The road story of Alexander Kasparov. At southern latitudes
School
Where did it all start? When did you first think about theater? Were you somehow previously connected with the theater?
It all started with the fact that in the 5th grade I entered a music school to study accordion. At that time I was also actively involved in table tennis ( By the way, in our hero’s dressing room there is a tennis table, and in the intervals between rehearsals a close group of players gathers there - Approx. KS). And we can say that then my dreams were about a sports career.
In the 9th grade my classroom teacher asked to play the accordion in school concert, dedicated to the Day Teachers. With my performance I received a storm of applause and I liked it. After which one of the school teachers approached me and suggested that I try my hand at singing, and I did not refuse. He listened to me and later we prepared a number with which at the end school year I performed at the reporting concert of my 32nd school at the Druzhba cultural center in Engels.
After this concert, the music school teachers saw that I felt quite free on stage and offered me a very important mission - at the skit party, dedicated to the release, bring the loaf onto the stage and hand it to the director. Then, instead of the sick artist, I was offered to dance and sing. As a result, I was busy in all the numbers of the skit party, and at the end I also held a disco.
After all these stage moments, the director of the music school, Yuri Nikolaevich Trofimov, invited me to his place and asked about my future plans after school. Then I was still not serious about choosing a university and answered that I wanted to go to law school. To which he suggested that I enter the theater department of the conservatory. But since I only had to enroll in two years, I didn’t pay much attention to his proposal.
After graduating from music school with an accordion class, in the 10th grade he entered the guitar class. In addition, he played in KVN in the “Virus 100%” team and was its captain. He led discos and participated in various school and city events. There was its own show group “Party”.
And now, when the time has come to choose for yourself further path, I remembered about the theater department. At that time, my dream was already a career in show business, but my parents insisted on higher education..., and I thought: “Well, the conservatory is a higher education, and studying to be an artist will help in my future plans.”
Theater Department
What was on entrance exams? Were you afraid of them?
There was no particular fear. I prepared the fable “The Monkey and the Glasses,” Lermontov’s poem “Call Hope as a Dream,” and a prose excerpt from Shukshin’s “Letter.” I thought this would be enough. I told everything I knew right away in the first qualifying round. They asked me what else I could do, and I sang a song from the repertoire of the group “Chizh” with a guitar and played “Dance of the Little Swans” on the accordion. I took the accordion with me from Engels, and took the guitar from other applicants. There were no problems with dancing and singing, since there were entire numbers already prepared. The colloquium scared me the most, but I ended up scoring the most among the boys.
Do you remember your first course? Did you immediately like what you started doing or were you expecting something different? How was your studies?
At the very beginning of my first year I was surprised by what was happening, because I was preparing for show business, and here were leggings, PFD ( memory of physical actions - KS), excerpts, the “typewriter” exercise... There was even depression, and I wanted to quit school. At that time, it was not clear to me why I had to drink imaginary water from an imaginary glass.
But already in the winter, after the first semester, I was taken in the drama theater performance “Monsieur de Maupassant” - I took part in dance numbers. It was very interesting: serious spectators, adult artists, folk, honored ones. Later I was included in the play “Love and Dance”. So by the end of my first year I was involved in two drama theater performances.
Also in the first year, director Pyotr Todorovsky came to us to select artists for the film. I didn’t get to the casting, but the very situation that such a serious person was watching us and directors often came to the faculty to select actors for their films made me very happy. I thought: “What if I’m lucky?” So the depression subsided, and the second course began.
Already in my second year, I was cast in the fairy tales “The Nut Krakatuk” and “Magic Desires”, in the plays “The Dreamers”, “Breakfast at the Leader”, “A Long Happy Life”, “The Marriage of Figaro”. By the time I graduated, I was already involved in 15 repertoire performances.
Since our course was experimental - directing and acting, we, unlike others, studied for five years. During our training, our course staged 6 graduation performances. In addition, in our fifth year we went to festivals and tours - Sarajevo, Warsaw, France, Kursk, Moscow.
What was your first role with words?
The guy in Shpalikov’s play “Long happy life", and this was my favorite character and my favorite performance.
What is your hardest role while studying?
The role of Grischuk in the graduation performance “Babel”. The performance was generally emotionally difficult, both for us actors and for the audience.
Were there any unexpected situations?
Completely, for example, in the play “Duel” in the “Katya’s birthday” scene. I had to accompany Katya on the guitar with the song “The Lonely Sail Is White...”. But during the intermission, the audience accidentally knocked the guitar behind the piano, and at the time of exit I could not find it. I had to go out without a tool and simply support Katya morally...
Theater service
In many performances you play the accordion... but how did it all start?
In the second year, director Igor Konyaev arrived and he needed an accordion player for a future performance. They pointed to me with an accordion, and I sang ditties to the accordion at “Breakfast at the Leader’s.” Later, in “Duel” and “Babel” I already played both guitar and accordion. When he was accepted into the drama theater, he continued to play the guitar in the plays “Uncle Vanya”, “Cuckoo’s Tears”, “The Lonely West” and “A Little About Summer”. So I continue.
Your last premiere was Hamlet. How was the work on the role?
After I was informed about the role of Hamlet, I began to watch everything I could, to observe who was playing and how. I bought discs with recordings of films and performances. I was especially happy about the disc with Smoktunovsky. I can say that when working on the role, there was a heavy burden of responsibility, which everyone told me about, and which I myself was aware of. Thanks a lot director - Marina Glukhovskaya. She helped me understand, realize and accept a lot in this role.
Who is Hamlet for you?
For me Hamlet is a common person, a regular guy. In our story, he is a medical student and about my age. He lives, studies... Everything was fine in his life until he became a victim of circumstances. A misfortune happened - my father died. But life still goes on. And then the ghost of his father appears and the world familiar to Hamlet collapses. He learns terrible things: his father was killed and the killer is his own uncle. Should I believe the sign, should I believe what he said? Hamlet needs to do something. Revenge, kill? But it's scary. He can’t just go and kill his uncle, because, don’t forget, he is a medical student, for whom life is sacred, and a ghost is no longer a living person...
Does Hamlet's madness play a special role in the play?
For Hamlet, at first madness was a protective mask. The death of people at his own hands, first of all, the death of Polonius, was a strong shock for him. His friends are dying because of him. And partly because of him, his beloved dies.
At the very beginning, Hamlet tries to save his friends Rosencrantz and Guildenstern, realizing that they were sent on purpose. He winks at them and, unnoticed by everyone, writes the word “Leave” on their wheel. They understood these secret signs, but they cannot change anything, since they have already become victims of circumstances. Rosencrantz and Guildenstern find themselves in difficult situation, superfluous word on their part will lead to the death of both. Later, when Hamlet, accompanied by friends, was sent to England to certain death, to save himself, he decides to forge documents and send his friends to their deaths.
Ophelia also understands everything, but understanding and accepting are two different things. But the main one who understands that Hamlet’s madness is a mask is Claudius. But as long as Hamlet is covered with a mask of madness, he is relatively safe.
Have you tried to use someone else's acting style in your work for the role of Hamlet?
As for this role itself, I have said more than once that I liked Hamlet performed by Innokenty Smoktunovsky. But I also liked the acting style of Vladimir Mashkov in the film “Liquidation”. I thought his performance in this film suited him well to play this role in our story. So I tried to take something from one, something from the other. But Marina Glukhovskaya made me into a different Hamlet, unlike anyone else.
What role did music play in the play?
Of course big! During rehearsals we remembered historical fact, when the song “Lili Marlene” performed by Marlene Dietrich was heard on the radio on the fronts of World War II, they stopped shooting on both sides of the front. And here it sounds in moments of truce and calm. As soon as the situation heats up, the music changes, and Rammstein with its powerful energy does not allow the intensity of passions to cool down.
Do you believe in theatrical omens?
Well, when a role comes up, I definitely take it. But not quite...
What are you working on now?
Currently busy in rehearsals for the play " Better days our lives" by William Saroyan. My hero Dudley is a young man in love. Come, the performance is interesting.
Vasily Zimin, Stanislav Avdeev. June 2008
Kasparov, Alexander Isakovich
Honorable Sir Khanty-Mansiysk Autonomous Okrug, Hero of Socialist Labor (1991), Honored Builder of the RSFSR (1990), Doctor of Technical Sciences (1996), Academician of the Academy of Transport of the Russian Federation; born May 9, 1931; graduated from the Azerbaijan Polytechnic Institute in 1955; 1955-1960 - senior foreman, foreman, senior foreman of construction department No. 7 of the USSR Ministry of Transport (Grozny region); 1960-1965 - senior foreman, chief engineer of the unit for the construction of the Kushka-Herat highway (Kandahar province, Afghanistan); 1966-1968 - chief engineer of the Sredazdorstroy trust 1969-1972 - Chief Specialist, head of a group of Soviet specialists for the construction of the Puli-Khumri-Mazar-i-Sherif-Shibirgan highway (Afghanistan); 1972-1977 - deputy, chief engineer of the Dondorstroy trust 1977-1981 - deputy head of Glavzapsibdorstroy since 1981 - chief, CEO association "Zapsibdorstroy" (Nizhnevartovsk); awarded the Order of the Red Banner of Labor (1963), the Gold Star of the 1st degree (Afghanistan), two Orders of Lenin (1985, 1991) and medals; was elected as a deputy of the Khanty-Mansiysk District and Tyumen Regional Councils of People's Deputies.
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Material from Wikipedia - the free encyclopedia
Alexander Vladimirovich Kasparov | |
July 25 - March 15th | |
---|---|
The president: | Vladimir Vladimirovich Putin , Dmitry Anatolyevich Medvedev |
Predecessor: | Boris Anatolyevich Krasnikov |
Successor: | Sergey Ivanovich Lobanov |
Birth: | October 21 (1945-10-21 ) (73 years old) |
Education: | MGIMO |
Profession: | diplomat |
Alexander Vladimirovich Kasparov(genus. October 21 ) - Russian diplomat.
Biography
Graduated MGIMO Ministry of Foreign Affairs of the USSR(1970). In diplomatic work since 1970. Owns French And Arabic languages.
Diplomatic rank
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Excerpt characterizing Kasparov, Alexander Vladimirovich
Napoleon, despite the fact that more than ever, now, in 1812, it seemed to him that the verser or not verser le sang de ses peuples [to shed or not to shed the blood of his people] depended on him (as in last letter Alexander wrote to him), never more than now was he subject to those inevitable laws that forced him (acting in relation to himself, as it seemed to him, at his own discretion) to do for the common cause, for history, what had to happen.Westerners moved to the East to kill each other. And according to the law of coincidence of causes, thousands of small reasons for this movement and for the war coincided with this event: reproaches for non-compliance with the continental system, and the Duke of Oldenburg, and the movement of troops to Prussia, undertaken (as it seemed to Napoleon) only to to achieve armed peace, and the love and habit of the French emperor for war, which coincided with the disposition of his people, the fascination with the grandeur of the preparations, and the expenses of preparation, and the need to acquire such benefits that would repay these expenses, and the stupefying honors in Dresden, and diplomatic negotiations, which, in the opinion of contemporaries, were carried out with a sincere desire to achieve peace and which only hurt the pride of both sides, and millions of millions of other reasons that were counterfeited by the event that was about to take place and coincided with it.
When an apple is ripe and falls, why does it fall? Is it because it gravitates towards the ground, is it because the rod is drying up, is it because it is being dried out by the sun, is it getting heavy, is it because the wind is shaking it, is it because the boy standing below wants to eat it?
Nothing is a reason. All this is just a coincidence of the conditions under which every vital, organic, spontaneous event takes place. And that botanist who finds that the apple falls because the fiber is decomposing and the like will be just as right and wrong as that child standing below who will say that the apple fell because he wanted to eat him and that he prayed about it. Just as right and wrong will be the one who says that Napoleon went to Moscow because he wanted it, and died because Alexander wanted his death: just as right and wrong will be the one who says that the one that fell into a million pounds the undermined mountain fell because the last worker struck under it last time with a pickaxe. IN historical events so-called great people are labels that give names to an event, which, like labels, have the least connection with the event itself.
Each of their actions, which seems to them arbitrary for themselves, is in the historical sense involuntary, but is in connection with the entire course of history and is determined from eternity.