ACTRESS THEATRE have things to do. I write short stories and poetry, which appear suddenly. Even the smallest thing can impress me. I began with quatrains and wrote this after Gena’s death: I cry at night and read poetry, with no power to confess my love: you no longer exist in reality or dreams. You come to me only in transparent reality. It’s so painful
grateful to each director for sharing his experience — and style. I’m one of those actresses who always need a director. I’ve been lucky in working with good ones. I once played a role in the comedy Cylinder, directed by Boris Vtorov; I could hardly dream of it! I worked with Yury Pakhomov and of Mikhail Krasnobaev and am
The role of Yevfrosiniya of Polotsk is wonderful; I actually went to live in a monastery to prepare myself. Bizarrely, I played a monkey at 50, in Krasnobaev’s Doctor Aybolit, climbing up and down a mast. You have to embrace an element of fantasy as an actor; it’s a test of your professionalism. The possession of this profession brings me joy.
I love beautiful things...
— severe. I can’t explain. So much needs to be pondered and solved. I love you. I love you in the scream of the night, in our song of love and green eyes, and in my bitter weeping, because of your kindness — because you were, are and will be — you...
Roles
I’ve worked with various directors, who each have different styles. I feel closer to psychological theatre, when form appears later, but it’s also interesting to work with those who have established form. You explore and develop. I try to express each director’s idea and am
now rehearsing Love Lab, with Mr. Pakhomov. I love my roles, which are so various: an evil aunt in Gorin’s Plague on Your Two Families (which continues the story of Romeo and Juliet); Lyuti in Dudarev’s Remembrance Prayer; and Death in Rook Despair. I’m proud of the latter. Vladimir Korotkevich’s dialogue is wise and philosophical and I have a large monologue. I also sing rock music and have quite unexpected stage make-up. It’s a true departure for me. Maturity has quietly crept up on me, with age-appropriate roles also arriving. These reflect my inner world.
I don’t play games as I find them a bit awkward and lacking in sincerity. My sons sometimes say me: you’re not at the theatre now so you don’t need to act. However, your profession has an impact on people — whether you are a teacher or a doctor... Maybe my children have this in mind... I love to look at all things beautiful and eat delicious foods. We are what we eat in the literal and figurative sense. Our nourishment of the soul then affects what we give to the world. I have never felt inferior which is probably why I love beautiful people. All my friends are beautiful and I can express my admiration for the beauty of any man I meet — even for the first time. I’ve understood with time that others can find this confusing, so I’m more careful these days. I admire the work of colleagues and easily express my admiration if they perform wonders on stage with their talent. It doesn’t matter whether or not I like them off stage. I don’t tolerate laziness in myself, but I’m only human, so am susceptible. I tend to be the one who jumps on a horse and gallops off in different directions. I’m spontaneous. I believe that we should love Heaven and Earth and everything in between. The prism of love softens all imperfections in the world. We should live, giving life to children with pleasure and raising them in love. If you have talent, you should develop it and give pleasure to others. Take care of your health and retain an open heart and soul. If you do so, the whole planet will be better for it. By Valentina Zhlanovich
2012 беларусь.belarus
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