Kiryukhin Vladislav Biography

Do you always make decisions so quickly? Life is fleeting, so you have to act quickly, but reasonable. Yes, indeed, there was such a story, suddenly a proposal arose immediately to the second year GITIS, but then I was still studying in the tenth grade, and I had to quickly end the school and enter the second year. In general, in my life I try to think, weigh everything, and then make some decision, but this does not always work.

Perhaps the most striking and best memories are when we remained after the actor’s skill in the class, the whole course or partially, and collected studies the next day: invented them, solved some creative problems, there were many of them, they often arose. Bright moment: a trip to Vologda with the play "Reders", it was great! This is the first tour in life, it was very interesting!

In general, there are a lot of such bright flashes: for example, a somersault from the table. When it finally happened, it was just fine, great! At the end of the fourth year, I also entered the New Opera Theater - they took me, and the fifth year of study remained ahead! Alexander Alexandrovich Barmak instilled general concepts from the very beginning: what is the theater, what is a scene, how to go to the stage, how to get out of the stage, how to turn, and it is absorbed, as they say, "with the milk of the mother." We already say this at the level of blood for ourselves now - there are such technical moments, if the director does not put just such a turn: you can’t turn your back to the hall, the latter always leaves the last to walk along the stage, for example, the scene cannot be crossed, categorically, it is prohibited in all theaters!

You can not cross the scene to the diagonal, it is dangerous, you never know what can happen or tear off, the scene always, if we do not take part in the play, we go around. Well, of course, with regard to acting, the base was fundamental! And I am very grateful to fate and San Sanych Barmaku that he believed in me, took the second year, and I hope that he does not spare about it.

But in fact, the comprehension of everything came at the end of the fifth year, on one of the runs of our diploma performance “Hamlet” in the GITIS training Theater-I realized that some of my new stage of my acting life, my second wind, began. I suddenly began to understand his words differently, his demands, and it was a very pleasant sensation, but, unfortunately, it was our last rehearsal, we took the performance and no longer played.

What is the closest to you from your repertoire? When you start working on the role, this is generally such an interesting process for the actor - you make an acquaintance with this character, try to make friends with him, be related, and in the end you should become one. Close - that is, is it easier to give? Unfortunately, there are no such roles, I still have to work on resistance, it’s more convenient for me, it is always more interesting through resistance, because work is going on, analyzing the role.

I really like Boshan's role! From the point of view of the actor, this role is close to me: plastic, and presentation, and reading. There is also a role, for example, Yusov Akim Akimych in a “profitable place” - a very difficult process, the hardest! We argued a lot. I sought to accept this image as I saw it. It still seems to me that he should be the way I convey him to the viewer.

It is very interesting when you start arguing with the director - but arguing sensibly, not stupidly, not to engage in as a tyranny, but to look for the truth! And there were a lot of such nuances! This is a good, healthy workflow. They also did not know how, in what vein. Is this a comedy? Who is he, soldering? Or is he really Shakespeare? Is he a person or is he fiction, or spirit?

A lot of questions. But in the end, it turns out that the only living person in the play is Shakespeare. A person in black, alive, real, telling you a story, but how could it be if this very interesting world is the world of the actor! The performance "Love and pigeons." Oh, what a difficult question! Well, let's have little time about the minuses to communicate with loved ones, with children - this is the costs of the profession.

We make up for this in the summer or in some intervals, into breaks, but we always try to be together, for example, holidays are always celebrated in a large family circle. Well, the pros, the buns of our profession are, of course, communication. Each time, going on the stage, we communicate with so many people - and from the stage we communicate with you, with the audience.

This is the most beautiful thing that could be - there is a serious exchange of energy! I don’t know where this can still be found, except in communication with their children - to give them love and see the fruits of their love in how they grow, rejoice in life, how they grow up. Perhaps this is the most important plus of our profession. Going on stage, you forget how old you are, what hurts you, etc.

I still don’t know how it works, but it works!This is my personal expression, means “universal”, that is, an artist, an actor who can work in the operetta genre, and in the musical genre, and in the drama-musical direction, and I personally worked in the opera-was a soloist in the “new opera”. There are people who quickly switch in the performing, vocal terms and others are very difficult to rebuild from the academic manner of execution to the pop.

The principle of extracting sound is the same, but the presentation is different, other nuances, and in terms of vocals, and in terms of acting. The musical, as a rule, is much more dynamic, faster, this is another machinery. This all should burn, explode - Buff! In operetta, more and more calmly, academic, and the musical is an action, dynamics. There are good artists, magnificent singers, but it is difficult for them to switch.

This is a little easier for me: today I work classics, and the next day I can work as a musical. And, for example, in one program you can sing classics, crossovers, musicals, and a stage - there is no problem for me in this. A synthetic or universal artist can work in the Genre of Operetta, and in the genre of the musical, and in the drama-musical direction, and in the opera, for example.

There is a clear distinction in our theater: operetta and musical. And there is such, say, a backbone-an operetto-musical. Here is the “profitable place”-I can’t call it an Operetto-musical, I would still call it a drama-musical performance, but as a suicide, so that we do not go far from the direction of our Operetta Theater, we call it an operetto-mushik, because this is not an operetta in a pure form, and not a one-percent musical, although excellent music is driven, Good - and the performance is magnificent and beautiful!

So in our theater, you can identify 3 genres in fact: operetta, musical and an extension of the operetto-musical. What is the secret of your performance? How many times in 15 years of work did you take sick leave? Oh, I designed the sick leave once! There was a great performance “Parisian Life” director Mikhail Borisovich Borisov, in the title role, People's Artist Lilia Yakovlevna Amarfiy, Peter Borisenko was also in the main role, and I was in the second role - the servant Joseph.

And here is the scene of Metella’s arrival, I had a swift passage diagonally through the entire stage to the forefront with shouts: “I arrived! Metella arrived! ” And the machinery of the play was as follows: at the top we traveled a train like Paduga, from one side of the stage to the other, of course, smoke-machine was attached to it. And something happened there, either the wire broke off, or some cork flew out, but a liquid flowed out of the smoke-machine, some kind of oil solution.

Well, of course, I do not see this leaked path, I slide, I fly! I have so many thoughts flew, I don’t remember a single one! I landed with a crunch on the stage, I didn’t fly to the orchestra hole, I understand that I have stars in my eyes, I can’t get up, it hurts me hellishly, I can’t inhale to crawl out behind the scenes on the male side, and everything is falling out of this cululis: choir, ballet, soloists - and all for me!

And I shout to them: “Gades! Let me leave the stage! But no one sees me, trampled me! I finished the first act somehow, they found my shoes, because my leg was immediately inflated, and then I had to take the sick leave for a week to disperse around the apartment, I had a breakdown of Achilles. And once there was a problem with the knee-on Monte Cristo, Sasha Babenko played one for a week, but as for working capacity, I don’t know what I can take and go out, help a friend in trouble: if a person is sick, what you do, I am healthy, please.

There is just a job and I am - healthy and ready, that’s the whole secret. Probably, if I continued the opera career, then yes, it would make sense to think about it, because it would be interesting to me. And in another genre - I think there may be no suggestions or motivation but so far, at this stage, my answer: “No, I would not want to build a career in the West.” You know an interesting question when I finished the first year of GITIS, in the summer, on my holidays, I stood on the balcony and thought: “Why do I need it all?

For what? Where could I go "? I stood, thought, wondered: that, the fifth to tenth, lawyer, accountant, engineer-nothing hooked me! I could not see myself in anything else. Perhaps this is the perfect option for me - an artist option! I do not see another. Did you have to do something for a dispute?