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They existed and to it, but have not been learnt. Actors came nearer to them purely intuitively. Stanislavsky on a boundary of centuries has opened a question on drama school, a theatrical method. It has not settled this question, it has simply opened. And Stanislavsky's pupils - Michael Chekhov, Mejerhold, Vakhtangs, have continued this direction. All of them recognised that theatre is not casual, not intuitive action. In it there are laws. This phenomenon of a human civilisation and the nature, and it leans on the higher samples and the supreme laws. These laws should be opened, it should be followed. That's all.
But since Stanislavsky and its pupils the theatre has saved up new knowledge, and it was necessary to systematise them again. And further some have gone on road of new opening. I was at lecture Grotovsky on which he spoke about the theatre as about continuation of experiences of Stanislavsky. Continuation in a certain direction and without any romantic aspirations. He named everything as is, and exposed itself in the searches, he told "it not so", "it too not so, a lie, here a deceit". That is he searched for truth at theatre. And Vasilev too went, of course, leaning against Stanislavsky.
For me value of school Vasileva consists that he suggests to go by an apprenticeship, that is studying and knowledge.
- Why Vasilev so long works, and why results are shown so slowly? It is specificity of this school?
-It is specificity of an author's position. An author's position of the actor. To the actor at game theatre give an author's position. He does not play someone, does not represent someone, he plays from itself(himself). It very much an important point. I should make partnership with the actor with whom I rehearse. And as the director I well know the play. I know all. But when I incur functions of the actor and I join, all these words for me open as if anew. Absolutely differently, than I could present to myself. It arises directly at the moment of pronouncing. Directly. In some instants the sense suddenly opens. I could not expect this sense. At the moment of execution in you such penetration which you could not present opens. And it is given the actor. Therefore the actor should improve constantly itself, for its this statement. He not says another's text, he should express from itself(himself). How much deeply he can express, all is so deep and will sound.
In our work with actors we, in the end - the ends, reach things which are outside of physical abilities. To the things, concerning superabilities of the person. Spiritual expresses itself at physical level. We see physical display of how the person has come off a surface and has departed, or as the superstrong person has set a steamship, self, the physical strength. And we think that it is physically strong person. And I watched transmission, and there was said that it at all physical strength. It operates electric field. And we leave on level of a physical explanation of the supernatural phenomena. And then they open. The actor who works in game structures, should work in this area at least as imagination.
-And what it for supernatural abilities? What is necessary, that them to develop?
- That them to develop, the belief, this the first is necessary. Then ability to concentrate is necessary. It is necessary to be able to magnetise space, to contact to space. And for all it it is necessary to understand that all in the world is informed. It is necessary to be able to construct a vertical axis. Top-bottom - indefinitely. It, of course, becomes thought, but it is necessary to believe that the thought becomes a conductor, that is will direct any giving rise force on these invisible channels.
- And actors of Vasileva own all it?
- We do not own, but only we aspire to it. All it, first of all, is concluded in outlook which, of course, is not materialistic and is not realistic. But, on the other hand, exact knowledge here is required. It is impossible to be simple the dreamer. It is impossible. It is impossible to live simply imagination, it is necessary to understand how to operate through certain channels, to direct, direct energy. Not simply to have it, but it to direct. And to own it, to fix it. To direct a narrow beam on any points. Here it is all it is required from the actor.
- This all, of course, cannot be seized for one day?
- Yes, and for this reason so results are slowly shown. At first the person is devoted in it, and to it something opens. And further, as Vasilev on "Mozart's" rehearsals well spoke: any devoted should devote itself. But not everyone will devote itself(himself) to it. That is, any sphere of action, and further already its choice is offered to the person, to go to this party or not to go. And if the person makes a choice in this direction, it goes further and further. Then there are trainings. But training is useful to one, for another is useless. It is closed. Differently happens. As at any school people share on honours pupils and dvoechnikov. When go to usual school, not all understand, in that they should study. And someone then speaks:" It is not necessary to me of it, me to what. I want to work as the loader, to me it is normal ". That is I again coming back to this thought that the theatre is a way. Vasilev offers a way. But on this way there are only those who already knows in advance that the theatre is a way. And all the same at any moment the person can experience crisis and descend from this way. But it already the destiny, at one it has developed so, at another differently. Certainly, theatre Vasileva pushes the person on luck. I think, as Vasilev always solves one question: it is necessary to it or not? Certainly, it has answered this question earlier. He spoke to us:" I have answered this question, to me it is easy ". But I know that it too instants. Because during any instants you answer this question:" Yes, I make this choice ", and in the following already can have doubt. Because there is a gift, and there is a person. But I have checked up on experience that for those who wants to be engaged in such theatre, it is very attractive. It is attractive not in sense of dividends, and in sense of the subject. It very much unites people. Therefore it is theatre ansamblevyj. To me will tell that any theatre ansamblevyj. No, not any.
At Film actor theatre where I have a performance "the Measure for a measure", executors are gradually trained in game laws. More recently they have achieved simply exclusive results, almost as at theatre Vasileva. On one of rehearsals the text suddenly has unexpectedly sounded so strongly, what even doors began to open and to enter people. Such yet was not, though performance goes on the spectator some months. It means that statement can be studied in sense ispolnitelstva, in sense of work with the actor. That is deep into. Here has passed year since we have started to rehearse, and now, for the second year, there is deeper comprehension. I feel that performance has generated any magnetic field, that is it can be continued, it it is possible dlit. And after all in it people not from theatre Vasileva are occupied, is simple the actors, leading the usual life, acting in film in advertising. And suddenly the such. For me it means vitality of this system. Actors need in something similar. I am absolutely assured that if to tell about game theatre to other actors, they will understand and will join.
- You have told that this technique cannot be so is simply mastered. It is difficult to take it?
- Very difficultly. Therefore I am happy with the pedagogical experience in theatre of the Film actor I is happy not with the statement, to it I am indifferent enough, indifferent to that, how many have come spectators that critics have written, I do not dissemble. But I am not indifferent to growth of the actor, to the perception of this technique. And when I see that it yields the fruits, I rejoice. For actors this serious test. I speak to them: "you should not go to the protest". Though I understand, how it it is not easy. After all they continue to work and at traditional theatre. How now to be? And I speak to them: "you should understand and that director who offers you something traditional, you should understand for yourselves, using system, at what level he asks that asks, as asks. And you will orient and can work both there and there".
- Work at theatre Vasileva, obviously, in a special way forms outlook of the person?
- I have classmate, the film director, Michael Shirokov. We were very amicable with it during training. And somehow once after any rehearsal went, and he has told that it is clear on itself and on the companions feels, how under the influence of work at theatre Vasileva there is an outlook change. To me this conversation was remembered, and I have told:" Yes, I too feel it ". First two years of training at Vasileva when I lived in Saratov, and here came only at session, were very happy in my life. Because I have not been still densely occupied at theatre, but at the same time felt a certain enthusiasm. Our sessions passed very much nasyshchenno and is intense, and gave a lot of food for imagination, for considering. Time between sessions was the most blissful time. I persistently prepared for them, and not under pressure that is why that most would be desirable it. During holiday I within a month went to library and have read all Platon, and it was any enormous blow on consciousness. Another matter that I could not assume still as it to make at theatre. I still it did not understand anything. But acquaintance to Platon's texts about which I only heard, but never read, and then already real practical experiences, - all it was unforgettable impression. Then on force I have endured just the same impression, when Vasilev declared: Oscar Uajld, "Dialogues about art", Marx's edition of 1910. I for half a year have read all Oscar Uajlda. Too has received enormous impression. And it was useful not only that it to put all, and for something bolshego. It was the whole world in which the imagination started to live. So through theatre the special outlook was formed. And consequently the theatre turned out something big, than that is limited by simple result. The road has been opened.
-Vasilev on the sights at the world - an idealist. How it is shown at its theatre?
It is shown, first of all, in its analyses of texts, they always lean that is not material. And then, of course, there is still a religiousness question. Vasilev never hid that it is attached to Christianity and Orthodoxy. To questions religious in the life I have come through its theatre. It was then christened and has gone in a temple. For me all it has appeared uniform road. At any stage, at more profound penetration, there were complexities, contradictions. All appeared not such simple. I after all was the Soviet boy who has grown in the atheistic environment, got atheistic education
- In the methodology which is developed by Vasilev, there are attempts to get into certain thin worlds, to train special power of the actor?
- Energy or power underlie actor's ability to make movement. Any movement - in a word, in plastic or in a pause. Any actor makes energy. But everyone will have a way of achievement of it, only one it will be hidden, another to open. Someone is based on inspiration, someone is simple on gift, a spark Divine. At someone it can be simply trained, turned out in due course and with the years. It is a lot of ways. Certainly, practice is necessary for strengthening of it. It is impossible to have power, without having practice. However, practice can be energy opening way, and can be blocking. And all it individually. We at theatre always had different trainings. At last stage, since 1994, at theatre there is a training based on the technician of oriental combat sports. At first it had applied character, it was necessary to make "Illiada", and then became constants, - daily gymnastics, a gymnastics which allows to make a body and mentality workers.
- Vasilev repeatedly said that feature of its rehearsal method that it changes concepts at actors. He spoke about it at a stage "Serso" and "the Adult daughter".
- Obstinate thing consciousness. That not probably is more obstinate, than that is visible. Belief, for example, to change very difficultly. One consciousness can allow to work with it. And another is not present, it is conservative, does not start up to itself. And in actor's work the plastic consciousness is required. That is an openness, and ability to changeability. The soft material is necessary.
-What is the time you usually rehearse performance?
-The theatre is called "School of drama art". Means, we practically rehearse nothing. Anything at all we do not rehearse as statement. Initially it so. Students, and then actors gather for experimental work. Also do experience which is closed. It does not have purpose, there is no restriction. Experiences can go divergently and with different texts. Very often happens that experiences, for example, with Platon in any group were at a deadlock. The human resource has been settled, people could not be engaged in Platon any more. From these texts toshnilo. It was necessary to change a direction. And then this text threw, took another, opposite. Experiences are always investigation. Sometimes you attack a gold-bearing vein. Something turns out, the plan ripens and there can be a performance. End process completely not long. Certainly, it is defined by Vasilev. But it happens very quickly, simply instantly. Time, time, and all.
-You say that experiences have no purpose.