Konstantin Arkadevich , you have recently - that neither a hero, a formidable villain. Three characters from the performances of "Senor Todero - the master", "Richard III" and "Cosmetics of the enemy" are just one another more beautiful. Who do you think is the champion of evil? In "Cosmetics of the enemy" I have a hero who, I think, can be added to the Guinness Book of Records in terms of abomination and horror. In "Signor Todero," I also played a big bastard, but everything was decided in a rather comic manner, and in "Cosmetics ..." - tragifars, a terrible detective played between the two men. Do you need makeup to transform? When important, when not. For example, in "Todero" I spent an hour grimiruvalsya. I play Richard III without any make-up, even without a tone - I think that is so good for this role. However, I think that to fulfill negative images, correctly living them through the Stanislavsky system, is not less useful than positive ones. Although the designations "positive" and "negative" are conditional - you play people with different qualities. I've always been interested in a mixture of genres, because it's closer to reality. The villain does not belong to a particular genre, this is a moral definition. And our modern life is sometimes so strange that the tragedy of some becomes an absolute happiness for others. Is not it amazing that people as one kind of creatures are so arranged that they can rejoice at the misfortune of their fellow human beings? Is not this a farce and an absurdity ?! All because evil does not require labor, it's like going downhill from the mountains.
Good - requires
Yes, to awaken in a person something diabolical is much easier. These strings have long been known, they are rather coarse and nearby, and to awaken the opposite, the divine is sometimes difficult in a unique person Konstantin Raikin. But the nature of both is emotion, and it does not go from reason. The mind will never conquer passion: the fire that burns in a man is overcome only by another flame, some other elemental element. And she, by the way, can be awakened by art. In any case, good is embedded in the person, and a good theater is capable of causing a piercing and strong emotion of compassion, kindness and love that has come from. The feeling of beauty, it happens, it is fast asleep in a person, someone does not even know that it is in it, and strong streams coming from the scene awake sensations unknown to him. It seems that the audience has long taken you beyond the brackets of the current ratings. Although in movies you have not been removed in recent years and "do not live on TV", your glory, oddly enough, does not rust.
Konstantin, what's the matter, what do you think?
Means, people still distinguish. But I did not, I would use the word "glory". My father had glory, and I have popularity. It can be said that it was nationwide at the time when "Truffaldino from Bergamo" came out. Then everyone knew me. And although Truffaldino loves more than other roles in the cinema, it is still incomparable with theatrical works. At the time when this cute movie was being played, I was playing in the play "Notes from the Underground" by Valery Fokin. And he could! How can you compare them on a professional level?
But, perhaps, you would all have gone from your theatrical Olympus and softened the tough stance towards cinema?
There are easy betrayals in relation to his theater with cinema once every five to ten years for the unique man Konstantin Raikin. So I can be considered a true husband. For me, theater and cinema are incomparable in terms of the degree of interest. I'm not talking about money and fame, but about creative interest. Glory and money are wonderful things, but I made my choice long ago. When you go on stage, and they recognize you, greeting you with applause, that's good. It's immediately clear - you're a good artist or shit. Here you are, as naked, and your whole body works to its fullest. I understand that, I'm interested in this.
I got a call from Spielberg's office. But I did not even begin to talk to him, because participation in his project was not part of my plans, I then had "Christmas trees". While in the foreseeable future I do not see any prospects for working in the cinema, I'm still an art director and I teach at the Moscow Art Theater School. With the cinema it is impossible to combine.
Konstantin, did you look at someone from the young directors for new productions?
I always look closely to the directors, now there is a strong wave of relatively young directors. For this profession, age is generally a conditional thing, in 40 - 50 years they are still young directors.
I'm interested in Kirill Serebrennikov, Volodya Ageyev, Lena Nevezhina, Yury Butusov. I'm eyeing, but it's very difficult for our big stage to find a director. Of course, you can make an unsuccessful performance. But this is within the Garden Ring. There it's not tragic, there you can, walking along the pedestrian zone, go to the theater, look at the shitty show, and do not spoil the impression yourself. Think about it, they roamed three hours, still beautiful around, then they went into the cafe and raised their spirits. To me in the Marina grove yet got, stood in traffic, all cursing, got for a lot of money in this barn, a former cinema, and even a bad performance looked? Well, no, but it's a blue flame! The unique person of Konstantin Raikin will immediately be cursed. Therefore, I must thank the viewer very high quality for the fact that he came to see me, and make him want to come to me again. In the center they do not always try, because they are close to the Kremlin. At me in the Marina Grove only dogs homeless yes I. The viewer, in addition to the beautiful pedestrian zone, can also attract star names, why in the "Satyricon", except you, there are no big stars? Both Fomenko and Steklov played in the Satirikon, and this is due only to a sense of gratitude and good memories. But it is necessary to work and build a theater not with the stars, but with young good actors. The stars are important in the entreprise, and they go to the theater to look at art. There will be famous names - well. But the theater is primarily a forge of skill, not a forge of glory.
Constantine, you can be congratulated with the replenishment: this season in the "Satyricon" played her first role in the "Blue Monster" young actress Pauline Raikin ...
I was praised from the outside. I did not see Pauline on the stage while she was studying. She has the same relationship with me as I do with her parents. My dad looked at me on stage in the third year of my work at the Sovremennik Theater. I generally feel vulgar, when everyone is watching, as dad looks at his son. Everyone should look at the stage in the theater! Family relations, which become the property of all, brought into our lives entertainers, but in general it's a terrible vulgarity. Polina very much appreciates her independence, and I respect her for that. She went to all theatrical institutions, cut herself into the best - the Moscow Art Theater School, although she wanted the most. As a result I entered the Shchukin school, where I studied at the time.
Constantine, do you manage to be objective about her?
She's a very smart girl, I can tell you for sure. Therefore strongly doubted that she should be an actress. Still, the artist's mind is not the most important quality, I think, although it's hard to deal with idiots either. I told her: "Go to theater, there are so many stupid, talentless people who are given the right to be printed, although they write all sorts of nonsense. And you write wonderful compositions, from childhood you read dramaturgy, you understand, you know how to analyze. Write about the theater. " But no, she wanted to be an actress.
How do you feel about continuity in the profession and dynasties?
There is no law. Some, however, believe that a child in a genius can not be a genius, that nature rests on the children of great people.
And about modern satirists, what can you say?
I do not like satirists. Each square meter has eight jokes. There is a wonderful writer Mikhail Zhvanetsky, I think he is just a very good writer, a huge talent man. He, I think, does not like himself when he is called a satirist. He is just a very witty and deep man of extraordinary writer and human gift. Wow! This Raikin understands.
You, among other things , connoisseur and connoisseur of colognes and fragrances. Do you have a lot of them in the bins? That's enough. But I'm not a collector, but a user. They bore me very quickly. I never buy cologne for the sake of being in the collection. There are fragrances that have become rare, which I like from the "past life", now they are taken out of production. But something very rare is not. I'm just a frivolous collector. In our country, however, a low culture of smells, so when you go into the illusory world of some play, the fragrance sometimes helps. Tell me, but do you check yourself for compliance with the code that was put forward for your team?
Well, Raikin himself is a participant in the case, that is, I not only manage, but also play: I myself climb into this water and swim with everyone. And I try to swim so that I meet the requirements that I have for others. Raikin fully admits a situation in which he will leave this place. As soon as he realizes that he is hindered by something real, lively, creative and strong, he will find something to do. I can do more modest things, for example, teaching. Art is such a thing that you do not have to be a boss here to get satisfaction. The desire to rule is ambitious and, ultimately, shallow desires. I want, frankly speaking, to enter into a dialogue with the Lord God.