The roles we choose. Problematic issues that will need to be addressed by the project office

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The name of the actor Vladislav Galkin is at the peak of popularity today. Most viewers fell in love with him on the TV series "Truckers", in which the actor conquered the roads of Russia on a truck. Someone remembered Galkin from the films "Saboteur" and "Voroshilov Shooter". And the role of the poet Ivan Bezdomny in the TV series The Master and Margarita did not leave indifferent connoisseurs of the classics. A year ago, Vlad Galkin dressed in a white coat, armed with a scalpel and fell in love with the audience in the form of a strict and rather quarrelsome surgeon in the series "I'm flying." Today, the STS channel repeats this series - in this way, viewers get a chance to meet their favorite characters again.

- Vlad, what got you interested in the character Gordeev?

- First of all, he is a living person, just like you and me. I like that his character is complex and quarrelsome. I enjoy playing such characters much more than the so-called "good" people. Well, he's good - and then what? As a rule, emptiness... The criterion for choosing a role should be one: either you find something for yourself in this character, or you just don't take it.

– Did you have to deal with medicine in the cinema or in the theater?

– Not in the cinema, not in the theater, but once I came across medicine very closely in my life. In one “beautiful” year, I had ten surgeries. Therefore, I know very well what domestic medicine is.

- Real doctors help the actors on the set? Do they give any advice?

– There was a real doctor on the set, but we turned to him with questions, mostly technological: how what turns on and how what is done correctly.

- How reliable is the hospital realities depicted in "I'm flying"?

- Of course, I want everything to look as authentic as possible, so as not to seem like clowns in this situation. Of course, there are also costs. For example, a lady cannot walk around the surgical department with a haircut: her hair must be sleek and tucked under a cap. In our country, girls go with hairstyles, which cannot be by definition.

- How is it working with young fellow actors?

- In my opinion, there are several people in this team who command respect and interest.

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- Do you help them? Do you give any advice?

- I am not engaged in either pedagogy or self-affirmation. If they turn to me for advice, I suggest, but only in this case. In general, now the situation with young actors is depressing, especially when they are gathered into certain teams for a particular series. This is the destruction of the profession. A person begins to think about himself a little better than he should, and inadequacy appears. Do you know the scariest time for a person who has started to drive a car? The first four to eight months, when it starts to seem to you that you can do anything! It's the same here. Without a base and experience, a person begins to think that everything works out for him!

- When you first started your career in this profession, was the situation different?

- For me, it was generally categorically different, because I came into this world at the age of eight. And when I entered the Shchukin School, I already had about 15 paintings and several awards. At the same time, admission was monstrously difficult for me, I have never experienced such a clamp! I was very scared! Therefore, my entry into the profession is rather an exception, as it happened. And then: then the time was different, and the values. There used to be a pattern. There were roles and types that no one canceled, but they somehow imperceptibly disappeared. There was always a hero on the course, there was a heroine, or even more than one. And today we have how - he came, starred, and tomorrow - already a star. This was not the case before. It's devastating.

– Really never had to agree because of purely financial considerations?

- The question is crafty, and here's why: you can always explain to yourself that you are really interested in it. But at the same time, hand on heart, I can say that I never agreed to act purely because of the money. I just couldn't. By virtue of character, by virtue of temperament, I would have simply been torn to pieces. You choose what interests you. Although it also happens that the material is interesting and wonderful: classical literature, for example. But who puts it? The director can destroy everything in the bud...

- Have you tried to look at the movie from the point of view of the screenwriter or director?

– I have looked from different angles. I graduated from VGIK - directing department, all these experiences have already been. I'm not a big fan of going on all four sides at once. Everything has its time. If I need to do something else, I will. This is from the series, if you can not do it, do not do it. I consider the profession that I am engaged in to be truly great, because it can give much more than a person is able to imagine. The most important measure, in my opinion, is the degree of reliability. As my father said: "The degree of talent of an artist depends on the degree of love for the material." Very accurate. I, as a spectator, must believe and be there. If this does not happen, the price of such a work is worthless. The story should not just be told, but justified. When you take responsibility for a role, you take responsibility for bringing it to life. Let's take the same Gordeev. As I said, a normal average person. He loves his profession and takes it very seriously. Probably a talented person in his field. Not a conformist. All his thoughts are occupied exclusively with work and patients. This is not just the nature of his activity, this is the essence of his existence. The rest is secondary to him.

- Like for you?

- Yes, sure.

- Did you have the roles you were talking about in your youth?

- When I came to the first year, I was that hero. But I quickly got away from it, because the hero is too narrow, I had a completely different range, everything was given to me. Yes, I played heroes, but it was the most uninteresting and boring thing that could be. For me, the real hero is Mitya Karamazov, for example...

- Are there any roles that you will never play because of your age?

- I really like my 35 years old ... And to play boys ... You see, I have never been in this capacity, I'm not interested. I am much more interested in boyishness in an adult, in a man, than boyishness in a boy - it's like butter.

- Do you have this boyishness?

- I think yes.

- But you look so serious, strict ...

“You are mistaken: this is just my defense system. There are rumors about me that I have a creepy temperament. Yes, I create them myself from time to time, because it's easier. In fact, I am who I am. No, not white and fluffy. And not very sociable. Just a mood person...

One should not be particularly categorical in predictions concerning individuals. If we talk about phenomena on a global scale, then cases when any important event destined by the Universe in relation to a particular country does not come true are extremely rare. But the individual has a certain amount of freedom.

An individual, in comparison with a group of people, has a greater ability to avoid adverse circumstances. It is possible to predict war, but it is impossible to say with absolute certainty that this or that person, having taken part in it, will perish. If war is most often inevitable, then it is impossible to say who will actually be killed. The individual always retains a small fraction of the opportunity to avoid this or that event in his destiny.

The fact that Jesus would be betrayed by his disciple was predicted thousands of years ago, but the name of the traitor was not indicated. The role was vacant and Judas took over. If he wasn't ready to play her, it would have been done by someone else. In Shakespeare's works, one or another role cannot be abolished or changed: Hamlet or Lear will certainly appear in one of the plays, but the actor who will play the role of this or that hero is not predetermined. When the time comes, he is chosen according to the qualities he possesses.

Even Nostradamus in his predictions never indicated the identity. You will say: “But there are specific names there!” Yes, there really are names there, but the people who were supposed to receive them were not rigidly predetermined. In the quatrains of Nostradamus, roles and sometimes names are fixed, but never specific individuals. It was impossible to take someone (for example, Judas), freeze him and release into our world only after five centuries or a couple of millennia, so that he could play his role. This is not done, because any being is given the opportunity to develop freely. For example, it was predicted that there would be an assassination attempt on President Kennedy. But the name of the killer was not named, as, however, the one who exactly was to become Kennedy was not indicated. Only in the course of personal evolution did it become clear who would be ready to play these roles.

God never forced people to take on a strictly defined role, otherwise it would mean that He did not leave them any freedom. Meanwhile, people are free to choose their direction, they can progress and degrade, become murderers and executioners, or sages and prophets.

Life has its own script, and the development of the world can be compared to a theatrical play. For humanity to move forward, various kinds of events are needed in which people would play certain roles. But nowhere has it ever been written that this or that person is obliged to take on this or that role. There are palaces and there are prisons, but it is up to you to decide where to go.

Cosmic life is a spectacle, the author of which is God. He created actors, but at the same time he gave them the freedom to play the roles that they themselves wanted to choose. It is true that some roles are determined millennia before they are played. However, people have not yet reached this or that act. Sometimes the same actors return to the stage, sometimes others. As already mentioned, the role of Judas was not intended for any particular person. To betray Jesus, some kind of traitor had to come into the world (and there were many of them in the world), and the one who was attracted to this role was the best fit for it. If God determined the fate of all creatures, then freedom and responsibility would disappear without a trace. What responsibility can a machine, a robot have? And if a person should not be responsible for his actions, why then punish him for them? After all, this is neither reasonable nor fair!

To get a particular role, actors sometimes have to go to extreme measures. What are the numerous transformations of Christian Bale worth, who, for the sake of roles, lost weight catastrophically, gained muscle mass and acquired extra pounds. Directors are sometimes very capricious in the selection of actors and in what he would like to see them in the frame, just as there are meticulous actors who completely give themselves to a new role and go into it with their heads. Next, you are waiting for 10 actors who almost went crazy trying to get used to the role.

Christian Bale

"Machinist", 2004

For the drama The Machinist, Bale lost 30 kilograms, bringing himself to exhaustion. The actor, who weighed 55 kilograms, ate one apple and a can of canned tuna a day during filming. According to the producers of the picture, the actor was ready to exhaust himself further (while there was no talk of medical control of the "diet"), but the team was worried about Bale's health and asked him to stop.

Shia LaBeouf

"Rage", 2014

While preparing for the filming of the military drama Fury in 2014, Shia spent a month at a military base. He knocked out his tooth, cut his face with a knife, stopped washing and watched for days as horses died and perished. The year before, during the filming of A Dangerous Illusion, Shia attempted to beat up director Fredric Bond while under the influence of LSD. Actually, the picture itself tells about the consequences of taking hallucinogenic drugs, and the actor really took the drug. All these experiments with consciousness and one's own body eventually seriously affected the condition of the actor. Changes in Labeouf's behavior occurred even after the filming of Lars von Trier's film "Nymphomaniac" in 2013. Then the actor came to the premiere of the film in Berlin with a bag on his head. Later, Shia disrupted press conferences more than once, put up fights in public places, was treated in rehab ... In general, Shia deservedly received the title of the strangest actor in Hollywood a long time ago.

Kate Winslet

"Reader", 2008

The actress was enslaved by her character, an illiterate concentration camp guard, and it took several months for her to return to normal after filming wrapped. Kate, who won an Oscar for her work in The Reader, admitted that getting out of character is as much work as rehearsing for a role. “I spent many days and energy to finally say goodbye to this heroine of mine.”

Jared Leto

"Suicide Squad", 2016

Getting used to the role of the crazy Joker, Leto began sending out strange things to his colleagues on the project. So, Will Smith received a pack of bullets, but Margot Robbie was less fortunate - Jared sent her a live rat. Other partners received a video message in which Leto, in the form of the Joker, addressed them in front of a dead pig. With this, Leto sought to ensure that his colleagues in the film began to experience real dislike for him, which would be transmitted to the audience in the hall.

Heath Ledger

The Dark Knight, 2008

The late actor was obsessed with creating the perfect Joker and never left his character during pre-production and filming. Ledger locked himself in a hotel room for a month and kept an "observation diary" of his villain, which then turned into a first-person diary - the Joker himself. Unfortunately, Heath did not see the fruit of his efforts on the big screen: Ledger died from an overdose of painkillers, sleeping pills and tranquilizers. Many are sure that Heath simply lost touch with reality and no longer understood where he was and where the crazy Joker was, which led to uncontrolled drug intake.

Adrien Brody

"Pianist", 2002

The actor has come a long way, preparing for the role of a Jewish pianist abandoned and starving during the war. And, he has come a long way in the truest sense of the word. Brody sold the car, moved out of the apartment, turned off his phone and left for Europe with one bag and keyboards. The actor ate a couple of eggs and a chicken leg with vegetables a day, did not watch TV and rehearsed.

Shelley Duvall

"Shine", 1980

The cult adaptation of Stephen King's novel is recognized as one of the scariest films in world cinema, and one of the greats. However, not everyone knows what such a result was worth. Director Stanley Kubrick did not spare the nerves of the actors in order to immerse them in the stress in which the characters of the film are. For example, during the three-day (!!!) filming of the climactic scene, Jack Nicholson cut through 60 doors until Kubrick approved a single shot. The director did not regret the 70-year-old actor Scatman Crothers, who “died” in front of the camera 40 times, until Nicholson himself stood up for his colleague and asked the director to stop. But most of all went to the actress Shelley Duvall, whom Kubrick systematically brought to hysterics in front of the whole team so that she would not leave the image of the psychopath's frightened wife to death. What was it like for the actress to find out that for The Shining she was nominated for the Golden Raspberry anti-award! However, decades later, the emotions of the actors do not raise questions: the audience literally feels the tension of the film.

Maria Schneider

"Last Tango in Paris", 1972

In 2016, an interview with Bernardo Bertolucci received a response. The director admitted that the scene of anal sex with butter instead of lubricant, in which Maria Schneider took part, was not coordinated with the 19-year-old actress. Maria's partner in the film, actor Marlon Brando, and the director decided not to warn the girl in order to film her natural reactions and emotions. Schneider herself called this episode rape. The girl could not get rid of the memories for a long time and stopped eating butter. After filming in Tango, Maria's career did not work out. Bertolucci invited the actress to the film "Twentieth Century", but she was removed from filming due to problems with drugs and alcohol. In 2011, 58-year-old Schneider died of cancer.

Natalie Portman

"Black Swan", 2010

Natalie Portman followed an extreme diet for several weeks to lose 15 kilograms. Her plan was successful - she scared even the director Darren Aronofsky with her appearance. Of course, playing a ballerina, Portman spent a huge amount of time practicing at the barre, moving to the hall immediately after the 15-hour shoot from six in the morning. So that the actress could completely immerse herself in the mental disorder of her heroine, the director isolated her from the rest of the actors. During the year, Portman did nothing but prepare for the role and subsequent filming, and, according to the actress, she does not really like to remember that period. “Nina is very sick. She needs years of therapy, Natalie said after the release of the film about her heroine. “But when I agreed to shoot, I didn’t know what I was getting into.”

Nicolas Cage

"Bird", 1984

Actually, the psychopath in the movie is played by Matthew Modine. His hero, having survived the horrors of the Vietnam War, goes crazy and begins to imagine himself a bird. Nicolas Cage in the project got the role of Bird's best friend. However, this task also affected Cage's mind. Before filming, the actor demanded that he, like his hero, have two teeth pulled out without anesthesia, but it turned out to be a big test to enter the emotional state of the hero, who is trying to pull his best friend out of the world of delusional ideas: “I was horrified by the role, it wasn’t like something I've ever done before."

Often a person performing a particular social role finds himself in a conflict situation. There are several types of such conflicts, called role conflicts.

Let's look at the relevant examples. Thus, a leader of one rank or another may be aware that his organizational role requires decisive action to strengthen discipline among the staff (for example, issuing various penalties), but at the same time he may have an inherent dislike for such actions. A more famous case was when a graduate of a financial institution, conducting his first audit, discovered serious abuses. Based on the prescriptions of this social role, the auditor had to demand a trial of the violators, but as a very sensitive and compassionate person, he was unable to decide on this. The current situation eventually led the novice auditor to a severe neurosis. In these examples, the subjective "I" came into conflict with the prescriptions of the social role. This conflict is called personal-role.

Let us give an example of another kind. A woman researcher, passionate about her research and teaching at the university, is working on her doctoral dissertation. All this requires a lot of time and effort from her. On the other hand, having a family, she also wants to be a good, caring mother and wife. If a woman is equally focused on both professional growth and her family, a conflict arises between these personality roles. In this case, the requirements of one social role performed by the individual impede the successful implementation of another. This conflict is called interrole (interrole).

Often, role conflicts are caused by incompatibility of expectations for a person who performs any social role. A typical example is the situation in which a production foreman finds himself. The specifics of his position is as follows. On the one hand, the foreman is perceived by the shop management as a representative of the administration. On the other hand, the workers consider him their representative before the administration. Thus, the successful fulfillment of the role of foreman is possible only if he can simultaneously satisfy the requirements of both workers and management. However, these requirements are often incompatible.

The data of our study, conducted at one of the St. Petersburg enterprises, indicate that workers and shop managers use different grounds when evaluating a foreman as an official leader. The best (from the point of view of shop managers) craftsmen are most highly rated for knowledge of production, the ability to organize work and exactingness. Workers, on the other hand, consider those foremen most acceptable who are, first of all, fair, benevolent, able to remain calm and keep their promises. On the whole, the materials of this study make it possible to speak of a well-known difference in the approach of workers and shop managers to assessing the role behavior of foremen. The evaluation given by the workers is more differentiated. They perceive the master not only through the prism of his business qualities, but also mainly depending on his attitude towards the members of the team.

When the master discovers the incompatibility of expectations in relation to a hundred roles on the part of different persons and does not know which of them he should correspond to, a conflict situation arises. This conflict is called intra-role (intro-role).

The reactions of a person to a role conflict may vary depending on its individual psychological characteristics and the nature of the situation. Role conflicts lead to an increase in the degree of tension of the individual with all the physiological and mental manifestations inherent in this state, up to diseases.

Let us cite the data of S. I. Erina’s research at one of the factories in Yaroslavl. Based on the data obtained using a special scale, two groups of masters were identified - with a high and low level of role conflict.

The results of the peer review showed that senior managers evaluate foremen with a low level of role conflict as more successful, able to cope with production and technological issues and more effectively build relationships with workers compared to foremen who were characterized by a high level of role conflict. The latter were characterized by passivity (cautious actions, avoiding solving problems) or, conversely, aggressiveness (pressure on subordinates, refusal to look for alternative solutions). As a result, these masters increased the level of anxiety.

To characterize this state, not without reason, the term "role stress" is sometimes used. The consequence of role conflicts is also a decrease in the level of productivity and job satisfaction, an increase in staff turnover.

Role conflicts are considered as a serious organizational problem, since they can lead to negative consequences for both the individual and the organization as a whole. An important activity of a leader of any rank is to reduce the level of role conflicts in his departments.

• Sventsitsky A. L. Psychology of management of organizations. St. Petersburg: Publishing House of St. Petersburg. un-ta, 1999.
• Erina S. I. Role conflict of the leader: resolution strategies // Human factor: Social psychologist. 2007. No. 1 (13).

The first profession of Boris Ivanovich is a diesel locomotive driver. Perhaps, it is somewhat akin to the director's nature of the master. Only a diesel locomotive has proven rails along which you drive your locomotive, not always knowing what lies ahead. Performance and theater are the basis that you create yourself and always rush into the unknown. And everything happens along the way... The director's path was not strewn with roses, there were ups and downs, but in the most desperate moments he was reborn like a Phoenix bird, and again rushed forward, dragging him into the unknown.

I dream that suddenly...

The recently published book “Confessions of a Sinful Actor” is a kind of monologue of the patriarch of the Belarusian theater, People's Artist of Belarus, laureate of the special award of the President of the Republic of Belarus “For Spiritual Revival”, rightfully recognized as a classic during his lifetime. Sounds like his professional creed, confirmed by 45 years of life in art:

If everything in life was like in the theater! - says Boris Lutsenko. - After all, what happens on the stage? The heroes of the play kill, lie, steal, rape, be rude and quarrel, but at the end of the play the mortal enemies, the murderers and their victims, the deceivers and the deceived, who have descended into the grave and their gravediggers suddenly come to life and, holding hands, go on stage, giving the audience their smiles and bows. So I dream that one day soldiers who died in the war, innocently killed children, old people, women suddenly rise from the dead. So that political opponents and warring states, having reconciled, come out, holding hands, to bow to the people, and the quarreling spouses of the whole world kiss tenderly. But, alas, this is possible only in the theater. It is there that any villainy is just a game, passions shown to the viewer by the actors. The more reliable they are, the more talented the actor. The theater is Don Quixote, who struggles with the windmills of human vices and imperfections. Donquixotes have never conquered windmills, and the theater is not capable of eradicating the vices of society and man. However, Don Quixotes and Lancelots must fight evil, realizing that they cannot defeat it. But even if they stop doing this for a while, evil and injustice will overwhelm the world.

Nestlings of Lutsenko's nest

A kind of continuation of family relationships - students. Lutsenko brought them up for more than one generation. Actors, directors... The grains sown by him give excellent shoots. The brightest young lightnings in the sky of the Belarusian theatrical art are its “chicks”.

Pavel Kharlanchuk - director and actor of the Kupala Theater, laureate of the First National Theater Prize, Ekaterina Averkova - chief director of the Mogilev Regional Drama Theatre, Denis Nupreychik - chief director of the New Theater in Minsk, Olga Saratokina successfully works at the V. Meyerhold International Center in Moscow, Yegor Legkin - director of the Theater of Young Spectators (as an actor is engaged in the repertoire of the Theater-Studio of a film actor), Svetlana Naumenko successfully declared herself in the theaters of Germany, Natalya Kuzmenkova - director of the Bolshoi Opera and Ballet Theater, staged the operas "Rita, or the Pirate's Triangle" by Donizetti, "Mozart and Salieri” by Rimsky-Korsakov (probably continuing the tradition of his teacher, who opened Richard Strauss’s “Der Rosenkavalier” for the Belarusian opera stage, made it possible to hear Tchaikovsky’s “Iolanta” in a new way at the Belarusian State Conservatory (now the Belarusian State Academy of Music). He brought up not only a galaxy of students... Boris Ivanovich started at the Belarusian State Theater named after Yanka Kupala, stood at the origins of the creation and flourishing of the Theater-studio of the film actor, the Youth Theater. He brought up more than one generation of spectators who believe in the director, follow him and wait for his new, smart, talented performances.

The house is a theater, and the theater is like a house

Theater has always been the main thing in his life. But for an artist, a home is a reliable rear. From my point of view, it was the family that allowed creative accomplishments to take place. His wife Lyudmila is a musician, a teacher at the Glinka School, and in recent years also a writer (three of her stories under the pseudonym Artamonova were published in the Literary Nemiga magazine), the songs of her son, Ivan Lutsenko, are performed by the leading soloists of the Belarusian stage. Lutsenko's house is generally characterized by an atmosphere of high spirituality.

congenial

In addition to the book dedicated to the life and work of Boris Lutsenko, the recent premiere of the director's Mysterious Visit (based on the play The Visit of the Old Lady by F. Dürrenmatt) on the stage of the National Academic Drama Theater named after M. Gorky, to whom the master gave almost 30 years of his life. Perhaps the most significant achievements of this theater are associated with the name of Boris Lutsenko. Bright, smart, subtle, deeply philosophical, surprisingly modern performance, which the current audience missed so much. The performance is not for the needs, not "entertainment" - a performance-thinking, a performance-warning, a performance-parable... Shakespeare and Gorky, Brecht and Merezhkovsky, Schiller and Gogol, Diderot and Claudel, Makayonok and Dudarev - this is not a complete list of those close to the director authors. The 75th anniversary of the recognized master, who staged 100 performances in the theaters of Belarus, Russia, Ukraine, Latvia, Lithuania, Germany, Switzerland, created a number of films-performances on Belarusian television, shot the feature film “The Scattered Nest” at the Belarusfilm film studio, celebrates more than worthy. Happy anniversary, Boris Ivanovich!