Yuri Pole actor biography

Vakhtangov, turned into an active dialogue behind a cup of tea and it was quite difficult to give her an interview. The conversation began, of course, with the role of Prince Andrei Bolkonsky in the production of Rimas Tuminas, which has been conquering the Russian public for a year. They also mentioned the unexpected turns of the acting path, affected the topic of pride, did not disregard theatrical magic and unexpected creative desires now for the performance for a year.

Is something changed in your attitude to this image? At first, of course, a huge excitement and a sense of responsibility was felt, these were the main enemies when working on the role. I had three notebooks in which I wrote notes. Tuminas once said that he had an actress to whom he made a remark, and she took out her notes and said: “I have everything recorded! It was the same with me.

My advice helped me a lot to remove responsibility, let himself go, remove the notebooks away. Of course, one of these records is now embodied on stage, but everything happens by itself, without reconciliation with them. From the very beginning of work on the performance, I really love this role. I know that there are people who are ready to watch the performance again and again, and I am also ready to play.

Recently there were touring in Kemerovo and Novokuznetsk, where we played eight performances, almost in a row. Of course, fatigue was felt by the eighth performance. And on the other hand, the acting psychophysics was already so “heated” that you stop thinking on the stage, you begin to play from the subconscious. Thanks to this, new faces are opened in the role, new sensations appear. Those moments when we all work on something subconscious are just miracles.

They are interesting to observe not only in themselves, but also in the scene partners. That's why I love to play this performance: for constant discoveries. And only now, thanks to Prince Andrei, such increased attention has appeared to you. Is it a shame? Everyone has their own path. There was no season that I did not release the performance. During these ten years, many other characters have been played.

These were not so big roles, but still my personal movement forward occurred. Of course, I want everything at once! But this happened to me just now. Everything has its time. When in the year we rehearsed Minetti, Rimas already said that he wanted to call me at rehearsals, to offer a big role. At that time, everything was deposited, but in the end it resulted in work on the “war and the world”.

That is, the creative maturation was supposed to end? The role is not just the main one, but the host. Andrei Bolkonsky, along with Pierre Bezukhov, set the tone for the whole action. What became the actor Yuri Pole, so that he was offered this role? It is difficult to say, from the outside, of course, it is better. I think that the difference is primarily in experience. Similar roles are always immersion not only in the psychology of the hero, but also in his own.

What did this role open in you? The confidence of Prince Andrei gave me self -confidence, in her own abilities. Vakhtangov “War and Peace”, director Rimas Tuminas, the play is only a year. But it has already been played a huge number of times. Is theatrical magic lost? Does the feeling come that this is just work? Everything is quite the opposite. There is even a "breaking" when I do not play for a long time!

For example, it was a month when, along with the tour, I played ten performances, and the next month - only one. And then “War and Peace” is very missing! I get something for myself with each show. Therefore, this is a big plus that we play him so much. The role is such that it can grow and grow in it, because the process of knowledge is endless. I begin to feel more freedom in my character.

At first, I played in a given framework, only over time I gradually be freed from them and give will not only to myself, but also to the character. All these sprouts were originally laid at rehearsals, and now they are germinating. Largely only now, a year after the premiere, you begin to understand what Rimas wanted from me ... What did the work with Tuminas give you?

Everything that you say can sound too pathetic ... He gave the essence of this profession. He knows her and carried her. At all rehearsals, one of his appearance was enough, so that we, like tools, began to tune in and sound correctly. This is an amazing feeling! As if you are connecting to some kind of energy. This is a director who knows how to create an extraordinary creative atmosphere on stage.

He went on stage, showed how the hero should move his hand-and I immediately understand something about the character. I now try to cultivate a similar mood for creativity in myself. He always seemed to listen to the atmosphere, to the character. And something was immediately born of this attention. In the way he taught the profession, there was an indescribable truth of feelings and thoughts.

His feature as a director is that he is always a dozen steps ahead of you. On stage, you can offer him something, to captivate your idea, but he is always ahead. And so I want to be on a par! .. In his performances I have no questions, why I go on stage, what I should do. Questions may arise only to themselves.Vakhtangov “Snoppy”, director Aydar Zabbarov, is, of course, an experience that cannot be overestimated.

And a professional level that is difficult to achieve. How does other directors work after Tuminas? It can be interesting with any director, when the actors with him are in the co -creation, when the general process goes. Of course, Tuminas could abandon the acting idea, but it was always clear with him why he refused. This understanding, internal connection, the desire to create together.

In joint work with the director, are you an obedient actor? Yes, obedient. But until a certain point! I will definitely do, as the director said, but then I will offer my own option. Sometimes, by the way, it comes to mind something like “Why not put something of your own? Therefore, I just focus on the profession of an actor. You were not only at the Vakhtangov Theater or in the cinema as an actor: there was a period of work in Creative Association 9.

Please tell us about him. This happened immediately after the release, there was not very much work in the Vakhtangov Theater. Having looked at their performances, I realized that there is an insanely creative atmosphere.

This was a great example of the "knee theater." When you understand that the artist does not need a complex light or bulky decoration in order to play a performance. He is an independent unit that can create a theater. We plunged into the theater process in all its manifestations. They came up with design, costumes, collected scenery. You can, of course, disconnect from all this.

He came, they gave you a suit, put a makeup, you went into the scenery, where you were already charged in advance, played - and that’s all. But all this is also your territory and a creativity zone! You can turn on and offer something, as I sometimes do. But if I were not in “Association 9” - such thoughts, most likely, would not have arisen. The experiment in the profession always refreshes, makes it possible to stay in shape.

I am now lacking such an atmosphere.