Almost the entire family of Tatyana Vasilyeva participates in our film: son, daughter, their children - Vasilyeva’s grandchildren, two daughters-in-law and even ex-husbands Anatoly Vasilyev and Georgy Martirosyan. Everyone has something to tell about this unique woman.
She has played more than a hundred roles in films, but most often Tatyana Vasilyeva is associated with the psychologist Susanna from the film “The Most Charming and Attractive.” To all women Soviet Union I wanted to be like her: stylish, fashionably dressed, and besides, she knows everything about men - how to attract, how to feed her and, most importantly, how to marry her! “Don’t be born beautiful, but be born active,” Susanna taught the klutz Nadya Klyuyeva. By the way, these very words became the life motto for Vasilyeva herself.
Vasilyeva is strikingly different from many of our celebrities in that she does not at all pursue the attributes of her star status. She travels by metro and trolleybus, has no mansions outside high fences, lives in an ordinary apartment in an ordinary Moscow district. She is sharp-tongued, ironic and not afraid to break stereotypes. When star actresses disappear in hairdressers, Vasilyeva shaves her head. When celebrities are lounging in bed early in the morning, Tatyana is lifting weights in the gym. We went to the gym with the actress and saw for ourselves how she lifts weights! And this at 70 years old!
Unlike many, Tatyana Vasilyeva is not afraid to look funny on screen, but personal life lonely. She was married twice and chose to be free from men. “Matriarchy reigns in our country,” says the actress with her constant humor, “and I am one hundred percent its victim...” In our film, her ex-husbands, Anatoly Vasiliev and Georgy Martirosyan, will tell about her marriage to Tatyana.
Tatyana Vasilyeva has always been in great demand in cinema. Especially in the 80s. “Tales of the Old Wizard”, “My Sailor Girl”, “The Most Charming and Attractive”... In each film she was different and therefore especially interesting to the audience. She always surprised! Thus, in the film “See Paris and Die,” Tatyana played a mother obsessed with the idea of providing a great future for her son, a young pianist, and received many prizes for this role. And one of the most unexpected roles of the actress for Lately became the role of an iron producer from show business in the film “Popsa”. Singer Dmitry Malikov and actress Elena Velikanova will talk about their work with Tatyana Vasilyeva in these films.
Tatyana Vasilyeva knows a lot about good clothes. Although many criticize her. But, perhaps, this shockingness is part of her image, and, moreover, deliberately invented. We asked the actress to show us her personal wardrobe. What guides her when buying new things? Do price and brand play a role? Vasilyeva will also show us her collection of wigs - she has more than a hundred of them! And everyone is associated with some role.
Today, the main thing for Vasilyeva is her family. Children and grandchildren. No matter how tired she is, she always finds time for them. And he supports you in everything! When daughter Lisa gave birth to a child after an unsuccessful romance, the actress did not reproach her with a word; she adores her grandson Adam. She really wants her children not to repeat her mistakes and to be happy in family life. But - alas. The actress's son Philip also recently divorced. And divorced with scandal! According to the actress, her former daughter-in-law, Anastasia Begunova, does not allow Vasilyeva to see her children (now her grandchildren Ivan and Gleb and their mother live in Germany).
In our film, Tatyana Vasilyeva will comment on this scandal in detail for the first time! We will listen to the other side. We managed to meet her former daughter-in-law, Anastasia Begunova, and record with her exclusive interview. In our film, Begunova will openly tell you that she was afraid of losing her children - that’s why she behaved that way at the beginning. But today Anastasia, according to her, is ready to make peace with Tatyana Vasilyeva - and is not going to prevent her from seeing her grandchildren. And this, as they say, is great news for the whole family! Moreover, quite recently Philip, the son of Tatyana Vasilyeva, had a daughter, who was named Mira - he married a second time, and we will tell you about it for the first time! And only ours film crew the actress showed off her beloved granddaughter.
Tatyana Vasilyeva is proud of her children and grandchildren, and they are proud of their amazing mother and grandmother - absolutely irresistible at 70! Life taught Tatyana Vasilyeva to be strong. And she taught herself to be happy, without outside help and despite all life circumstances. And God grant that all the children, all the grandchildren always gather at the table in her house and everyone is absolutely happy together! And then Tatyana Vasilyeva, as one song says, will have nothing more to pray for...
Turns 70 years old. An unpleasant gift for the actress’s anniversary was the appearance of her ex-daughter-in-law Anastasia Begunova on a talk show Let them talk"on Channel One. The ex-wife of Philip Vasiliev said that she could no longer remain silent and accused Tatyana Grigorievna of doing everything to deprive her grandchildren Vanya and Grisha of the square meters they were entitled to.
Anastasia Begunova also voiced incriminating evidence on ex-spouse, providing audio recordings in which Philip Vasiliev, in a state of alcoholic intoxication, admits that he wanted to kill his wife and mother-in-law, and also that he needs help, since he suffers from alcoholism. In addition, Anastasia is sure that it was Tatyana Grigorievna who is to blame for the fact that her marriage with Philip broke up, calling Vasilyeva’s son absolutely spineless: “I divorced not my husband, but my mother-in-law.”
In a programme Andrey Malakhov Begunova complained that she and her two sons received an offer from the famous grandmother to give up Moscow real estate in exchange for monthly payments of 2,000 euros. Ex-daughter-in-law Tatiana Vasilyeva claims that money ( we're talking about about the amount of 350 thousand euros), which the actress once gave to her and Philip and which she allegedly stole, her ex-husband squandered right and left, and Anastasia withdrew the rest, since she needed to live on something. Now she and her children live in Germany and live in a modest apartment.
Begunova, like Philip Vasiliev, married a second time and gave birth to a child for her new husband. However, she will always be glad if Tatyana Vasilyeva and her son show a desire to meet Vanya and Grisha. But, according to Anastasia, since she refused monthly payments, the grandmother no longer called her grandchildren. At the end of the program, Andrei Malakhov explained that Tatyana Vasilyeva was invited to take part in the show, but the actress refused.
Former daughter-in-law of Tatyana Vasilyeva Anastasia Begunova and grandchildren famous actress Vanya and Grisha
Let us remind you, Philip Vasiliev, ex-husband Anastasia Begunova, in October 2016 married for the second time. With an actress Maria Bolkonkina, who was already in her ninth month of pregnancy, he signed at the Tagansky registry office. Before that, he said in an interview that his first wife broke his heart. “I fell in love with Begunova at first sight, but she was always arrogant and cold. However, she accepted my advances. After some time, Nastya became pregnant. You can't imagine how happy I was! He immediately proposed to her. Vanya was born to us, and two years later Grisha was born. It seemed to me that everything was fine with us, although over the years I kept hearing rumors that my wife was cheating on me,” said Tatyana Vasilyeva’s son in an interview with EG.RU. “But I loved her so much that I didn’t trust anyone. Even my own mother. In vain! Now I’m figuring it out: not only did Nastya leave the family, but she also stole money from us - about 350 thousand euros!”
The former daughter-in-law of Tatyana Vasilyeva gave frank interview Andrey Malakhov
I would never have given this interview if my name had not been mentioned so many times in the press by my ex-husband and his mother over the past year - Tatiana Vasilyeva .
The People's Artist of Russia publicly stated: I allegedly squandered almost half a million euros belonging to her family and took my grandchildren to Germany, and she, for her part, gave them an apartment... It’s hard to remain silent in response to this, and now I’m simply forced to defend myself! And I endured this for too long... I stopped being surprised: my marriage “with the Vasilyevs” began with deception - it also destroyed our family. Finally, I am ready to break the web of misunderstandings, reticences and untruths skillfully woven by them...
- How did it all begin? The newspapers wrote that Philip looked after you very beautifully...
For quite a long time I was misled about where the funds for these courtships come from. But really, let's start from the very beginning... Philip and I met in the Bella Ciao enterprise, to which I was invited in 2006 by my master, professor of the Shchukin School Rodion Yuryevich Ovchinnikov. I played the granddaughter of the heroine Tatyana Vasilyeva, and Philip played my fiancé. We toured a lot and were just with him for two years good friends, and I always sincerely admired Tatyana Grigorievna as an actress, I tried to learn something from her in the profession.
I knew that Philip’s mother had placed him in the enterprise - and it turned out to be his the only place work, as it turned out later. At first, Philip gave me a legend: “I, of course, love theater very much, but I also make money from business!” Allegedly, he invested in some business and receives interest from it, that is, he imagined himself as an independent person, absolutely independent of his mother.
And he really behaved like a man one could only dream of: bright appearance, expressive eyes, beautiful voice, good manners. Every evening I noticed him in the hall of the Stanislavsky Theater, where I worked then. Vasiliev gave incredible bouquets and asked how to help me. And one day I really needed help: on New Year’s Eve, 2007, my car was towed away and I remembered about him and called. Philip immediately rushed over and proved himself to be a man you can rely on. I suddenly realized that he was always there and was already more than just a friend. From that moment on, we began an affair...
Frankly speaking, I was blinded by such a beautiful beginning of the relationship - I fell in love! A month later, in February, I suggested going on vacation to Italy, where Vasiliev had never been before. He supported my initiative, although he is not particularly inquisitive. But on that trip I didn’t notice it - he was lively, cheerful, touching, and I felt happy with him. In Rome, choosing a romantic moment, in the middle of the crowded Spanish Steps, Philip proposed to me...
K. Larina- 14 hours 9 minutes. Let's start our show. Ksenia Larina is at the microphone. And my guest is a wonderful artist and wonderful woman Tatyana Vasilyeva. Tanya, hello.
T. Vasilyeva- Hello.
K. Larina“Tanya and I have known each other for one hundred and fifty-eight years, I think.” There was no radio station “Echo of Moscow” yet, but we already knew each other. That's why I'm always glad when Tanya comes. Although we last years We rarely meet, but somehow we didn’t match. I'm glad we finally met.
Dear friends, you also have the opportunity to communicate with Tatyana Vasilyeva. You have SMS +7 985 970 45-45 - for your questions. And then in the second part, according to tradition, we will give you a task.
Well, let's start our conversation. I wanted to give some Tanya a voice so that she could sing something, because I found an incredible number of songs performed by Vasilyeva.
T. Vasilyeva- Yes, I’m a singer now.
K. Larina- But I was so offended that these were all recordings from performances, so it’s not very good quality. And so my first question is to the singer Tatyana Vasilyeva: will an album ever be released, so that there will be a good studio recording, so that it can be played on the radio?
T. Vasilyeva- No, well, I won’t get so insolent, I hope. No no. And then, this is really for song performances. I try to sing myself. Well, sometimes it happens to a soundtrack that I don’t fall under. This is a terrible ordeal. But I always choose the songs myself. This is what I really like: Okudzhava and all sorts of Celentano songs that are translated as we need them... Well, a lot has already been collected, really.
K. Larina― « White bird"somewhat incredible.
T. Vasilyeva- “White Bird”, yes, amazing. Everything about love.
K. Larina- Look here. I understand that you are already there long years. I don’t even know how many years you’ve been working freely when you left the stationary theater and became a freelance artist. How many years has your life been free and gypsy?
T. Vasilyeva: Those who can earn earn money. Well, now the concept that a man is the breadwinner has already been erased
T. Vasilyeva- Oh, I can’t even count. A long time ago. When I'm in last time kicked out of the theater... I'll tell you now. From the Mayakovsky Theater. Well, I think that...
K. Larina- Ninety-some year.
T. Vasilyeva- Yes, some ninety-something year - 93rd, 91st... Something like that. Yes, I was fired under Article 33. And since then…
K. Larina- For what?
T. Vasilyeva- Well, because I... because of me, they sort of canceled the performance. Well, it wasn't my fault. Through my fault, nothing (I declare this now) has ever been canceled. I don't have a single used ballot in my life. And I hope it won't.
K. Larina- Pah-pah-pah!
T. Vasilyeva- Yes, with God's help.
K. Larina- This free life, which has lasted for how many years, more than twenty, has it somehow changed you as an actress and as a person? And how did she enrich you? Well, it’s clear that you earn money for everyone, I understand, you simply work for your entire family, which is getting bigger and bigger.
T. Vasilyeva- Yes, more and more. I don’t have one, I have three families. And I'm the breadwinner, yes, for now. My children are on the way, they are approaching. But, of course, they cannot yet reach my Olympus (not in that sense). But everything will be, everything will be fine. And then, I believe that if you can earn... Those who can earn earn. Well, now the concept that a man is the breadwinner has already been erased. This is not true.
K. Larina- Well, of course.
T. Vasilyeva- And now I am the breadwinner. Then, maybe, one of my people will be the breadwinner.
K. Larina- From children.
T. Vasilyeva- Yes, from children or grandchildren. I don't know how it will turn out. But it doesn’t bother me at all and has stopped worrying me, because, well, life is different, different. If earlier I understood that I graduated from college and I would go somewhere on assignment, and I would have a job, and I would receive a salary, but now there is nothing like that at all. Therefore it is very difficult. I am very worried about all the young people in general. I don't know how they cope.
K. Larina- Well, Tanya, after all, if we talk about your profession, today young artists still have the opportunity to choose. When you came to the theater as a young artist... And in the 90s, it’s hard to even remember what it was like. There was nothing at all - there were no TV series, there were no enterprises, there was no choice at all. Here's a stationary theater and what this one will put in your mouth main director, or it will pass you by. This is an absolutely slave life. But today it still exists. Don't know…
T. Vasilyeva- Well, yes. This is true and not true. But I produced real premieres. All of Moscow was waiting for this premiere.
K. Larina- Event.
T. Vasilyeva- All of Moscow knew that the premiere was being prepared, who would be busy. People went to theaters and go to theaters all their lives to see the same performance, the same actors. We now find ourselves in absolutely monstrous conditions, on the other hand, because I have to produce two performances per season. That's a lot.
K. Larina- New ones?
T. Vasilyeva- New ones, yes. Well, I decided so for myself. You don't have to let it out. You can, of course, trudge along with the old baggage, but something has to fall off from time to time, well, simply due to a number of circumstances. And we need to do new performances. It is unknown what this new performance will it bring - will it bring what the old performance brought you. It's a risk every time. But no one will think for you. You decide everything yourself. Everything you do is your own problem and concern.
Then everything was decided for you: here’s the premiere, here’s what role they gave you, now you start preparing it, now you have your own dressing room, then there will be a tour for a month and a half, now the theater is leaving. Now I have no idea where I am. When I wake up, I don’t understand whether I’m on the train, on the plane or at home. Then - my God, I joyfully realize that I’m at home, I’m lying in my bed.
K. Larina- Was it difficult to get used to it?
T. Vasilyeva- Well, gradually.
K. Larina- It’s still a completely different rhythm.
T. Vasilyeva- Absolutely different, absolutely. He is, in general, not feminine or even human, I think. But yes, I can make money. I can... Well, as much strength as I have, I can earn as much. I don't give up anything. My rhythm of life has not changed over the years, it just keeps increasing. And I’m very afraid to slow down, because then the word will spread, so to speak, that “she’s tired and she might cancel something.” This is what really scares me. That's why I say that nothing should be canceled because of my fault.
K. Larina- You need to have iron health and iron nerves.
T. Vasilyeva- Nerves, health, yes. And nerves are health. Of course, all our diseases come from them. But health... I don’t heal, I basically treat everyone. I am not undergoing treatment myself. I have one way - “wedge by wedge”. I don't miss workouts. I'm coming somewhere Far East, I’m leaving the plane... This, of course, is madness, this is not normal. And everyone who says “you’re an idiot” is right. I agree with this - I'm an idiot. I need to go and lie in bed, you know, and look at the ceiling, and wait until it’s six o’clock so I can jump up and run to the play or something. This is the kind of system I have developed.
And then, I think that... You see, everything that concerns TV series - I even somehow jumped out of this cage, because I don’t understand what should I be given to play in the series, who should I play. The enterprise, cursed by all, so to speak, academic motives, gives me everything, it gives me everything. I still play young girls who turn into grandmothers, into complete ruins. And I choose what I like. And if the producer, so to speak, takes me, then that’s it, the problem is solved.
K. Larina- We have such an industry, unfortunately, unlike the Western, American or European... If we talk about cinema and TV series, then it’s generally impossible for adult women (and men, by the way) to play, because in our country it’s mostly the main -the heroes are all young and glossy girls. The story goes like this. They are all youth. I don't know what this is connected with. Maybe because it is believed that...
T. Vasilyeva- Or detectives, these investigators, talking investigators, investigators sitting at a table.
K. Larina- But there is nothing for big artists.
T. Vasilyeva- No, there is nothing. Well, such a period. But there is something else. It also doesn’t happen that there is nothing right away.
K. Larina- Certainly. But there are difficulties here, as I understand it, in the industry in which you work - in the enterprise. There must be success here. We have no right to take risks here, as they say.
T. Vasilyeva- No.
K. Larina- If we don’t have success, that means that’s it, we can’t afford to crawl, we can’t afford for people to leave. Here, too, you probably have some kind of sense from experience about what is needed and what is not needed. How do you monitor this? What is the demand from the public who comes to the theater today?
T. Vasilyeva- Well, sensibility, it seems to me that somehow it should work for everyone, which is what our viewer will do now. I understand that academic spectators go to theaters simply out of habit now. It's not because I'm against it, so to speak. I myself go to theaters, I watch performances. Sometimes I really suffer there. Here is the last performance that I saw at the Vakhtangovsky, “Oedipus the King” - I really liked it, very much. And I was jealous, because I understand that... You see, the main character of this performance... You watched, no?
K. Larina- No. But I know what it is.
T. Vasilyeva- There’s a pipe there that absorbs everyone, crushes them, destroys them.
K. Larina- Yes Yes Yes.
T. Vasilyeva- And this is rock, this is fate, and so on. And I think: yes, it would be nice for us to have a pipe like this! But who will do it for us? How are we going to take her? Therefore, of course, we can be accused of playing in rags, in some... Three chairs, one chair and a telephone. Well, those days are gone, of course. But, on the other hand, Stanislavsky said: “Give me a rug and we’ll all play.” That's why it doesn't bother me that much either.
K. Larina- What about literature? How do you choose? Already have authors writing for you?
T. Vasilyeva- Yes Yes. Now the author has written a very funny play. In my opinion, this is incredibly funny. In general, it’s very difficult to make me laugh, even though I’m a comic artist. But I don’t understand jokes; you rarely make me laugh. And then I just fell and laughed. I realized that if I laugh, it means it's really funny. We have a premiere in a month, of course. This is again a hassle and so on. Not enough time and all that. I understand that laughter has not been canceled, that, of course, there must be some love line, melodramatic, a little bit, well, tragicomedy. Most likely, yes, this is the genre that is most in demand, yes, tragicomedy.
K. Larina- That is, not just to laugh, but to have some experiences, right?
T. Vasilyeva- Well, yes. Even in a sitcom... I really don’t like this genre, but even there, if you find some kind of love line, some kind of relationship story, then it will be interesting. I'm talking about the performances that I saw. I always go only to what they say “you can’t help but watch.” If I walk by accident and get caught, no one warned me that it’s not necessary to watch, then this, of course, is terrible torture. And I look at people. I look - would they forgive us for this? Never. Never! They would have left. They would start slamming chairs. They would demand the money back - in the full sense of the word. They would demand it. And they would be right.
We cannot allow ourselves for a second to allow their attention to relax a little, or for them to lean back, or for them to rustle with a piece of paper or chocolate, or for them to want to go to the toilet. That's it, this is a disaster for us, this is a collapse. Therefore, something must happen every second. We have no right to lose the viewer for half a second. Then you have to return them in half an hour.
K. Larina- Who usually conducts the debriefing after the performance? You?
T. Vasilyeva- No, no, I don’t allow myself that. What do you? God forbid!
K. Larina- Director?
T. Vasilyeva- Director, of course.
K. Larina- But the director doesn’t always travel.
T. Vasilyeva- Not always, not always. No, of course, we then exchange: “Well, how? Well?" I am very afraid to make comments to my partners. I never do this. Although it happens that I am on the verge of some kind of hysterical experiences after a performance, when I understand that he did not achieve what he could. And we have a play, for example, called “He is in Argentina,” a play by Petrushevsky. I love Petrushevskaya very much.
T. Vasilyeva: B academic theaters spectators now go just out of habit
K. Larina- Wonderful, by the way!
T. Vasilyeva- Yes, I love it. Very good performance.
K. Larina- I saw this performance at the Moscow Art Theater based on this play.
T. Vasilyeva- Yes. Well, we also have a performance, we are playing.
K. Larina- Who do you have?
T. Vasilyeva― Lesya Zheleznyak.
K. Larina- A wonderful actress.
T. Vasilyeva- Yes, I love her very much. And we played her so well! But this is a show for two. This is a big risk for an enterprise when two actors- two women or two men. Well, at least a man and a woman. And we are two women. We collect. And this is, of course, a success. Well, the material itself is great. Fabulous! Very heavy! Of course, I'm terribly tired. And my partner gets tired. There you can’t blame it on anyone, on your partner - well, somehow you can rest a little while she talks her way out of it. No, everything is there time is running This is the interaction. And how to come from complete rejection to complete connection and the inability to live without each other.
K. Larina- So, after all, the geography is huge, right? And the density of movement on the map of the Motherland, and not only - it is also somehow incredible. I would like to, if this is possible, of course... So, in your opinion, what kind of people live in our country? How do you perceive them? This is not what we see on TV at all, is it?
T. Vasilyeva- There is nothing in common. These are, first of all, people... We live in a fairy tale here, in Moscow. Here we are all swearing madly: “This Moscow! Everything is so expensive! And there is nowhere to walk! And I can’t breathe! And there’s nothing to eat!” Nothing like this. Everything is really here. Where we go, well, to major cities Siberia... I really like to travel to Siberia. The further you go and the north, the people... there is so much warmth, so much kindness in them! They are waiting for you! They are so grateful that we just came there! Well, it would seem - well, we've arrived. Well, walk back and forth - and that’s it, success is guaranteed. But we don’t work like that, naturally. And they simply stand up on command, huge halls of two thousand people stand up as one. And when you look at these people, you think: “Lord...” And they’re also carrying flowers. And I understand that they spend a decent amount of money on these tickets (with us expensive tickets). And they still bring flowers. We just go to some flowerbed.
I don’t know, and we were at performances abroad - nothing like that. The better people live, the stingier they are, the more demanding they are. It's not clear what they want. For example, Moscow is like this. In Moscow we very rarely play premieres, because you are doomed to fail with the premiere.
K. Larina- What are you talking about? Yes?
T. Vasilyeva- Well, in my memory - yes. Here you can perform a performance once for the twentieth, for the thirtieth, for a new performance. Otherwise, it’s better to hide it somewhere, go to Siberia and dash it off there, or go to the North somewhere.
K. Larina- How do you explain this?
T. Vasilyeva- Well, because…
K. Larina- What kind of society is this here?
T. Vasilyeva- Society, yes... Society is unique, of course. It doesn't know what it wants. Very swaggering. Maybe Moscow has always been like this, I don’t know, because St. Petersburg is completely different. You can take the premiere to St. Petersburg. They are much kinder. They immediately place all the accents. And we know where and when the reaction will be, what we did right and what we did wrong. This is the litmus test - St. Petersburg. Peter, Ekaterinburg, Nizhny Novgorod, Novosibirsk, a number of other cities...
K. Larina- Ekaterinburg.
T. Vasilyeva- Yekaterinburg, yes, yes, yes. You can go there without fear of anything.
K. Larina- Is there such a concept for you, do you understand what it is, have you seen this - a depressive city?
T. Vasilyeva- Well, of course, of course, yes, there are such cities. I just don't want to offend anyone.
K. Larina- We won’t name it. What does this mean?
T. Vasilyeva- It is expressed precisely in this word - precisely in depression. I can’t believe that people came, they were dragged there, to the theater. After all, no. They came, they wanted to get something from us. But there is such a complete feeling that we never gave them anything. This is how they came and this is how they leave. It is very difficult to break through, very difficult. Now we were in Chelyabinsk, another city. In Chelyabinsk we just didn’t have time to go out yet... This, of course, is also not very correct, probably this is such crazy love and desire...
K. Larina- Expectation.
T. Vasilyeva- Expectation, yes, and desire to see. Just a little is enough to make people so happy. And there’s a city nearby, 200 kilometers away - something completely... I don’t even understand. I say: “Guys, are there spectators there or not?” Usually the noise comes from behind the curtain. And there’s nothing there! People sit and are silent.
K. Larina- They are silent.
T. Vasilyeva- They sit quietly. Well, I don't know what it depends on. Maybe it's the climate.
K. Larina- Are there theaters there?
T. Vasilyeva- And there are theaters, yes. I always come and ask: “Do they go to your theater?” - “Yes, the halls are always full,” they say, “always.” And then, of course, we have a lot of people traveling around. When we arrive, there is a poster hanging on a poster; they don’t have time to hang new posters there. And all the enterprises are rushing, rushing, rushing...
K. Larina- Is there competition?
T. Vasilyeva- Well, there is, of course, of course. I personally don't feel it. They say that it’s not good to have a lot of you, that you have a lot of names, “this is not good, you need to reduce your number.” But if it’s on sale, if I see a full room in front of me, then why should I downsize? I don't understand. I don't want to cut back. I want…
K. Larina- Reproduce.
T. Vasilyeva- Yes.
K. Larina- Well, there’s also, of course, traditional... I’m going back to Moscow again. Of course, this surprised me. Maybe the point is in such a traditional, somewhat arrogant attitude towards this type of theater, towards this method of theater, as an enterprise? How would it have initially developed among the public, which is a fan of theatrical events in stationary theaters, and believes that this is such a second-class thing. There's no such thing? Has this survived?
T. Vasilyeva- No, it’s just... I think that people go to a stationary theater not only to see the actors, but also to see the performance and the director. Our directors, as a rule, are not known, although there are very good directors, I know them, with whom I work. There you understand that this is Tuminas or... Another one. What is his last name? I forget everything. Very difficult. In Mayakovka which...
K. Larina- Karbauskis.
T. Vasilyeva- Karbauskis. They know the directors. They go to see the production, not the artists. We mainly go to actors.
K. Larina- On the actors.
T. Vasilyeva- Yes. And they don't know what they're getting into. Therefore, we also need to think seriously about this issue, you know, so as not to disappoint with our next opus.
K. Larina- Well, what is your attitude towards artists who remained to work in stationary theaters and achieved nothing?
T. Vasilyeva- Sympathy.
K. Larina- Tell me, do you feel sorry for them?
T. Vasilyeva- I'm very sorry! I just feel sorry for such a personal experience. Among them are my friends with whom we started together. And they started, almost neck and neck. And now they are living out their lives there, just living out their lives. I just pray to God that they live there, in general, so to speak, until their last journey.
K. Larina- This is a terrible, kind of unfulfilled life! This kind of extinction is human first of all.
T. Vasilyeva- Yes Yes Yes. And people have come to terms with this, and they are so scared. And I always hear the same phrase: “I can’t live without a stage. I will die without a theater." What do you get in the theater? What can you give him, on the other hand, too? Because people are untrained, they are fat, they move poorly, they speak poorly. If this is how you set yourself up, then, so to speak, you can still do something in the theater - that means, somehow take care of yourself, get yourself into some form.
K. Larina― Tatyana Vasilyeva gives advice to her young colleagues. And we listen to the news.
K. Larina- Let's return to the program. Let me remind you that today our guest is actress Tatyana Vasilyeva. I will remind you once again the SMS number for our listeners +7 985 970-45-45.
And by tradition, I want to offer you an exciting task for the second part of our program. When we have great artists visiting us, we invite our listeners to suggest roles to actors. And so, comrades, today, let me remind you, Tatyana Vasilyeva is the one you know and see very well. This is the Tanya who today would ask you: “What would you offer me to play?” My friends, please send your suggestions. Moreover, we just said that there is nothing to play, that there are practically no roles, certainly in movies and TV series. Let's offer roles for Tatyana Vasilyeva, you're welcome. We don't limit you in any way. It can be historical figures, it could be any heroine of some kind high drams or comedies from the world repertoire, from the Soviet, from today - for God's sake.
There is already the first role, which, not knowing about this task, was sent by our listener. This is "A Visit from the Old Lady". I also thought that this was necessary... Have you ever tried to play this anywhere?
T. Vasilyeva- Have not tried. I was offered it several times, but somehow I didn’t want it.
K. Larina- You didn’t like the play, did you?
T. Vasilyeva: We have no right to lose the viewer for half a second. Then you have to return them in half an hour
T. Vasilyeva- I didn’t like it. There is something there that is not mine. I won't get through all of this.
K. Larina- Well, let's see what our audience offers, how much they feel about you as an actress today.
And among the questions, for example, there is the following question: “Teach me how to choose a good performance. Tickets are very expensive. There is no hope for critics. Sometimes you come and want to run. What to do? How to choose a performance? - asks Irina.
T. Vasilyeva- Oh, Irina, if only I knew, if only I knew... Well, should I tell you? You see, because... Are we talking now about entrepreneurial enterprise? Well, I work at Raikhelgauz, this is a real theater, that’s all. Go, then, to the actors. Take a risk on at least one thing. At least you'll see an actor you know and probably love. I can not tell. There are, of course, a lot of dubious plays, especially modern ones. And it's very hard to find a good one modern play. Therefore, we very often rewrite modern plays in our own way with our names and so on. A big problem- a huge, huge chasm has arisen here. There are no good modern plays. No. And if they are there, then up to half, but from the second half it is gone. And it definitely has no ending. And we sit and for half a month come up with the ending ourselves. So we also write these plays ourselves. So go to the actors for now.
K. Larina- One more question... Oh, by the way, good question, I wanted to ask you this myself. Eat famous saying that the actor says: “I can play my King Lear anywhere, in any role.” Please tell us about your repertoire and your roles.
T. Vasilyeva- Amazing. This is my opinion too. It is not at all necessary to play Desdemona or Juliet, or some Shakespearean women. Not at all necessary. All this can be played in any play, in any, in any material. And that’s actually what I personally do. Even in its pure form, some kind of classic story would be very boring to me, because there is little to contribute. Well, it’s probably possible as a director, but as an actor it’s all somehow constraining, classic. Well, except for Chekhov.
K. Larina- Of the works that you are playing now, is this the one that is most dear to you, the one that you yourself came up with from start to finish and put everything into it?
T. Vasilyeva- So I’m talking, let’s say, about “He’s in Argentina.” I really love this performance with Lesya Zheleznyak after Petrushevskaya. I loved " The Cherry Orchard" Now I don’t have this performance, but they are slowly starting to offer it to me.
K. Larina- Again?
T. Vasilyeva- Yes, do this performance. And I naturally agree, “The Cherry Orchard.” Well, the last one, as always, the performance and role closest to your heart is the one you are currently rehearsing. What I'm rehearsing now. I can't even say what it will be called. Well, for now the conventional name is “Day of Surprises.” We will play on the 17th, August 17th. This is such a very funny and lyrical story. And I have very good partners.
K. Larina- About partners too... I know that we worked a lot with Valera Garkalin. Are you continuing this cooperation now?
T. Vasilyeva- No, not yet.
K. Larina- No?
T. Vasilyeva- No.
K. Larina- It was absolutely such an amazing duet.
T. Vasilyeva- Yes, for a long, long time... Valera and I worked for 20 years just every day.
K. Larina- And now, I see, Stas Sadalsky is often with you, right?
T. Vasilyeva- Yes, he and I have...
K. Larina- He’s such an awkward artist, so spontaneous.
T. Vasilyeva- Yes. But he has a certain... As I tell him: “You are a shaman.” There is some kind of magnetism in him that cannot leave people indifferent to him. He immediately takes over the hall. He sometimes says whatever he wants, something that is not even in the play. But you need to be very careful with him. You need to understand what this person is telling you, and, so to speak, enter into a dialogue, listening to him. And the public loves him very much, very much. And I love him very much as a partner. He is unpredictable, he is a brawler. But all the workshops work just as smoothly as at a parade. Everything always works for us, including the light, because before that there is always terrible scandal and hysteria. Even if everything works, it will work even better. This is a great quality he has. He cares about how the door stands, why there is a crack there, why the light sticks out from there. Everything worries him. And he is, of course, a great partner. And he is a very good dramatic actor. Few people know about this. Maybe just me. Very good.
And this is the actor whose eyes I try to attract to myself, because I am afraid of most partners. On the contrary, it happens, you know, that you play with yourself. There is a person standing nearby, but he doesn’t need you, and you don’t need him. And this is a big punishment. But Stas is not. Yes, we are playing several performances with him now. And one performance has been going on for a long time, called “ Naked truth" We play to ourselves, each with our own story. And then we combine into two small performances. This is very interesting story. I don't think anyone else has such experience. This is not fiction, it’s all about us, from our lives. And all this was done by us. There is no such play at all, there is no such play “The Naked Truth”.
K. Larina- So you came up with everything yourself, right?
T. Vasilyeva- Yes.
K. Larina- Such an improvisation, right?
K. Larina- Absolute improvisation, absolute, yes. Well, we sing there and talk about ourselves: he about his life, I about mine. This is interesting to everyone, well, because we are very frank people. That is, there we have no limit to our revelations. And I understand that, firstly, people already know a lot. Well, why am I going to tell the story of something other than my life now? Of course, they need confirmation from us. And we give it to them. And most often we tell some things about ourselves... well, not exactly unsightly, but such controversial things that we still worry about: about the theater, how it was for him in the theater, how it was for me in the theater, why we not in the theater - that’s all that worries, it seems to me, people who are interested in this. As it turned out, a lot of people are interested in this - acting.
K. Larina- But this frankness, this “Naked Truth” - as I understand it, this is some kind of manifesto of yours, or something. Because I see that you are absolutely open, you do not hide anything - neither age, nor any personal problems. It annoys some people terribly that it’s turning into some kind of endless caravan of stories, right? But I thought, I think: why is she doing this? - after watching another program. And then I thought: probably, after all, there is a right move in this, that you cannot be compromised. Impossible.
T. Vasilyeva- Do you know why? Because... I would call it another word, very familiar to me and no longer offensive - that I am stupid.
K. Larina- OK!
T. Vasilyeva- Well, to put it mildly. Yes Yes Yes. Because I can’t invent... You see, as soon as they start me on some story, I immediately start...
K. Larina- Tell everything.
T. Vasilyeva- Sculpt everything at once, your whole story, as if someone asked me about it. I was simply asked a question. I could tell a different story. Firstly, I’ll go astray right away, I’ll start on my own... I don’t know how to lie, so to speak, and that’s why my whole problem lies precisely in this. All my revelations are connected only with the fact that I can’t come up with something about myself. And I understand people who don't like it. Why is this necessary? Why lay everything out like this? On the other hand, if I am asked such a question, then what - will I then say: “I will not answer this question”? Like this or what? I don't know how to do it. I don't know. But I’m not interested in people who smooth everything over and don’t talk about anything.
K. Larina- And children don’t tell you: “Mom, why are you telling everything?”
T. Vasilyeva- They say. Of course they do. Of course of course. In front of the children, of course, I... So I say - I don’t have any restraining centers. I don’t know what it is, what this stupid character trait is called. And when I go somewhere, my children give me instructions: “You don’t have to say anything about me.” “And about me, too, mom, please, no more. OK? Thank you, mom, thank you." And I go and just think... I just wish I could keep track of this moment when they ask me this. And then I’ll move on to something else - mainly to myself. What should I do?
K. Larina-Are you satisfied with yourself as a mother? Good parenting?
T. Vasilyeva- No. Of course not.
K. Larina- No?
T. Vasilyeva- No no. I’m not happy because... Well, again, revelations will begin now.
K. Larina- You protected them so much, I remember when they were still little, when there was the last separation from their last husband.
T. Vasilyeva- Yes.
K. Larina- And I remember that you were very worried, somehow you really wanted to close them off from everything, to save them from loneliness, from these adult problems. But now they have grown up, they already have children themselves.
T. Vasilyeva- Yes, we have grown. Yes Yes Yes. Well, I continue to patronize, I continue to talk. It seems to me that sometimes I even say: “Don’t listen to me and don’t act as I tell you now and advise you. Don't listen to me. You are adults. This is your life." But I still have to say. Therefore, I still say, like this, I shout at the door, through the crack: “So that this is not forgotten, and this is not done. And so that they don’t hunch over. And don’t smoke.” Well, what can you do about it? It's probably something maternal.
K. Larina- Well, of course. It turns out that then what is the dissatisfaction with oneself? Raised wonderful children good people. They put everything they could into them.
T. Vasilyeva- I think people are good, but... How to say? You see, I also cause them great harm by the fact that I care so much about them and worry so much about them. And the rumor follows them: “Well, this is her son. Well, she pushes him everywhere.” I don't push him. Producers call me and say: “Can I have Philip?” I say: “Of course. Of course, take it." Well, then it all starts: “She’s dragging him.” Well, a few other people are making efforts to do this. And then I understand that I am completely powerless and I need to step aside. This means they must go their own way, their own way. It turns out that I will only embarrass you by the fact that I exist nearby, by the fact that I have work, and a lot of it. And I live the way I dreamed, probably the way I should live. But they should probably live differently. I don't know. Don't know…
I can't help them. You see, I didn’t have any connections. I can't call anyone. I can only call and say: “Oh, you know...” to ask for someone. I'm doing great for someone! This man will be in such chocolate! And if I call and say “you know, I’m his niece” or “I’m his sister” or “I’m his grandmother”, there will be a top-class, luxury-class ward, an IV! They'll bring everything right away. And everyone will carry this patient in their arms.
T. Vasilyeva: I am very afraid to make comments to my partners. I never do this
K. Larina- And for our own?
T. Vasilyeva- No. For our own - no. No, it doesn't work. Or I ask for the directors - and the directors immediately have the same fate! I'm so lucky for others!
K. Larina- Contact me, gentlemen, if anything happens.
T. Vasilyeva- Yes, directors, here. But, unfortunately, if you don’t do good, you won’t receive evil. You don't have to do it when you're not asked to. So I came to this conclusion. No need. It’s the same thing - you don’t even need to give alms unless they come up to you and say: “Please give me some money.” Then give it to me. Until they ask, don’t give. No need, because...
There was a woman sitting near my window whole year... she didn’t sit, but lay down; she spent the whole winter on a bench. Winter on the bench! She hid herself, slept in some boxes, and revealed herself during the day. And I looked: this woman was throwing a cigarette at someone, she was wearing glasses, just a clean teacher. She was sitting. I stand with a cup of coffee by the window and think: “Okay, she’s sitting there. I'm standing warm with a cup of coffee. And who am I after this? I take my expensive coat. I think so: “No, I won’t even choose! I’ll take this, my best coat.” Warm - stove! I brought it from somewhere.
I run to her, I run to her in my dressing gown in the winter and say: “Hello. Please take your coat, you’re freezing.” She said, “Oh, thank you very much, thank you. Put it there." I say: “Here take the money.” - “No, that’s a lot. I won’t take that much.” I gave it there... I don’t remember. I wanted to give her 5 thousand. She: “I won’t take that much.” I say: “How much will you take?” - “Well, I’ll take a thousand.” She gave me a thousand.
And what do you think? I'm keeping an eye on her. She didn't touch this coat. After some time, I return from the rehearsal - she is sitting again in the same form in which she was sitting, without this coat. She's got him somewhere, probably there...
K. Larina- Did you sell it?
T. Vasilyeva- Well, I sold it, of course. Of course I sold it. Do you understand? This was what annoyed me.
K. Larina- Did you say anything to her?
T. Vasilyeva- No no. Well, why would I put her in this position? She will say: “I took it somewhere,” and so on. She'll lie to me. For what? That's who I am. You see, I go where I don’t need to. Sit still! Sit. They gave you a role - go and learn it!
K. Larina- There are a lot of ingratitudes in life, right?
T. Vasilyeva- Yes Yes Yes. Well, all the proverbs - everything is said there.
K. Larina- Well, in the end, this is your destiny and your karma. Do you understand?
T. Vasilyeva- Yes Yes.
K. Larina- We need to think about this. These things, such actions must be done for yourself, in the end.
T. Vasilyeva- Of course of course.
K. Larina- And don’t regret anything.
T. Vasilyeva- I’m just offended that she continued to freeze, and I stood with a cup of coffee, and I felt sorry for her again.
K. Larina- So, are we going to choose roles, Tanya?
T. Vasilyeva- Yes, of course, let's do it. I'm ready.
K. Larina- So, what do we have here? Well, firstly, a huge number of some queens: Catherine the First, Catherine the Second, Boyarina Morozova...
T. Vasilyeva- Oh, I would love to! I'd like that. Nobody offers.
T. Vasilyeva- Kabanikha? Also a good role.
K. Larina- Nothing, yes, yes. “Darling Tanya, we admire her! God gives energy according to your request. So go for it! Everything is in your hands,” Svetlana writes to you.
T. Vasilyeva- Oh, thank you, thank you very much.
T. Vasilyeva- Shakespeare was, in my opinion...
K. Larina- This... Peter Stein.
T. Vasilyeva- Stein’s, yes... No, it wasn’t Shakespeare. It was the Oresteia.
K. Larina- "Oresteia".
T. Vasilyeva- Yes. I'm sorry.
K. Larina- Was there Shakespeare?
T. Vasilyeva- There was no Shakespeare, no.
K. Larina- “Who is your critic at work?”
T. Vasilyeva- I.
K. Larina- The first critic and the most important?
T. Vasilyeva- The most difficult, the most depressing, the most murderous.
K. Larina- Yes Yes Yes. So, let's move on. Mom Courage.
T. Vasilyeva- Well, yes. Well, that's true... If you make a musical, then yes.
K. Larina- Philomena.
T. Vasilyeva- Philomena?
K. Larina- By the way, a good role.
T. Vasilyeva- Good, very good, very good.
T. Vasilyeva- Oh, no, no! I don’t like all this old stuff, shaking it with old stuff. No, not ready yet. Wait.
K. Larina- “Marriage.”
T. Vasilyeva- “Marriage” would be good.
K. Larina- Catherine again. Eliza, Pygmalion. The role of Sarah Bernhardt. Chekhov's plays. I also vote for Chekhov. And it was no coincidence that Tatyana remembered “The Cherry Orchard.” This, of course... I don’t get tired of repeating this, every time I confess my love to Tanya in this sense once again, because for me this is the best Ranevskaya of all times and peoples that I have seen. And the play that he staged then...
T. Vasilyeva- Trushkin.
K. Larina― Lenya Trushkin. It was an incredible event!
T. Vasilyeva- Is it true.
K. Larina- And how many “Cherry Orchards” have there been since then... No! This is where something incredible worked.
T. Vasilyeva- Well, now I would play even better.
K. Larina- Doesn’t he want to repeat it?
T. Vasilyeva- No no no.
K. Larina- As if new edition do.
T. Vasilyeva- No no no.
K. Larina- No?
T. Vasilyeva- No, no, no, he doesn’t want to know me at all.
K. Larina- “Tatiana, you can play whatever you want. You are a queen in every role!” - Anna writes to us. “What role do you play yourself?” Well, I think that this is exactly the “Naked Truth”, which Tanya has already talked about.
T. Vasilyeva- Yes, “The Naked Truth.” Yes, and in all roles, of course. This is such a reciprocal action.
K. Larina- “Dear Tatyana, I received great pleasure from your work in Petrushevskaya’s play. The role was completely unexpected for you. Thank you very much! Galina, Zheleznodorozhny city.”
T. Vasilyeva- Oh, great! Thank you, Galina.
K. Larina― “Sincerity is such a rarity in our country. Thank you for this, Tatyana,” Yuri writes to you from St. Petersburg. Maria Stewart, Vassa Zheleznova, Ogudalova... Well, all of them are mothers. "The Last Victim" Ostrovsky is offered a lot. Is this even your author?
T. Vasilyeva- Ostrovsky? I only played Ostrovsky, “Warm Heart” at the Studio School.
K. Larina- It seems, at all, it seems to me, somehow... Now I look - there is something in this handkerchief, some kind of matchmaker.
T. Vasilyeva- Wait a little more, I’ll dial.
K. Larina- Yes, Medea. "The Weird Mrs. Savage" Well, listen, comrades! Well, in general! What are you really? “Pippi Longstocking” has already happened, Katya! You probably weren't born yet when Pippi Longstocking was on. It was a performance, right?
T. Vasilyeva- It was a long time ago.
K. Larina- You played, yes, yes, yes. Well, many here remember, of course, all your comedic roles in all of “Duennas”, and so on, and so on. And they ask about the movie. Is there cinema in your life today? And if there is, where is it?
T. Vasilyeva- Well, by and large, of course not. No. I won’t even name what I’m doing in the cinema now. Well, this is not a movie, these are also TV series. I don't even want to talk. Well, not the time, not the time. You must either endure it or somehow forget it altogether.
K. Larina- Well, they ask you one more question (I also join him): “Your attitude towards contemporary art and to modern directing? Are you interested? Or maybe something confuses or worries you? As an actress, would you like to work in such plays that are staged by our young... well, not too young, but middle-generation directors of radical trends?
T. Vasilyeva: We very rarely play premieres in Moscow, because you are doomed to fail with the premiere
T. Vasilyeva- Well, I would be interested, of course.
K. Larina- Interesting?
T. Vasilyeva- It would be interesting, yes. Well, at least there the actors are very protected by the director and the form. And again I'm talking about Vakhtangov Theater. I envy these actors. But I envy them from the point of view that every second they are busy with something, that the director has thought of everything for them, they are not just hanging out there, just on the rug.
K. Larina- And a hard drawing. Doesn’t this limit artists’ freedom?
T. Vasilyeva- No, no, on the contrary, on the contrary. If the performance is so brilliant, if you fill it with your nerves and feel it all, if it does not remain a bare form, then it will, of course, be grandiose. Well, to me with such directors... The only one who was? Pyotr Fomenko in my life, Pluchek... That's all, perhaps.
K. Larina- Well, if you were invited to play a role in some theater with columns, I mean - for a specific job as a guest artist, I don’t know, besides Kirill Serebrennikov or Konstantin Bogomolov, or Tuminas, would you agree?
T. Vasilyeva- I would be interested, yes.
K. Larina- Yes?
T. Vasilyeva- Certainly. I would agree. It would be interesting for me.
K. Larina- Because today, you see, there is such irritation in society against such performances that are not very clear in genre. You see how endlessly people are insulted and denunciations are written about performances. How do you explain such a rejection of society from this?
T. Vasilyeva- It seems to me that this is a purely Moscow story.
K. Larina- Still?
T. Vasilyeva- It seems so to me. I come back to this. There's a lot of evil here. A lot of evil. And it’s easier to react like that, it’s easier to start blaming and scolding all this, without even seeing it: “I won’t go! I know him,” and so on. And this is such a bad energy that right there... There is an outflow of people, because... For some reason, people find it more pleasant when someone is scolded than when someone is praised, when someone is admired. It seems to me that everything was somehow kinder before, well, in my years, when I was an actress. I didn’t even know what they were saying about me. I just knew that I had this role, this role, and that’s it. But it turns out that there were some stories there, but I didn’t know it. And now we all know what they say about us. Open this box - and everything is there, it doesn’t seem like much. And what? So what, bury yourself and never go on stage again? Well, I don’t have this box, I don’t know anything.
K. Larina- Well, how? You have Instagram. Hello! I saw
T. Vasilyeva- Yes, I have.
K. Larina- You are there in a swimsuit and sawing wood.
T. Vasilyeva- I was sawing wood in a swimsuit. Well, this is not my initiative.
K. Larina- So this is “everything for victory”?
T. Vasilyeva- Yes Yes Yes.
K. Larina- “Everything for the front, everything for victory.”
T. Vasilyeva- Yes. Therefore, I don’t know... They always begin to deny, reject, and scold everything new. And to glean something useful from there - somehow we don’t do this at all. It’s easier to close, blame, imprison.
K. Larina- Well, thank God that you don’t have an SMS feed yet on stage. It would be cool if an actor came on stage and there was a huge monitor on which the audience could see everything they were thinking at that very second.
T. Vasilyeva- Yes.
K. Larina- That would be...
T. Vasilyeva- Then it’s over. This is all. A curtain
K. Larina- Well, curtain! This concludes today's broadcast. Thank you big Tatiana Vasilyeva for the conversation, for her frankness.
T. Vasilyeva- Thank you, thank you.
K. Larina- Thank you, Tanya.
T. Vasilyeva- Thank you, Ksenia.
