Biography of Hope Svetlova

Nadezhda Svetlova: “With a doll, you can work real miracles” Author: Natalya Ivanova, Photo: From the archive of the theater “Astyonok” there are professions that do not allow to grow up. No, of course, professionalism, experience, skill appear, but in the soul you are still the same young, open to all the new young girl. But how else, if you are an actress of the theater of dolls?

And every day, despite your age, you miraculously reincarnated in the mischievous boy Pinocchio, the performance “The Adventures of Pinocchio”, then in the duck “Ugly duckling” or a duck of life, gossiping, gossip Petrovna “Uncle Dream”. In the Irkutsk theater of the puppets "Astenok" there is such an actress who is subject to all these images - this is Nadezhda Svetlova.

Recently, Nadezhda Yuryevna celebrated a beautiful anniversary date. Nadezhda Svetlova has been served at the Aistenok Puppet Theater since the year, more than 40 diverse roles have been played here, but this theater is not the first in the fate of the actress. Nadezhda Svetlova: “Our task is to find a common language with a doll” for 27 years in the theater of the Aistyonok dolls, Nadezhda Svetlova played more than 40 diverse roles, the actress is convinced that it was impossible to abandon completely puppet performances - after the school I worked for two seasons in the Khabarovsk Youth Theater, then I decided to return to my city theater studio in Togliatti.

Irkutsk, closer to parents, ”says Nadezhda Yuryevna. Then, after all, everyone entered the drama, and those who were a little short of the necessary points offered something else, they offered me this specialty. And I do not regret that I made such a choice, because the doll gives unlimited opportunities for the actor, with a doll you can work real miracles. Also in many performances we work both in the “puppet” and in the “living” plan, and this is a huge plus.

But the doll must be revived. Tell us how it happens. When we only got acquainted with various types of dolls, they brought us such “semi-finished products” of dolls, in which sometimes the pens, legs and so on were only guessed, and we tried to somehow find an approach to them. Now, when they bring a doll to a new performance, it is always something unusual, because all the dolls are different.

Different artists work on them, they must perform different directorial tasks, and your task is to find a common language with it. The most faithful assistant is a mirror: depending on the mirror, you work out different movements of the dolls, facial expressions, abilities, and study her face. For example, in the premiere performance “Uncle Dream”, I work with a doll Nastasya Petrovna, she has such an interesting, many-sided expression on her face, I still discover something new for myself.

This is amazing, honestly! Of course, our button artists are trying to make a doll as soon as possible, and usually in the process of rehearsals your character is constantly modified, details are added, clothing appears, and so on, time is always not enough, so we work with what is. Sometimes it also happens that rehearsals with the director are already going, and the doll is not ready at all, then you select for yourself some kind of item, for example, a mug or teapot, and you begin to work with it to feel the space around, the text.

I am very grateful to our workshops and, to be honest, I always wonder how they succeed in a short time to be in time, because usually one performance “propagates” the other, while there is a current work, and there is always little time. Sometimes a completely finished doll appears only on the day of the premiere of the performance, but this is extremely rare. The actress who worked before me gave me her notebook, where all the roles were registered.

And the first performance for me was the "aist and scared." There I played the role of willow tree. This, of course, is amazing, you are not visible, only your voice is heard, but you are the same participant in the performance. Of course, the very specifics of our profession are interesting, sometimes we laugh with the actors, ask each other: “What roles did you play? And there are also the so-called “help” in the play-“acting ensembles”, when several people lead one doll-someone handles, someone legs ...-since they spoke about “help”, there is a performance “old man and sea” in the theater’s repertoire, there are only two characters, but a list of actors employed in the play is large.

Tell us, is that the same? In addition to these two characters, there is a boat and fish in the play, this is what the viewer sees, and there is also a rope. She is a full -fledged participant in the performance, but no one suspects about its presence - it is the boat and fish that are controlled by it. And we control the actors. They gave me a rope and said: “Here's a rope - take it and pull it!

I tormented my partners: what is here, but here, why so. To which they said to me: “What else do you need, we all swim like this fish, so you swim with it. The main thing is that we must have time for her! And once I asked the guys, they say, the director generally knows what is happening behind his scenes, how we are half-dead here, half-sitting, filling ourselves with bruises, control with this rope.

To which the guys answered: “No, he certainly does not know!He sits in the hall, gives tasks, because initially he did not even assume such a solution, and this rope “works” the whole performance. ” One person begins to lead, passes on another, third and so on, all this happens in complete darkness, we are in masks and black costumes, we must have time to fulfill all our tasks and not interfere with partners, this is a very coordinated work.

The director came up with, but we must somehow adapt and fulfill. Of course, all this comes in the process of rehearsals. And to be honest, I even like rehearsals even more - search, samples, experiments, than to work the finished performance in which everything has already been debugged. The process of birth of a performance is always something new, always the discovery of their capabilities and partners.

What to do, what to do - a performance on the release! Well, Nadia, help out! Having consulted with colleagues, having received valuable recommendations from honored artists, I decided to try. It was a very interesting experience - imagine that the whole performance we work for office chairs with wheels. Of course, I saw this at the festival in Serbia, but I could not even imagine that I would have to experience it on myself.

Plus, the whole scene had at the disposal for that, but a hole was built on our small piece, in which we sat on these chairs, worked only sitting, this performance cannot work in full growth. It is necessary to build your movements in this way in order to catch everything: drive up, drive away, do not interfere with others, do not fall from this chair ... Although at first we, of course, fell, caught each other, helped as we could, because we had to somehow adapt.

Sometimes in the performance both a doll and an actor work in parallel. How do you feel about this form of presentation of the performance? I agree that you have to keep up with the times, with the fact that modern realities dictate, but I am convinced that it is impossible to abandon completely puppet performances. Such performances should be in the repertoire of the theater. This is the basis of the foundations, classic.

If you recall the concert of Obraztsov, where the doll replaced a person, because it is so interesting! This cannot be abandoned, this is a special form of the performance. I remember, the first performance that I saw in the Aistenka was the “Mashenka and the Bear” directed by Ludwig Ustinov. This performance is just built on dolls, from living characters there are only two storytellers.

This is the classic of the theater of dolls. The director and artist of the performance is so well thought out, the playing dolls are used in the play. But, when I went behind the curtains and saw them in full size, I was surprised - they are so tiny. If you look at the performance from the hall, then this effect does not arise, the characters seem large and bright.

And this is precisely the magic of the Puppet Theater: by non -standard solutions, the game of light can create the necessary effect. After all, everything around is alive - and the snow is coming outside the window, and the light in the window glows, and the lamp is on. In our theater there was simply a brilliant designer of dolls - Sergey Ogulov, they used to say about him that he was the same in the country, but now there are no such ones at all, probably.

A person could leave such a talent from any situation ... But, unfortunately, this performance is not going on now. Of course, there are small problems with dolls, props, everything breaks over time, but everything can be established, fixed and this performance again, it is simply necessary for our little spectators and the theater. Tell us a little about this performance.

At various festivals of competitions, we took all the places that possible, traveled throughout the country with this performance, were in Poland, Serbia, but in his hometown he was not Kassoov. This is the performance that you always work for pleasure, each of us, actresses, in our role-like a fish in water, we constantly come up with something new, improvise, the performance is overgrown with new colors, and this is great.

Initially, after all, we played two acts, and then the director Yuri Utkin, decided to reduce the performance and make it more rapid. You know how the fireworks, which instantly shoots bright lights, and our performance. I have the role of summer - fertile, warm, but this story is not about the seasons, but about human relationships. And this performance is a kind of experiment, risk.

Tell us, what are the difficulties in creating them? For example, as it happened with the play "Uncle Dream." The director Igor Kazakov, after long conversations with the actors, suddenly realized that we had to talk to us "in an adult way." And once he talked, and suddenly everyone understood everything. Or, for example, at one of the rehearsals, Yuri Anatolyevich Utkin once said: “Oh, no-you don’t love the hero ...” and somehow everyone really thought at the same time, and new colors went.

Of course, the director sets the tone. He constantly monitors everyone, corrects, does not allow to relax.The fact is that the theater began to produce a play for a youth audience, and a couple of days ago, the main director Yuri Utkin says: “Nadia, you have a musical instrument-I somehow shared my colleagues with Ukulele that I bought this instrument for myself, to take it, I need to learn several works.” Do you need to do the same?

No details, what a play, what role, nothing! He wants to keep everything a secret as much as possible. At first, to be honest, it was scary, for some reason I introduced myself some kind of concert, and I play it completely, but I was just mastering this instrument ... But then I began to understand what was required of me. Here is such the main director we have a conspiracy. Of course, sometimes there are moments when you think: here you have come, it is time to unload a little, give some roles to others.

But you just have to sit down a little at home, as you immediately feel: you lose something in yourself. The theater is always pulling! And it's great to know what you need.