Breakfast is the most important meal of the day. Breakfast is the most important meal of the day
Alexander Kalyagin was not afraid to become the first Soviet actor to try on female image. And it should be noted that he managed to fit into it very accurately and organically, making it collective. Another feature of this actor is his categorical closeness from outsiders. personal life. He never answers questions about his family and loved ones to anyone. After the death of his first wife, he was very afraid of pity and sympathetic glances; after he met his second love, he was superstitiously afraid to talk about his happiness.
Incredible success awaited Alexander Kalyagin after the release of the film “Hello, I am your aunt!”
Childhood and youth
Alexander Kalyagin was born in the small town of Marmyzh near Kirov on May 25, 1942. His father Alexander Kalyagin was the dean of the history department, his mother Yulia Zaideman taught French, and in addition was fluent in four more foreign languages. His father died in 1943, when little Sasha was only a year old. The mother had to raise and raise her son herself, although great participation all female relatives were included in this process. Sasha turned out to have a lot of grandmothers and aunties, so early years he was surrounded by a female kingdom.
In the photo, Alexander Kalyagin as a child
Sasha was an only child, so everyone spoiled him. One day he told his mother that he was interested in theater, and after a while his mother gave him miniature copy scenes. Julia found a craftsman who made a tabletop theater and various figurines for the boy. Sasha often gathered his friends, and they performed entire performances on this toy stage.
As a child, Alexander liked the work of Charlie Chaplin and. At the age of thirteen, Kalyagin made up his mind and wrote a letter to Raikin with numerous grammatical errors. The boy told the comedian that he also dreams of becoming an artist, and was very surprised when he received an answer. Alexander saved this answer, and in 1978, at the anniversary concert of the great comedian, he read the text of this message to him from the stage.
After receiving his school certificate, Kalyagin listened to his mother and became a student at a medical school, although he was going to enter the theater school. Mom was firmly convinced that a man should have a real profession, and tried to gently instill this in her son. After graduating from medical school, Kalyagin worked as an ambulance paramedic for two years, but did not forget his dream. He left medicine and still became a student at the Shchukin School.
Theater
The theatrical biography of Alexander Kalyagin began at the Taganka Theater. Literally from the first days it became clear that he would not work well with, who then held the position of artistic director of this theater. A year later, Kalyagin left and joined the troupe of the Ermolova Theater.
Alexander was already a fairly experienced actor, and with a completed education, but he still had doubts about the correctness of his choice. life path. Everything changed when he appeared on stage in the play “Notes of a Madman,” where he got the role of Poprishchin. It was at that moment that he realized that he had done everything right.
He also did not stay long in this theater. In 1970, the artist ended up in Sovremennik, where he appeared on stage for only a few months. Kalyagin and went to the Moscow Art Theater. In this theater, Kalyagin’s career was more than successful, and he finally felt at home. He was involved in many productions, the most notable of which were “The Living Corpse”, “Tartuffe”, “The Seagull”. After the split of the Moscow Art Theater, Kalyagin again, together with Efremov, moved to the Chekhov Moscow Art Theater.
This endless walking and changing places of duty very soon began to bore the artist, and he decided to create his own troupe. In 1991, he became the organizer of the Et Cetera theater, of which he remains the permanent director to this day. At first the troupe did not have its own premises, but four years later they rented premises on Novy Arbat. In 2005, the theater already had its own building, during the construction of which Kalyagin used various innovations that other theaters cannot boast of.
Movies
The filmography of Alexander Kalyagin includes over five dozen cinematic works. Kalyagin’s debut film was released in 1967, and was called “Nikolai Bauman”. In this film he portrayed a party worker on the screen.
Kalyagin collaborated with for quite a long time and fruitfully. It was his films that gave Alexander a good start in the world of cinema. In the film “A Friend Among Strangers, a Stranger Among Our Own,” Kalyagin reincarnated as Vanyukin, the head of the railway station. Then there was “Slave of Love”, where he was a partner of actress Elena Solovey. After this, Mikhalkov invited Kalyagin to become Mikhail Platonov in the film “Unfinished Piece for Mechanical Piano.” After this film, Kalyagin was awarded the Columbia International Prize, and received the title of best artist of the year according to the Soviet Screen magazine.
But real fame and all-Union love found the artist a little later, after the release of the comedy “Hello, I’m Your Aunt,” which helped the artist reveal his talent as a comedian. After this film, Kalyagin became recognizable, despite the fact that he played female role. His Aunt Babs Baberley was so believable that it was difficult to guess that she was being played by a man in disguise. According to critics, this film became the best in the artist’s entire career.
Alexander Kalyagin did not refuse to dub films and animated films. One of his characters was the cat Leopold. The artist not only speaks his lines, but also performs songs. In 1983, these compositions were included in a separate album, which was called “Guys, let’s live together.”
The last film in which viewers saw their favorite artist was “Rud and Sam,” which was released in 2007. Kalyagin and Armen Dzhigarkhanyan portrayed two old people from a nursing home who received unexpected wealth in the form of five million euros. Alexander Kalyagin no longer acted in films, devoting all his talent to theatrical art.
Personal life
Alexander Kalyagin got married for the first time when he was still in his second year at theater school. His colleague Tatyana Korunova became his chosen one. They did not have a magnificent celebration; the young people simply signed their names at the registry office. Soon their daughter Ksenia was born. The couple were happy, making plans for the future, and did not even suspect that trouble was already on the doorstep. Their daughter was barely four when her mother died. Tatyana had oncology. Alexander was left alone with little Ksyusha, raised her himself for a very long time, and did not even try to improve his personal life.
Kalyagin first saw his second wife, actress Evgenia Glushenko, on the set of the film “An Unfinished Piece for a Mechanical Piano.” They had to play spouses, but this was only on the set; in real life they had not yet become close. Alexander decided that he would only have a relationship with the woman whom his daughter accepted. One day, the artist finally decided to introduce Ksenia to Evgenia, and her daughter accepted her. In 1978, Evgenia became Kalyagin’s official wife, and two years later gave birth to his son Denis.
The artist’s daughter and son studied in America, Ksenia still lives there; in 2001, her son Matvey was born. Denis graduated from the prestigious private school "George School" and returned to his homeland. Now he is a famous Moscow journalist.
The couple lived together for thirty years, and all their colleagues considered their family to be role models. They always spoke of each other with warmth and tenderness. Everything changed in 2008, when the couple shocked everyone with their divorce. Not one of them even said a word about the real reason this decision, so journalists could only speculate about what might have happened. They said that Kalyagin began to stare at young actresses, they even attributed an affair to him, although not a single piece of evidence was found for this. What caused the divorce is not known for certain; Kalyagin’s children are silent about this; on the issue of interference in their personal life, they fully agree with their parents, and believe that it should not be a public property.
Alexander Kalyagin now
On May 25, 2017, Alexander Kalyagin turned 75. The actor has several dozen works in cinema and on the theater stage, his heroes are loved and remembered. The artist intends to continue to please his fans, so he does not let down the result of the work done.
For his anniversary, the Bakhrushin Museum opened an exhibition, but the artist himself was there for a few moments. He is somewhat ironic about anniversaries and does not consider them a reason to take stock. Kalyagin has been at the head of the Union of Theater Workers for over two decades, and has no intention of leaving this post. He tours with his theater, having already traveled half the world. Alexander Kalyagin is making plans for the future, which include new performances and constant tours.
In addition to his main activities, Kalyagin hosts his own radio program “Echoes of the Theatre.” He talks with the most famous figures of Russian art, raising topics related to the development of art in Russia.
Actresses who became famous for one or two roles, as a rule, are not remembered by television viewers. But there are exceptions to this rule: Evgenia Glushenko played 27 roles in films, but they remember her from the film “In Love with at will».
Childhood and youth
Evgenia Glushenko was born on September 4, 1952. The biography is silent about the family into which the future actress was born. The girl grew up excessively shy and often could not overcome her embarrassment in communicating with people around her. In this regard, the parents sent their daughter to a theater group to overcome complexes. The girl became so interested in the theater that she soon began to disappear in the House of Pioneers all day long, including weekends. But Evgenia didn’t even think about becoming an actress – she was still extremely unsure of herself.
Graduating secondary school in Rostov-on-Don, future profession the girl chose pedagogy. But Evgenia’s plans were not destined to come true. The theater director, having learned about the pupil’s intention to enter the pedagogical school, decided to serious conversation. Having found out that the reason for giving up her career as an actress was Glushenko’s shyness, the director seriously began preparing the girl for the entrance qualifying exams at the Rostov Theater Institute.
Despite the uncertainty and embarrassment, Evgenia passed the exams the first time and entered the theater school. After studying at the institute for only a year, the girl realized that she wanted to achieve more and went to the capital. In Moscow, the future actress, nervous, applied for admission to all theater universities indiscriminately. The girl was first informed about her enrollment from the M. S. Shchepkin Higher Theater School, from which she graduated in 1974. The head of the course where Glushenko studied was the People's Artist of the USSR.
Theater
In the last year of college, all students were taken away by Moscow theaters, and Evgenia still did not receive a single job offer. Having come to terms with the idea of returning soon hometown and having put an end to her career as an actress, the girl had already practically bought a train ticket to Rostov. Just at that moment, Glushenko was called to the rector, where two directors were waiting for her. The girl received an offer from the director of the theater in Kostroma, and at the Maly Theater in Moscow she was invited to play Lisa in the play “Woe from Wit”.
Despite the fact that a good career and many roles awaited the aspiring actress at the Kostroma Theater, the girl gave preference to Liza Griboedovskaya. The girl was not mistaken in her choice: she worked at the Maly Theater for 18 years. During this time, Evgenia played 24 roles on stage, including Glafira from the play “The Feast of the Winners”, Kupavina from the play “Wolves and Sheep” and Belina from “The Imaginary Invalid”.
In 1979, Glushenko joined the All-Russian Theater Society, and in 1989 - the Union of Theater Workers. In 1995, Evgenia Glushenko was awarded the title of People's Artist of Russia for her contribution to performing arts. A year later, the actress left the Maly Theater and got a job at the Central Academic Theater of the Order of the Red Banner of Labor Russian army, where she worked for four years and returned to the Maly theater troupe. During her four years of work at the Russian Army Theater, the actress played only three roles.
Movies
The theater actress made her film debut at the age of 16. Then the girl met a young and still unknown aspiring director. Then Nikita Sergeevich filmed his graduation film “And I’m Going Home,” where Glushenko played Sashenka. The role did not bring popularity to the girl, since for political reasons she was declared unfit to defend herself, and the audience never appreciated her.
10 years have passed since then until Evgenia met Mikhalkov again - the director offered the actress a role in “An Unfinished Piece for a Mechanical Piano.” Evgenia played Sashenka and the morning after the premiere she woke up as a popular actress.
Offers for filming came one after another, but Glushenko did not want to waste time on trifles, she was waiting for her role.
Personal life
On the set of “The Unfinished Play...” Mikhalkov became Evgenia’s partner on the set. According to the script, Alexander sought the love of Glushenko’s heroine, but he achieved it in reality.
At the time of his meeting with Evgenia, Kalyagin was a widower and raising a daughter. The man did not seek a new relationship, for fear of hurting his daughter from his first wife. However, after little Ksyusha met Evgenia, the girl declared her readiness to accept new mom to the family. So Evgenia became Kalyagin’s wife. Soon the couple had a son, Denis. The children of the acting couple were educated abroad - in the USA, but Denis then returned to Russia, where he now works as a journalist.
In 2008, Oksana Gorbacheva contacted the Moscow prosecutor's office with a complaint of rape. The girl accused Alexander Kalyagin of rape, but a few days later she withdrew her statement. It would seem that the incident is over. But soon a compromising audio recording appeared on the Internet, where Kalyagin made unambiguous hints to a young fan. Of course, Evgenia, as a legal wife, could not tolerate the second sexual scandal involving her husband, which became the reason for the separation of the actors.
Now Glushenko lives with his son Denis. Due to the divorce and intrusive attention of the press, Alexander Kalyagin had health problems.
Evgenia Glushenko now
Considering Evgenia Glushenko’s pickiness as an actress, now she practically does not act in films. The woman devotes all her energy and time to acting in the theater. In addition, Evgenia Konstantinovna holds the position of teacher at the Shchepkin Theater School, where she studied in her youth. Latest news and photos from the actress’s life are posted in the actress’s group on VKontakte. In others social networks she is not registered.
Filmography
- 1968 - “And I’m leaving home”
- 1977 - “Unfinished piece for mechanical piano”
- 1982 - “In love by choice”
- 1989 - “Lucky Women”
- 1997 - “Queen Margot”
- 1998 - “Waiting Room”
- 1999 - “Happy new happiness!”
- 2008 - “Live and Remember”
Alexander Alexandrovich Kalyagin. Born on May 25, 1942 in Malmyzh. Soviet and Russian actor and theater and film director. People's Artist of the RSFSR (1983). Laureate of the USSR State Prize (1981, 1983).
Alexander Kalyagin was born in the city of Malmyzh Kirov region in the family of the dean of the Faculty of History, Alexander Georgievich Kalyagin (1895-1943) and teacher French Yulia Mironovna Zaideman (1901-1973).
Father - Alexander Georgievich Kalyagin (1895-1943), dean of the history department, died a year after the birth of his son, and his mother raised him alone.
Mother - Yulia Mironovna Zaideman (1901-1973).
At the age of 13, Alexander Kalyagin wrote a naive letter with a lot of grammatical errors about his desire to become an actor and his reluctance to study. Arkady Isaakovich responded to the letter: “Sasha, I believe in work. What is labor? Labor is the basis of everything for me...” Alexander Kalyagin read that same letter to Arkady Raikin on the air of “Theater Meetings” in 1978.
In 1959, he graduated from medical school with a degree in obstetrics, and worked as an ambulance paramedic for two years.
In 1965, Alexander Kalyagin graduated Theater school them. B. Shchukin and was accepted into the troupe of the Taganka Theater. However, he soon felt that he did not fit into the theatrical aesthetics of Yuri Lyubimov, and in 1967 he moved to the Theater. M. N. Ermolova. In this theater he played the role that he himself considers the beginning of his artistic career - Poprishchina in “Notes of a Madman.”
In 1970, Oleg Efremov invited Kalyagin to Sovremennik, but he himself soon left for the Moscow Art Theater.
In 1971, following Efremov, he moved to the Moscow Art Theater and Kalyagin. Among the best roles he played on this stage are Trigorin in Chekhov’s “The Seagull”, Poluorlov in M. Roshchin’s play “Old New Year", Lenya Shindin in the play "We, the Undersigned" by A. Gelman, Orgon in Molière's "Tartuffe", Fedya Protasov in "The Living Corpse" by L. Tolstoy.
After the split of the Moscow Art Theater in 1987, Alexander Kalyagin remained with Efremov in the theater, which became known as the Moscow Art Theater. Chekhov, but left it in 1991, sensing the “impending crisis” of the theater.
He made his film debut in 1967 in the film Nikolai Bauman - he played a representative of the Moscow Party Committee.
The first success and popular love came with the role of Babs Baberley (Donna Rosa d'Alvadores) in the 1975 film "Hello, I'm your aunt!".
He gained even greater popularity after the release of the film “Unfinished Piece for Mechanical Piano” in 1977, where he played the role of Mikhail Vasilyevich Platonov. In the same 1977, he became the best actor of the year in a poll by the magazine “Soviet Screen”.
Alexander Kalyagin in the film "Hello, I'm your aunt!"
Episode from the film "Hello, I'm your aunt!"
Alexander Kalyagin in the film "Unfinished Piece for Mechanical Piano"
Later he played many roles in films that were included in the golden fund of Soviet and Russian cinema: “Interrogation” - Seyfi Ganiev (for this role he was awarded the USSR State Prize for 1981), “Adam Marries Eve” - lawyer, “Old New Year” - Pyotr Poluorlov, “Something from provincial life” - Povidon Maksimovich, “Dead souls” - Pavel Ivanovich Chichikov, “Prokhindiada, or Running on the spot” - Alexander Alexandrovich Lyubomudrov, “Another life” - Fariz Amirovich Rzaev, “Comedy about Lysistrata" - advisor Probulus and others.
Alexander Kalyagin in the film "Old New Year"
Alexander Kalyagin in the film "Dead Souls"
In 1992 he created his own theater - “Et Cetera”.
In September 1996, the Et Cetera theater, which previously did not have its own stage, received a permanent stage in one of the buildings on Novy Arbat. At the same time, Alexander Kalyagin began lobbying for the idea of building a new building for the theater. In 2005, the building was built according to the design of the architect A.V. Bokov. The architect A. Velikanov, who developed the design of the building, accused A. Kalyagin of bad taste and renounced his authorship due to the distortion of the original plan. Architectural critic G. Revzin compared the theater building with “ student work" and "circus tent".
In 2003 he joined United Russia.
On June 28, 2005, he signed an Appeal from cultural figures, scientists, and members of the public in connection with the sentence imposed on the former leaders of the Yukos Oil Company. The “Letter of Fifty” appeared in response to another letter in which other cultural figures demanded that Mikhail Khodorkovsky be recognized as a political prisoner. In 2011, he stated that he did not regret that he had signed this letter in 2005.
On February 6, 2012, he was officially registered as a proxy of the candidate for President of the Russian Federation and the current Prime Minister Vladimir Putin.
Scandal with the House of Stage Veterans
In October 1996, Kalyagin was elected chairman of the Union of Theater Workers of the Russian Federation.
According to expert estimates for a comprehensive major renovation, reconstruction and restoration of the House of Stage Veterans named after M.G. Savina required funds that the Union of Theater Workers of Russia did not have at its disposal.
During a discussion of plans for the reconstruction of the House of Stage Veterans in 2006, a scandal broke out related to the intentions of the chairman of the Union of Theater Workers A. Kalyagin to sell part of the territory to the Sistema-Hals company and build a residential building on the territory of a monument of federal significance.
The agreement between STD and Sistema-Hals was opposed by stage veterans and a number of theater workers. The situation reached President V.V. Putin, who ordered an investigation into the conflict and promised to allocate funds from the budget for the renovation of the Veterans’ House. As a result of the President’s intervention, Sistema-Hals abandoned plans to build a residential building, donating 5 million dollars (132 million rubles) to the Union of Theater Workers, which manages the Veterans’ House, for repairs.
The Governor of St. Petersburg V. Matvienko proposed to transfer the House to the city balance, but A. Kalyagin spoke out against this, since, in his opinion, in this case the House of Stage Veterans would lose its creative identity and become simply a city institution.
Kalyagin considered one of the numerous press publications offensive to his honor and dignity, estimating the damage at half a million rubles. However, the court reduced these demands by collecting 1 ruble from the Petersburg Theater Magazine, and 1 thousand rubles from the magazine’s journalist M. Dmitrievskaya.
Despite the allocation cash for the renovation of the House back in 2006, work had not started as of the spring of 2010. According to the director of the House of Stage Veterans, Alexander Belokobylsky, the Union of Theater Workers has already spent half of the specified funds, but repeated appeals on this matter to the prosecutor’s office and the Economic Crime Department have not yielded results. In December 2010, the building of the House of Stage Veterans was included in the “black list” of the Ministry of Emergency Situations for fire safety.
In the winter of 2012, a large-scale reconstruction began at the Veterans Stage House. On May 2, 2013, I visited the House of Stage Veterans. Alexander Kalyagin told the President about the progress of the work and its results: not only the buildings were repaired, but chandeliers and other interior elements were recreated according to old drawings, and ancient paintings made by icon painters from the school of V. Vasnetsov were cleared. The house church, destroyed in 1930, was restored.
Patriarch of Moscow and All Rus' Kirill consecrated the temple on May 28, 2013, on the day of the grand opening of the restored House of Stage Veterans named after. M.G. Savina. The veterans moved from the Komarovo House of Creativity, in which they lived during the reconstruction period, took place in October 2013. On October 25, 2013, Chairman of the Union of Theater Workers of Russia A. Kalyagin and Administrator of the President of the Russian Federation V. Kozhin visited the St. Petersburg House of Stage Veterans named after. M.G. Savina and participated in the housewarming celebration.
Alexander Kalyagin's height: 172 centimeters.
Personal life of Alexander Kalyagin:
The first wife, Tatyana Korunova, an actress, died of cancer. The marriage produced a daughter, Ksenia, who lives in America and has a son, Matvey (born in 2001).
Second wife - People's Artist of Russia. The marriage produced a son, Denis, a journalist, who studied at the prestigious private school George School near Philadelphia.
Alexander Kalyagin and Evgenia Glushenko with children Ksenia and Denis
Filmography of Alexander Kalyagin:
1967 - Nikolai Bauman - representative of the Moscow Party Committee
1971 - Premature Man - Bukeev
1972 - Hare Sanctuary
1972 - Fifteenth Spring - Astakhov
1973 - Every day of Doctor Kalinnikova
1973 - Black Prince - Daniil Arkadyevich Biychuk (Danik)
1974 - Night of Errors - Mr. Hartcastle
1974 - One among strangers, a stranger among one's own - Vanyukin, head of the railway station
1974 - Miracle with pigtails
1975 - Option "Omega" - SS Sturmbannführer Franz Maggil
1975 - Hello, I'm your aunt! - Babs Baberley
1975 - Yaroslav Dombrovsky - Colonel Tucholko
1975 - Little Animals of Anthony van Leeuwenhoek - Anthony van Leeuwenhoek
1976 - Slave of Love - Alexander Alexandrovich Kalyagin, director
1976 - The Life and Death of Ferdinand Luce - Schwartzman, producer
1976 - Wounded wounded animals - Denis Nikolaevich Kuskov, architect
1976 - The Princess and the Pea - The King
1977 - Unfinished piece for mechanical piano - Mikhail Vasilyevich Platonov
1977 - In profile and full face - Nikolai Petrovich Cherednichenko
1977 - Doll / Lalka (Poland) - Russian merchant Suzin
1977 - Confusion of feelings - Viktor Semyonovich, Nadya’s father
1977 - Vesnukhin’s Fantasies - Nikolai Olegovich, school director
1978 - Children are like children - Igor Vladimirovich, surgeon, Olya’s father
1979 - Faith and Truth - Vladik Minchenko
1979 - Interrogation - Seyfi Ganiev, captain-investigator
1980 - Adam marries Eve - lawyer
1980 - Appointment - Nikolai Stepanovich Kuropeev / Muraveev
1980 - Old New Year - Pyotr Poluorlov
1981 - And I’m with you again - Vasily Andreevich Zhukovsky
1981 - Before a closed door - Dashdamirov
1981 - A Tale Told at Night - Dutchman Michel
1983 - Something from provincial life - Povidon Maksimovich, Katya’s husband / Khirin, accountant / Aplombov / Vikhlenev
1983 - Park - Gena
1984 - Dead Souls - Pavel Ivanovich Chichikov
1984 - Prokhindiada, or Running on the spot - Alexander Alexandrovich Lyubomudrov
1985 - My girlfriend
1986 - The Last Road - Vasily Andreevich Zhukovsky
1987 - Kreutzer Sonata - lawyer
1987 - Another life - Fariz Amirovich Rzaev
1988 - Big game- Solomon Shore
1988 - The Life of Klim Samgin - Mitrofanov
1989 - Vaska - Kaganovich
1989 - Comedy about Lysistrata - Advisor Probulus
1990 - We met strangely
1991 - The Sukhovo-Kobylin case
1991 - Manuscript
1992 - How are you, crucian carp? - little man, head of a criminal organization
1992 - Key - Semyon Sidorovich, lawyer
1992 - Shop “Rubinchik” and...
1993 - Children of the cast iron gods - master
1993 - I am Ivan, you are Abram - Mordhe
1994 - Prokhindiada 2 - Alexander Alexandrovich Lyubomudrov
1998 - Chekhov and Co. 1. “Forgot” (2nd episode) - Ivan Prokhorovich Gauptvakhtov
2. “Diplomat” (5th episode) - Aristarkh Ivanovich Piskarev, colonel
3. “Hopeless” (8th episode) - Egor Fedorovich Shmakhin
2002 - Lady for a Day - Henry Blake, Judge, Crook
2003 - Boulevard Binding - Gilbert
2004-2005 - Poor Nastya - Vasily Andreevich Zhukovsky
2007 - Rude and Sam - Semyon “Sam” Ivanovich
Teleplays by Alexander Kalyagin:
1972 - Notes of the Pickwick Club (television play) (director A. A. Proshkin) - Mr. Samuel Pickwick
1978 - Players - Ikharev
1981 - Aesop - Aesop
1985 - Goldfish(television play) - narrator
Directing works of Alexander Kalyagin:
1985 - My girlfriend
1994 - Prokhindiada 2
Discography of Alexander Kalyagin:
1983 - “Guys, let’s live together.” Songs of the cat Leopold (music: B. Savelyev, text and lyrics: A. Khait, sung and read by A. Kalyagin, music performed by the Melodiya ensemble)
Scoring of films by Alexander Kalyagin:
1977 - Trans-Siberian Express - voiced by Asanali Ashimova
Scoring of cartoons by Alexander Kalyagin:
1977 - Who am I? - reads the text
1979 - Tale of Tales
1981 - Treasure of the cat Leopold
1981 - TV of Leopold the Cat
1982 - Walking the cat Leopold
1982 - Birthday of the cat Leopold
1983 - Summer of Leopold the Cat
1984 - Leopold the cat in dreams and in reality
1986 - Leopold the Cat. Clinic for Leopold the Cat
1987 - Leopold the Cat. Leopold the cat's car
1987 - Mumu (from the author)
1987 - Dialogue (The Mole and the Egg) (Mole)
1992 - Bobe Mayses (Grandmother's Tales) (Narrator)
2015 - New adventures of Leopold the Cat (Leopold the Cat)
Acting works of Alexander Kalyagin:
Moscow Drama and Comedy Theater on Taganka:
1965 - “Ten Days That Shook the World” by D. Reed; director Yu. Lyubimov - Disabled / Peasant / Soldier / Orator / Minister
1966 - “The Life of Galileo” by B. Brecht; director Yu. Lyubimov - Galileo Galilei
1966 - “Only telegrams” by V. Osipov; director Theodor Vulfovich - Gubin
1967 - “Inquiry” by P. Weiss; director P. Fomenko
Moscow Drama Theater named after M. N. Ermolova:
1967 - “Lieutenant Schmidt” by D. Samoilov; director V. Komissarzhevsky - prison liaison officer
1968 - “Notes of a Madman” by N. Gogol; director Yuri Vertman - Poprishchin
1968 - “The Glass Menagerie” by T. Williams; directed by Kaarin Ryde - Jim O'Connor
1969 - “Revenge” by A. Fredro; director Jerzy Krasowski - Papkin
1969 - “A Month in the Village” by I. Turgenev; director E. Elanskaya - Arkady Sergeich Islaev
Moscow Art Theater named after A.P. Chekhov:
1973 - “Steelworkers” by Gennady Bokarev; director O. Efremov - Master
1973 - “Old New Year” by M. Roshchin; director O. Efremov - Pyotr Poluorlov
1974 - “Like a Lion” by R. Ibragimbekov; director Vladimir Salyuk - Murad
1976 - “Husband and Wife” by M. Roshchin; director R. Viktyuk - Alyosha's father
1976 - “When leaving, look back” by E. Volodarsky; director E. Radomyslensky - Fedor Ivanovich
1977 - “Feedback” by A. Gelman; director O. Efremov - pusher
1977 - “Summer Residents” by M. Gorky; director Vladimir Salyuk - Shalimov
1979 - “We, the undersigned” by A. Gelman; director O. Efremov - Lenya Shindin, chief dispatcher of SMU "Selkhozstroy"
1979 - “Cinema” by I. Churka; director István Horvai - Szerdahelyi-Kisz, assistant director
1980 - “The Seagull” by A. Chekhov; director: O. Efremov - Trigorin
1981 - “So we will win!” M. Shatrova; director: O. Efremov - Lenin
1981 - “Tartuffe” by Moliere; director A. Efros - Orgon
1982 - “The Living Corpse” by L. Tolstoy; director A. Efros - Fyodor Vasilievich Protasov
1986 - “Toastmaster” A. Galin; director: Kama Ginkas - Simon
1987 - “Mother-of-Pearl Zinaida” by M. Roshchin; director O. Efremov - Tobacco
1995 - “Tragedians and Comedians” by V. Arro; directors Nikolay Skorik, Sergey Satyrenko - Chuguev
1997 - “Marriage” by N. Gogol; director R. Kozak - Ilya Fomich Kochkarev
ARTel of ARTists Sergei Yursky:
1992 - “Players-XXI” based on the play “Players” by N.V. Gogol - Consoling
Lenkom:
1995 - “Czech Photo” A. Galina - Pavel Razdorsky
Etcetera:
1994 - “A Guide for Those Who Want to Get Married” based on the works of A. Chekhov; director Vladimir Salyuk - widower
1998 - “Forever and Forever” by K. Dragunskaya; director A. Kalyagin - Sergei Kryukson's dad
1998 - “Faces” based on the stories of A. Chekhov; director A. Kalyagin
1998 - “The Dark Lady of Sonnets” by B. Shaw; director R. Kozak - Don Quixote
1999 - “Don Quixote” by Cervantes; director Alexander Morfov - Don Quixote
2000 - “Shylock” by W. Shakespeare; director R. Sturua - Shylock
2001 - “King of Ubu” by A. Jarry; director Alexander Morfov - Papa Ubu
2002 - “Krapp’s Last Recording” by S. Beckett; director R. Sturua - Krapp
2005 - “The Death of Tarelkin” by A. Sukhovo-Kobylin; director Oskaras Korshunovas - Maxim Kuzmich Varravin / Captain Polutatarinov
2006 - “Suppress and excite” M. Kurochkin; director A. Kalyagin - Good actor
2010 - “The Tempest” by W. Shakespeare; director R. Sturua - Prospero, legitimate Duke of Milan
2012 - “Wow place for feeding dogs” by Tariq Nui; director R. Sturua - old man Garbo
Directing work in the theater:
1996 - “The Reluctant Doctor” by Moliere (Et cetera)
1998 - “Faces” based on the stories of A. Chekhov
2006 - “Suppress and excite” M. Kurochkin
“Chekhov. Act III" (Panther, Paris, France)
“The Inspector General” by N. Gogol (Eldred, Cleveland, USA)
“We, the undersigned” (Ankara, Türkiye)
Radio plays by Alexander Kalyagin:
1976 - “Meeting of the Party Committee” by A. Gelman
1980 - “Gargantua and Pantagruel” by F. Rabelais; director A. Vilkin - literary and musical composition by Sergei Muratov
1981 - “The Seagull” by A. Chekhov; director: O. Efremov - Trigorin
1988 - “Star Diaries of Iyon the Quiet” - Iyon the Quiet.
Alexander Kalyagin so brilliantly played in the Soviet eccentric comedy the unemployed Babs Baberley, who reincarnated as the millionaire Donna Rosa d'Alvadoran, that one might think that the artist himself, by analogy with Aunt Charlie, the widow of Don Pedro, was also born in Brazil, where “in the forests many, many wild monkeys." However real life is far from the screen, and therefore the birthplace of the future master of cinema and theater was not Rio de Janeiro, but the town of Malmyzh, located in the Kirov region at the confluence of two rivers: Zasora and Moksha, which flow into the Shoshma River, which in turn flows into Vyatka.
Role in the TV movie “Hello, I’m your aunt!” brought Alexander Kalyagin crazy popularity. For the first time in Soviet cinema, a male actor played a female role, and the title role, after which he instantly became a people's idol. But in this extravagant image he could have been captured by one of the then already famous artists, such as Vladimir Etush, Evgeny Leonov or Oleg Tabakov... However, director Viktor Titov relied on an actor little known to the general public. And this choice turned out to be unmistakable. “My Aunt Charlie was born from the memories of the women who raised me - my mother, my aunts, she included the features of girls and women with whom I was in love or just glimpsed... My memory gave away a pose, a gesture, a manner of holding a fan, shooting eyes, flirting, raising a leg, clapping your eyelashes...”, Kalyagin recalled in an interview.
Kalyagin's parents, contrary to popular belief, were not actors, they were teachers. Father, Alexander Georgievich Kalyagin, was the dean of the history department of the Pedagogical College; mother, Yulia Mironovna Zaideman - taught French, but besides this foreign language, owned four more. She gave birth to a son at the age of 40. A year after Sasha’s birth, his father died, and his mother moved with her son to Moscow to live with her relatives.
Kalyagin said: “I was raised mainly by women: mother, aunts...” Thus, he grew up in a real “woman's kingdom”, surrounded by numerous mother hens who raised him in love, tenderness, indulged all his whims and wanted to raise a share - a boy playing the violin. However, hopes of seeing Sasha as a good violinist were not destined to come true - the boy broke the instrument and threw the pieces behind the closet.
Alexander Kalyagin is three years old. Photo: kalyagin.ru
He dreamed of becoming an artist since childhood. The mother encouraged this desire, as well as any desires of her son. So that Sasha could fully perform in front of the audience in a communal apartment on Maly Kharitonyevsky Lane, Yulia Mironovna gave her son a mini-theater - she ordered a wooden stage with wings from a carpenter and sewed a curtain. So, from the age of five, the boy began to prepare himself for creative achievements. “I ran up to the dressing table and sculpted different images with all my might,” Kalyagin recalled.
Alexander Kalyagin is a seventh grade student. Photo: kalyagin.ru
Alexander had two idols - Charlie Chaplin and Arkady Raikin, and he tried to imitate them. Since contact with Sir Charlie was impossible by definition, the 13-year-old boy decided to send a letter to the unrivaled Soviet artist. In which he told Arkady Isaakovich about his cherished desire to become an actor and his absolute reluctance to study at school, which was confirmed by huge amount grammatical errors littering this message. Surprisingly, a response was received from Master Estrada. It talked about the importance of work for a person. “Sasha, I believe in work. What is labor? Work is the basis of everything for me...” Many years later, in 1978, on the television program “Theater Meetings,” Alexander read this letter to his idol, which touched him very much.
Schoolboy Kalyagin did not like school so much that after 8th grade he firmly decided high school leave. And he entered the Moscow Medical School, which he successfully graduated with a degree in obstetrics. After which he worked as an ambulance paramedic for two years. But since the dream of acting did not leave young Kalyagin, he went to a theater university for a second education, and, to his own surprise, on the first try he was accepted into the “Pike” - the Shchukin Theater School.
Where from the second year I was almost expelled for professional incompetence. Teachers could not determine the role for an overweight student. “I was already half bald, short, dense. And around me there is a handsome man on a handsome man. Of course, there were complexes, I was embarrassed...”, the future famous artist later said. Chekhov became his salvation, or rather, the performance for the evening independent work one of the writer’s early stories, “Although the date took place, but...”, written under the pseudonym Antosha Chekhonte. Freshman Lyuba Koreneva agreed to play along with him. This production by rector Boris Zakhava was recognized as the best on the course. And student Alexander Kalyagin’s status was determined - a star. Moreover, for many decades to come - it is no coincidence that Anatoly Efros called him a “standard” actor.
Moscow Art Theater “Tartuffe” Alexander Kalyagin with Yuri Bogatyrev, 1981. Photo: kalyagin.ru
Kalyagin's acting career began at the Taganka Theater. However, the independent character of the young artist was at odds with the tough temperament of the theater's artistic director, Yuri Lyubimov. One day there was a serious creative conflict between them, and Kalyagin was forced to leave the troupe. And start working in a new team - the Ermolova Theater, from where Oleg Efremov later dragged Alexander first to Sovremennik, and then to the Moscow Art Theater, which became Kalyagin’s home for more than a quarter of a century. In this theater he played his best roles in such performances as: “The Seagull”, “We, the Undersigned”, “The Living Corpse”, “Old New Year”, “Tartuffe...”
Moscow Art Theater “The Seagull” Alexander Kalyagin with Anastasia Vertinskaya, 1980. Photo: kalyagin.ru
Alexander married the first time while studying at the institute - to the beautiful student Tatyana Korunova. Having arrived from Sverdlovsk, the girl has already managed to study for two years at the University in the Faculty of Physics and Mathematics. Kalyagin was completely smitten by his first passionate love, which luckily turned out to be mutual. However, the young people did not advertise their relationship, they “romanced” in secret from everyone and even got married secretly in their second year. They just went to the registry office and signed... Both served at the Taganka Theater, but after Alexander left the troupe, his wife also wrote a letter of resignation...
Alexander Kalyagin with his first wife Tatyana Korunova and daughter Ksenia. Photo: kalyagin.ru
Tatyana died very early, from cancer. His and Alexander’s daughter Ksyusha was four years old at that time.
After the death of his wife, his mother began to help Kalyagin raise the girl, but a year later the same incurable illness interrupted her life. And then the single father dealt with all the household chores associated with raising his daughter on his own: he cooked, washed, cleaned, took the child to kindergarten, then school, picked him up from there, helped in preparing homework... Bring him into the house new wife and there was no thought, he did not want to traumatize the psyche of his daughter, who adored her mother.
But a meeting in 1976 on the set of Nikita Mikhalkov’s film “An Unfinished Piece for a Mechanical Piano” with the sweet and good-natured Zhenya Glushenko (she later starred in the films “Married for the First Time,” “In Love of His Own Will,” “A Few Days in the Life of Oblomov”), the situation radically changed. “I thought: such a woman could become a loving wife for me and a good mother for Ksyusha,” Kalyagin once said about his “Zhenyura.” True, he decided to invite the girl he liked on a date only a year later - he suggested that the young actress go to the theater together.
A few months later, Alexander Alexandrovich’s daughter invited “Aunt Zhenya” to move in with her and her dad. There were no objections from adults, and thus in 1978 the married couple Kalyagin-Glushenko was formed. And two years later, the number of family members increased - Evgenia Konstantinovna gave birth to a son, Denis...
The artists lived together for almost three decades, but on the eve of their pearl wedding, their union broke up. It was rumored that the reason was numerous rumors about the master’s adultery...
Alexander Kalyagin with his wife Evgenia Glushenko and their children Ksenia and Denis
When Kalyagin’s daughter (her father calls her Ksanyulka) was graduating from school with in-depth study of the French language, she asked her dad if she should enroll in a theater university. Hearing the intonation of doubt in the question, he became indignant: “Only over my corpse! You need to rave about the theater!..”
Currently, Ksenia lives in America, works as a programmer. “She has already become a real American,” says Kalyagin. Now her son is 16 years old, and when the boy was seven, his grandfather once said about his grandson: “His name is Matthew, Matvey. I think he's a genius. He produces such amazing things... He will go far, if only he does not lose his gift..."
Alexander Kalyagin and grandson Matvey. Photo: kalyagin.ru
And Alexander Alexandrovich’s son Denis graduated from a prestigious private school in Philadelphia. “Our guy was too domestic, he lived on everything ready, without any worries. It was necessary to urgently tear him away from us... - Kalyagin explained his and his wife’s decision to send the heir to study in the USA. “I think we did the right thing: we receive continuous certificates of commendation and diplomas... He, unlike his daughter, is a pronounced humanitarian, an artistic person.” Maybe he’ll become a writer...” Upon returning to Russia, Denis chose the profession of journalist.
IN LOVE IN OWN
Evgenia GLUSHENKO played love with Yankovsky, but fell in love with Kalyagin
Evgenia Konstantinovna Glushenko does not favor journalists and does not like to give interviews. Questions “how do you play?”, “how do you do it?” she is not interested because “this is my “kitchen” and I don’t tell anyone about it. Even the director may not know how...” Answers questions of a personal nature, as in the 1993 referendum ballot: “no”, “no”, “yes”, “no”, because “today personal life is so close attention, which creates the impression that there is nothing more to talk about.”
Remembering Chekhov’s words that “every personal existence is based on a secret,” I gave my word not to delve into the secret, but asked the actress to give the reader, the viewer the opportunity to get closer to some distance, at which the “composition” of Evgenia Glushenko’s personality, perhaps, will be close to a solution.
- Are you really a secretive person, a “thing in yourself” or is this some kind of mask?
- It’s probably better to ask my relatives and friends. Yes, I don’t like everyday conversations, although, naturally, they exist between women. But it’s unusual for me to delve into them. I have a close friend - a costume designer, we have been friends for 27 years, but in our relationship there is a taboo - a line beyond which we do not cross in conversations: we discuss this, but not that.
- Psychologists say that the roots of secrecy begin in childhood. But you became an actress, which implies open emotions. So what happened in childhood?..
- I was born and raised in Rostov-on-Don. As a child, I really loved to dance, read poems, and when I went to visit with my parents, if I didn’t obey, the biggest punishment was: “We’ll take you as a guest, but you won’t perform.” I was ready to do anything if only the punishment would be removed from me.
It was like this until I was five or six years old, and then everything went away, other hobbies appeared - I took up sports, not professionally, but just went to sports clubs. And one day my mother said: “Would you like to go to the drama club? There you will be able to develop your speech, learn to speak correctly.” Mom didn’t like my rough southern accent. I went to the house of pioneers and was very carried away by the special artistic atmosphere that was created by the head of the drama club, Tamara Ilyinichna Ilyinskaya - I owe a lot to her. And not only me. Many now famous directors and actors came from this circle: Anatoly Vasiliev, Evgeny Trostinetsky, Elena Smirnova, St. Petersburg resident Alexander Markov, and in the Alexandrinsky Theater there are many people from our drama club.
I really loved everything that was connected with our performances: I loved sewing costumes, sewing sequins, rehearsals... And although I am a tense person, I was not afraid of the stage. Even now it’s easier for me to perform a play than to give a speech. On stage I free myself.
Of course, I had the desire to become an actress, but there was no confidence that I could become one. When I went to the theater or watched a movie, I saw how beautiful all the actresses were, but there was nothing special about me - neither legs from the throat, nor thin waist, no height... Well, pretty, that's all. But one day the studio people, in my absence, were discussing who could become an actor and who could not. And Tamara Ilyinichna said: “But Zhenya could become an actress.” The guys passed this on to me.
- That is, you became an actress despite the “lack” of texture...
- Yes, I entered the Rostov School of Arts and, after finishing the first year, I decided to try...
- ...conquer Moscow?
- No, I didn’t think about it, I just decided to try what I was capable of. I still don’t know why I did this. Was it pride or ambition... No, I didn’t have ambitions, rather it was an impulse - I often acted impulsively, and this was exactly the case. At this time, two more studio students were going to enroll in Moscow, and this gave me determination.
Like everyone else, I entered all theater universities at once, having no idea where it was better, where it was worse. When I entered GITIS, the institute’s teacher, actor Gutierrez, was sitting on the admissions committee - he starred in Kheifitz’s film “Salute, Maria!” Later he left for Spain. I passed the first round, and on the second he asked me: “Where are you from?” - “From Rostov-on-Don.” - “Why don’t you bark?” - “I don’t know...” - “Come on, turn around,” he asked. I turned around. “Do you have higher heels?” “I’ll find it,” I answered. “Come to the third round in higher heels.” The shoes were urgently sent to me by train, but they were not needed, since I passed all the rounds at the Shchepkinsky School - all that remained was to pass general education subjects.
- Surely filmmakers came to your school to choose “nature”...
- Of course, they came and took someone away. But in such a way that they told me: “Girl, we invite you to filming,” this did not happen.
- Were you offended? Did you want to go to the movies?
- Of course, I wanted to. But I don’t remember being envious or hurt because they didn’t choose me.
- However, your first role in “The Unfinished Play...” turned out to be stellar. And all the others are a direct hit in the audience’s hearts, as if they were written especially for you. Is this the same Lady Luck or an accident?
“We’ll consider it an accident, since it wasn’t me who was looking, but they found me.” I was already an actress at the Maly Theater, finished the first theater season, and lived in an actors’ dormitory. My friend auditioned for one of the roles in “The Unfinished Play...”. The director’s assistant asked her: “Do you have a young girl in mind for the role of Sashenka Platonova? Wherever we have looked, everything is not right!” “I gave you your phone number,” said the friend, “so they’ll call you.” I thanked him, but did not tremble while waiting for the call. And a day later they called me and invited me to the studio.
I arrived and they told me that Nikita Sergeevich was not there yet, but I could read the script for now. Mikhalkov came, we met, and in his usual easy manner he asked: “What theater do you work in?” When I said: “In Maly,” he made such a grimace that, although I was not an explosive person, everything inside me caught fire. "Crap! - I told myself. “I really want you to change your opinion about the Maly Theater!” Mikhalkov told me about the image of my heroine, about how he sees it. I asked him to tell me about himself and at that time made a sign for me to be filmed. There were more tests, and I realized that nothing would work out. Well, it won’t work, and it’s not necessary. After all, I had a theater, and I didn’t feel a passionate desire to act. But I was invited for the third time, I arrived, Mikhalkov said that I needed to play the final scene (the scene in the water). This scene requires great emotions - I understood this and honestly told the director: “I can’t... I don’t know how, I don’t know what you want from me.” “I don’t want anything,” he said. “Just write this text down on a piece of paper and read it without paying attention to the camera.” I rewrote the text and began to read: “Mishenka, my beloved husband...”. And suddenly I began to sob - tears flowed instantly - and, crying, I continued to read. I found the state that needed to be played in myself, and I did it. And Mikhalkov said: “This is how you need to play. It will be very good if this happens.”
- This is your first time on set, and in a star-studded cast. Didn't you hang out?
- No, you know, there was such an easy, friendly atmosphere there. And most importantly, I felt that the director was with me in every frame, he was guiding me.
- You really played to the limit of emotion. They say that such scenes succeed when there is love or a state of falling in love in life...
- Yes, I heard them say that. But then I was not in love, and there was no romance. I was free, maybe that’s why it happened. What was deeply hidden in me, the director pulled out of me, tuned it like a musical instrument.
- Didn’t the relationship with Alexander Alexandrovich Kalyagin begin right then, on the set?
- No no. We were just good partners, that's all. I had my own life, he had his. When we met by chance, we communicated formally. "How are you?" - "Fine". - “Will you come to my performance?” - “I can’t.” Six months later the film premiered. At the evening, everyone was in a good mood, it was very fun, we danced, and Alexander Alexandrovich told me: “Marry me.” And I just as easily answered: “Yes, of course, let’s...”. We were on first name terms at that time, and none of us took these words seriously. A year later we got married...
- Then a child was born, and this is always a big test for a family, and even more so for an acting...
- The child did not appear immediately. There was already a child in our family. Alexander Alexandrovich's daughter from his first marriage, Ksenia. She was nine years old when we got married.
- The role of a stepmother is no less difficult than any acting role.
- I didn’t feel this complexity. We have always had a wonderful relationship, and it continues to this day. This is a very dear, dear and close person to me, and now that my daughter is 35 years old and lives in America, we miss each other when we don’t see each other for a long time, we call each other back, we go to visit each other. And the son is, of course, great joy and a big test. My parents helped us a lot - they were always with him, and Denis adores them.
- The children did not follow in the footsteps of their parents? Have you tried to guide them?
- When my daughter was 15-16 years old, she asked: “Dad, maybe I should become an artist?” And Sasha said: “If you’re asking that, then there’s no need.” And she became a designer.
When my son was little, he loved to make faces in front of the mirror and pretend to be something. He watched Sherlock Holmes and asked to buy him some pipes. His father bought him pipes like Sherlock Holmes and canes like Charlie Chaplin. So he had some real pipes and reeds. I remember there was a very funny incident when Sasha played Lenin in “So We Will Win.” Denis was little then, and we gave one portrait, where Sasha is in the image of Lenin, to my parents. Grandfather explained to Denis that this was dad in the image of Lenin, but he was not able to understand what it was. And when he arrived in Moscow and saw the monument to Lenin, he said: “This is my dad!” We laughed a lot.
When Denis grew up, I asked: “Do you want to become an actor?” “I don’t know...” he answered vaguely. And none of us put pressure on him.
- Who is the greater authority in the family for the son - you or the father?
- I think, father. But Denis became independent early - at the age of 15 we sent him to study in America, where he graduated from a liberal arts college. Now he is 22 years old, he will enter graduate school in Moscow. Will study philosophy. He is quite an adult, and it would be stupid to lead him, despite family authorities.
- But are you fulfilling your role as a guardian mother?
- Yes, of course, I’m interested in what my children are doing, but I can’t be a chicken mom. I am a mother-friend, and I don’t interfere in the lives of my children, I don’t live their lives. After all, when you talk to a friend and ask her questions, you are not living her life. It's the same with children. There are parents who constantly look after their children and, parting in the morning, ask them thousands of questions in the evening: “What did you do? What did he say? What did you answer? And if my son talks to his father about something, I will not ask him what he talked about. If he wants, he will tell him himself.
- Do you think such detachment does not interfere with the family?
“Probably, members of my family would answer this question more definitely than I do.” Probably, it interferes... My daughter sometimes asked me: “Zhenyura, where did you fly off to?” - “Ah... I’ll be right back,” and she returned. Children, of course, require attention. And if my son, for example, asks me to cook something, and I have time, I will definitely cook it. And if not, he says: “Let me cook.” But sometimes I feel like I need to be alone, and I tell Denis: “Don’t touch me now.” “Okay,” he says. - Tell me when you can talk. How much time do you need? We start laughing and I tune out my problems. Of course, it happens that I cannot always cope with myself. But I have a way to reset the bad things that have accumulated in me. I definitely find some kind of activity: I rush to clean or walk a few kilometers... This really helps to switch.
- It’s no secret that in the theatrical environment, as well as in the cinematic environment, there are plenty of ill-wishers, as well as well-wishers and gossipers. You've probably encountered these phenomena. How do you usually react?
- Once upon a time I asked one actress: “How do you react when they tell you something unpleasant?” She replied: “I mentally turn my back on this person.”
And my son told me this story: in the college where he studied, there were two guys who seemed to be friends, but one of them once said to the other: “I hate you!” “I don’t hate you,” another responded. - After all, it takes so much strength to hate! You are simply not in my universe." I can’t say that I react the same way to gossip, but in negative moments I kind of put a screen between myself and the person.
- And, as I understand it, you still don’t like the party?
- I like to come to premieres at the House of Cinema or the Cinema Center when I need it and it’s interesting. And then it doesn’t matter to me who sits next to me, because I didn’t come to communicate, but to watch. But when I communicate, I try to be friendly with everyone.
And in the party, I noticed that people don’t communicate with each other. It seems to me that what is important to them is not communication, but how people react to them, how they perceive them. This is a game of communication. Probably she is needed too.
- Well, do you participate in “women’s conversations”?
- Certainly. I am happy to talk about problems that concern all women: how to make themselves look good, about diet, creams, or I ask for a recipe for a dish that I liked. But I don't like to burden anyone with my problems. I have several people dear to me, whom I simply come to when I feel bad, and I don’t need to tell them anything - they make me feel good.
- Do you burden your husband with household problems?
- As for me, the children, the family - this is sacred for my husband, here I can rely on him completely. Another thing is that I have this character trait - to dramatize events. Sometimes I become too immersed in myself, I get gloomy, but one word from my husband, precisely found and sometimes witty, breaks everything that I have piled up in my soul and head... And if bad thoughts just come, then I know for sure that I should deal with them stay away. This means that they were given to me in order to understand something.
- Your husband has his own theater. Ever wanted to play there?
- You know, after we got married, we were repeatedly offered to act together, but we refused. Without saying a word, we realized that it was better for us not to do this. This is our individual decision.
- Does Alexander Alexandrovich give creative advice, help in your work?
- Of course it helps. It happens that I see a role, but I don’t feel it. So, Sasha and I sorted out one scene that didn’t work out for me in the film “In Love of My Own Will,” and he showed me (very delicately, without imposing his opinion) one color of the character. “Try it,” he said, “if the director likes it...”
- By the way, playing a “sweet ugly girl,” as Yankovsky’s character said, probably wasn’t very pleasant?
- Well, what are you talking about! It was very fun and interesting! I didn’t think about how I would look or what they would say about me. I had a very smooth face, and the make-up artists sculpted latex pimples on me and pulled my hair back to emphasize my unattractiveness. No, I didn’t experience any complexes. My mother never said to me: “How beautiful you are!” Although I think that children should be told this. But I was raised strictly and, on the contrary, they said: “Look at other girls. Somehow you’re doing everything wrong, you’re moving...”
According to the script, my heroine was different than the result. She was supposed to be thin, with a long nose. But I have a completely different texture - I have never been subtle. And I suggested to the director to go from the opposite: I will get fat and then lose weight. And he agreed.
- Do they recognize you on the street or show you signs of attention?
“It doesn’t happen often, but it’s very nice when they smile at you and say, “Hello.” I also say hello and smile back. But sometimes there are such dialogues - a lady stops me and asks: “Don’t you know me?” - “No, I don’t know.” “Somehow your face is familiar to me,” she says.
“You look like some kind of actress.” “Yes,” I answer, “many people tell me that.” And I move on.
- Does the fact that you don’t have the brilliant texture that directors hunt for make you feel unclaimed?
- I am glad and happy with what fate has sent me, or, if you want, the Lord. I got more than I expected. And I have never had and do not have a feeling of not being in demand and there is no reason to complain about fate. life goes on, there is work in the theater... And if I don’t act, it means it’s not destined. Or maybe it will happen again... But I will never fuss, let alone suffer, about this.
- So, you can say with all responsibility that life has worked out?
- To say this means to put an end to it, but I have a feeling that there is a lot of interesting things ahead and, as one of the heroes of Shakespeare’s play says, “you just have to always be ready...”.
