting texts.
If a performance makes me think and worry, it already means a lot. Form is the director's prerogative. I can watch a super-classic performance with classic costumes and sets - and feel that this is relevant to me and to today. “God, it was written a hundred years ago, but nothing has changed.” It is important that there is contact with today's time.
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 before, that's for sure. Such is the process in our theatre. Creative cauldron: everyone tries everything. We explore the depth [of the work]. There are so many complex, deep, bottomless thoughts. God forbid, we will release in April, but we will comprehend this for decades.
IA: We know the theatrical legend about Yuri Yakovlev, who, playing Myshkin, almost lost his mind. "Karamazovs" - even more complicated story. Do you even see the sun, summer?
EB: Of course not. Firstly, Lev Abramovich loves to rehearse in the summer. Secondly, he loves air conditioning very much. It's always +16 degrees in our repzal. We come from the street in sandals, then we put on fur coats, ugg boots, scarves, sit down and give birth to a performance. All works are not easier than each other, 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 into the 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 [into your head]. Very heavy themes, too lofty matters - both religious, and moral, and spiritual. And when you come to the rehearsal of "Brothers and Sisters" by Abramov - it's so good. Everything is so clear about people. Play what you feel, what hurts and aches.
Well, let's break through. But it 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: Elizabeth, do you like football?
EB: Are you filming? Oh sure.
Girl from the audience: Zenit or Tosno?
EB: Or who?
IA: It's just a trick question. Your father was recently seen rooting for Tosno.
EB:"Zenith". Did I say 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 visit?
EB: So far, the plans are: to evacuate to the country. I'm definitely not going to the games. I believe that the city will be a difficult situation.
IA: Yes, it will.
EB: And I understand that I will still have several performances in Moscow, and I will need to get there. Therefore, I hope that the championship will not violate my personal plans. I will move on foot and rejoice at the victories of the players from afar.
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 TV. Values Question: What are your three core values? And what would you wish to graduates who are just now starting their adult lives?
EB: It is always exciting when you have a blank sheet in front of you, which you need to slowly fill out. First, don't be afraid to try and fail. And do not try, without going through all the steps, to climb the highest. Many artists start as editors and then become theater directors - or good actors and directors. It seems to me that in any field you 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. One must love to work in any profession. Being a good housekeeper is very difficult and hard to find. You also need to know how to clean: do it well and love what you do. If you are a good housekeeper, there will be a queue 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 calling.
It doesn't matter if you work as a theater director or 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 simplest business. Wherever you move, never let yourself relax and do something carelessly. 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 that you will never cheat on anything. Character, exactingness to oneself and a colossal responsibility to others and oneself - probably the most important thing.
Girl from the audience: How hard is it to get into 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 the auditions, they give you two pages of the text of the heroine Masha. There is little text. I learned it. But what is it about? Who is this Masha? What is her job? Who are her parents? How did she spend her childhood? And it seems to be two pages - it's very simple. But in fact it is very difficult. And there is Anna Karenina and Leo Tolstoy's novel. And I feel so good: I have so much information. I have lectures from our wonderful teacher from the theater academy Yuri Nikolaev Chirov: he gave all the lectures amazingly, but I remember the lecture about Anna Karenina very well. 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 Lev Nikolayevich's diaries. But the main thing is that I have a book where everything is written. And you just have to play it. Play 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 them if no one gives them to you.
The work on Anna Karenina was the most harmonious work of my life: I had a lot of time to prepare. I started a role-playing notebook, where I wrote out scenes from the script and stage directions from the novel, which showed all its turns. It was necessary to know the whole novel almost by heart. Of course, this role is emotionally difficult. At the end it was hard, the role took a lot of energy. But it was very interesting. I understood well how I wanted to play and what I wanted to tell the story about. It happens that because of the lack of content, you waste your emotions and energy on a role in vain. And sometimes you play a difficult performance, but you understand that it was good. Everything happened, all the twists and turns were turned, the whole score was performed - plus something else new was discovered. This brings great satisfaction.
Does it affect life? Not on mine. I heard all sorts of stories that artists turned into maniacs, their families suffered: “You are not like that, stop it, come back.” I don’t have this - I have too many worries in life: I’m a mother, a wife, I need to buy bread, pay for an apartment, pick up clothes from a dry cleaner. I leave [the stage], take off my suit - and only you saw me.
But there was such a funny case. Maxim (Maxim Matveev - husband of Elizaveta Boyarskaya, theater and film actor - approx. "Paper") plays in the "Snuffbox" play "Kinaston". 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 man who played female roles in Shakespearean theater. And just in his lifetime there was a change when women were allowed on stage. And now, before my eyes, Maxim became a woman for three months. At some point, I thought that I would strangle him: “Enough, why am I living with another woman at home?” And Maxim is a wonderful artist, very corrosive. When we met on the same platform of Anna Karenina, it was such a rapture of two idiotic lovers of grains. We sat at night, sorted it all out and composed it. Two crazy. We were extremely 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 realized what it was all for: I was in shock. Absolute perfection on stage - really a woman. Man, but woman. My jaw dropped, like in a cartoon, I could not believe that this was even possible - to build a role so delicately. There was a very funny situation: once he came up to me, took my hands, looked into my eyes for a long time. I think how nice. And then we both run, sometimes there are not enough such moments. I say: “What, Maxim?” “I see how your eyes are made up.” In the morning, a graceful woman comes to cook breakfast. Well, family. Some perverts. But it's good that I'm an artist - I understand that. Another woman, probably, would hardly have reconciled.
IA: Thanks a lot, great conversation. Special thanks for describing your dacha - I felt the smell of this dacha. I wanted to leave immediately by train. You definitely need to study to be a screenwriter and director after this story.
EB: Thanks a lot. I hope that everything will be fine with you all, and you will follow the right path - with a sense of responsibility and love for your work. Good luck to all.
But very soon Lisa managed to prove that she is not only a daughter famous father, but also quite self-sufficient, talented actress. This finally became clear after the films “First after God”, “Admiral”, “I won’t tell” were released, and on the theater stage the audience saw Lisa in the productions of “Lady Macbeth of Our County”, “King Lear”, “Cyrano de Bergerac. Dancer and model Liza Boyarskaya was born and grew up in a creative family. There were solid artists around the girl: dad Mikhail Boyarsky, and mom Larisa Luppian, and older brother Sergei, and grandparents, and uncles ... However, the girl, contrary to expectations, did not dream of an acting career. She was much more attracted to jazz and classical dances, and Lisa graduated from a model school in St. Petersburg.
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Lisa Boyarskaya touchingly congratulated her husband on his birthdayMaxim Matveev turned 35 years old. One day, 15-year-old Lisa agreed to an invitation to play a drug addict girl in the film Keys to Death. The work turned out to be successful, but the filming process did not captivate Lisa, and she was sure that the movie would remain an accidental episode in her life for her. I wanted to become a journalist and “make holidays” Young Lisa mistook her ability to organize any celebration at school for a penchant for working as a PR manager. And so it was decided: to enter the faculty of journalism and specialize in PR. Lisa "turned on" all her determination and in the senior classes she became an excellent student, tirelessly studying with tutors.
And then ... completely unexpectedly for Lisa, it became clear: she is not a journalist at all, but a real artist! In any case, the girl felt a powerful craving for the theater stage.
Parents did not dissuade their daughter from the decision to enter the Academy of Theater Arts, but they warned: the profession is difficult and nervous, with a lot of "pitfalls". Lisa, however, was not afraid.
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Elizaveta Boyarskaya: “The reason for rigidity lies in inner loneliness” exclusive interview The popular actress talked about the upbringing of children, the choice of roles and peace of mind on the “TV program”. It often seems to uninitiated people that a well-known surname gives applicants some kind of preferences upon admission. Usually more often it turns out the other way around: from a daughter or son famous artist expect and demand more than others.
So it happened with Lisa: if others took entrance exams for 10 minutes, then they talked with Boyarskaya for more than an hour. Apparently, the examiners wanted to make sure that they were not making mistakes by enrolling Boyarsky's daughter in the course. For several years, she became a recognizable actress A frame from the film “The Irony of Fate. Continued "(2007)
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Konstantin Khabensky will become a father of many childrenThe wife of the actor Olga Litvinova is expecting a baby. While the star couple does not give any comments about the addition to their family. Having received a diploma, Elizabeth immediately began to actively play in the theater. However, she happened to participate in performances while still a student - for example, for her role in King Lear, the girl received the Golden Soffit Award.
Shot from the film "Admiral" (2008)
However, the audience is more familiar with the film roles of Boyarskaya. After a series of episodes, a role followed, for which Boyarskaya got into the Breakthrough of the Year nomination - the girl played in the military drama First After God.
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Boyarskaya Elizaveta MikhailovnaActress, daughter of Mikhail Boyarsky and Larisa Luppian. This success in the cinema was the first, but not the last. Lisa appeared in the sensational films Storm Gates, Park of the Soviet Period, but perhaps her most significant works can be called roles in the films Irony of Fate. Continuation ”and“ Admiral ”, which literally “blew up” Russian cinema, occupying the first lines of the ratings for a long time and causing a lot of discussion and controversy. Liza Boyarskaya as mother - for the second time Liza Boyarskaya. Source - instagram.com/lizavetabo/
You can still talk a lot about the roles of Elizabeth, the number of which today has exceeded 60. But, I think, now all her viewers are much more concerned about another question - how does Lisa feel as a mother? In 2012, after the wedding with the artist Maxim Matveev, Boyarskaya gave birth to a son, Andrei, and now, at the end of 2018, a second boy has appeared in the family. The baby was named Grisha.
Liza Boyarskaya. Source - instagram.com/lizavetabo/
Disciplined and responsible Lisa returned to "service" literally a week after the second birth. She has no time to relax - the second half of December in the Boyarsky family is rich in birthdays, and Lisa habitually joined in the pre-holiday chores.
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“I ask for a rebellious storm”: Mikhail Boyarsky is dissatisfied with a quiet life with his wife In a frank conversation with the presenter, he said that passions always raged in his family life with Larisa. She was preparing the celebration of the birthdays of her grandmother, grandfather and dad, and then her own birthday arrived in time, and again the birthday girl is all in trouble. But these chores, as Lisa herself admits, are pleasant.
And yet, the main event of the outgoing year for the Boyarsky family, without a doubt, is the birth of Grisha. The boy was born healthy and beautiful, during childbirth, her mother Larisa Luppian was with Lisa, and the first photos of the baby have already appeared on the Web.
Elizaveta Boyarskaya is still full of strength and energy, she has big plans for the future, and the actress is not going to stay on maternity leave - rehearsals at the theater are scheduled for January.
Account: lizavetabo
Occupation: actress
Elizaveta Boyarskaya Instagram is distinguished by the fact that she gives detailed comments on each exposed image. Based on the quotes, one can draw a certain conclusion about its character.
Elizabeth is a very positive and good-natured person, ready to share her kindness and happiness with other people. As she does not feel sorry for the words on the quotes to the photo, she does not feel sorry for her warmth from the heart.
Elizabeth Boyarskaya photo from Instagram uploads from various social and creative events, performances, tours. A separate place is devoted to helping drug addicts and cancer patients. The actress constantly agitates people to activate their forces to help such patients, and does it with skill.
There is a category on the artist page family photo. Here she is with her son, and with her husband, and with her parents, and with close friends. Her interest in the history of her family line deserves respect. And by the way, for those who would like to see Mikhail Boyarsky without a hat - you are on Elizaveta Boyarskaya's Instagram.
The actress is successful and boasts such influential acquaintances as acquaintance with Ian McKellen, Ralph Fiennes, Konstantin and Valery Meladze. But despite this, in Elizabeth there is not a drop of pathos, but only cordiality and kindness. It is not common for her to show off photos from famous resort places - she loves every corner of her Russia.
Biography of Elizabeth Boyarskaya
We can say that the biography of Elizabeth Boyarskaya was predetermined from birth. After all, she is the daughter of a musketeer of all times and peoples - Mikhail Boyarsky. And it was not so much the fame of her father and the presence of connections in the appropriate environment that brought her to the acting field, but rather the character inherited from her father and the skillful ability to transform on stage. As well as irrepressible positive energy.
The first serious debut of the actress happened at the Maly Drama Theater, where she played in the play "King Lear" (2006). Her role was awarded the Golden Soffit Award. The artist continues her labor activity in MDT to the present day.
She has many works in the cinema, among them:
- "Admiral" (2008);
- "Five Brides" (2011);
- "Sherlock Holmes" (2013);
- Contribution (2015);
- Headhunters (2016);
- "Status is free" (2016).
Elizaveta Boyarskaya biography includes, in addition to filming a movie and playing on the theater stage, filming in video clips by V. Meladze.
Liza Boyarskaya was born in 1985 in the cultural capital of 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, not at all planning to connect her life with cinema.
But the craving for creativity and the stage pursued the girl from her youth - she was engaged in dancing, graduated from a model school. Having nevertheless entered the faculty of journalism, she came to the conclusion that this profession had ceased to be interesting to her, so she moved on to study at the theater institute. Today, the Elizaveta Boyarskaya Instagram account regularly views more than 260 thousand followers, each of whom never ceases to admire the talent of the actress.
Lisa played her first role back in 2001 and, to her own surprise, did an excellent job 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, Lisa Boyarskaya Instagram often replenishes with pictures from last movie"Status: free", where she played a major role.
Romantic and bright Instagram
This girl attracts many people with her romantic, subtle and sincere nature, as evidenced by the large number of Liza Boyarskaya's followers on Instagram. Many of the happiest and most joyful moments in life are consecrated in social network. There are often posts dedicated to charity - this is how 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, in her openness, lack of glamor 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 of Boyarskaya and Matveev is one of the most beautiful in the domestic show business. Liza Boyarskaya on Instagram often publishes them 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 won’t tell” in 2010, when their relationship was just beginning to develop.
What Fans Won't See official page Elizaveta Boyarskaya on Instagram is her son Andrei. The acting family very reverently protects the baby from prying eyes.
Lisa 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 party organizer. She first starred at the age of 13 - she played a drug addict girl. Upon graduation, she entered the theater university and became the ninth actor in the dynasty.
Upon graduation, she worked at MDT, where she was involved during her studies. Later, cult Russian directors became interested in the girl and she was offered to star in the military drama Bunker. Lisa was showered with offers to shoot in historical and dramatic films. The film about the war “I'll be back” became triumphant, and then the picture “Irony of Fate. Continuation".
Personal life for a long time didn't add up. In 2010, on the set of the film “I won’t tell,” the actress met Maxim Matveev, who later became her husband. Young people hid their relationship for a long time, since Maxim was married to actress Yana Sexta. The couple got married in 2010. She is raising her son Andrei.
More than 406 thousand people subscribed to the page of Liza Boyarskaya. Instagram: lizavetabo.
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