World Monitor Magazine June #3 - Page 91

ART Galina: Nevertheless, it seems to me that in Kazakhstan the people from the business community can meet halfway and are ready to partner. In Russia, I rarely see this phenomenon. There are some, for example the Prokhorov Fund, but this is a different story. There are many directors who inspire me. I will not give you names to prevent people from looking for similarities. I am different. There are delightful directors – Fomenko, his student Zhenovach. I have tried to get to the laboratory of Zhenovach, but I was told I am a different director. I understand that I’m not like them, but I have those who give inspiration. Julie: Many people talk about good or bad directing, but not everyone can understand what the director’s functions include. We have heard about director’s duties. But, what are the director’s possibilities? What qualities should a person have to become a good director? Galina: It is still strange to me to see my name next to the noun “director”. When I returned to Kazakhstan a year ago, during the release of The Snow Maiden, I was close to leaving the profession, but Irena Aravina rescued me when she offered to stage a play about Piaf and Sinatra. At first I answered that I couldn’t, but she said that she would not do it with anyone else. If not for the ‘Happy Sing’, I would’ve taken a break. The play revived me to a creative work life. Everyone would answer your question in their own way, but the main quality of a director’s profession for me is patience and love, patience in working with the group, because together you create from the air, from nothing. It is a very egocentric profession actually that must begin with you. In fact, you impose your idea of this world or any situation. Most often, this is not an absolute, but people need to and will follow you. When you find out at the premiere that your vision has a life of its own, you start blaming yourself, thinking that you were harsh or rude with the actors, sound engineers, and so on. What influence does your will as a director have? It does not have the power to save a dying person or rescue a falling plane… What guides you when you insist that people have to do everything your way? What is your motive and what principles guide you? It’s a mystery for me. It is love for theatre. And further, patience and love for the audience who has the right not to understand what you are doing, has the right to even demand their money back. Theatre-goers have that right. Julie: I know that you have your favorite directors who are important for you. Who are they? Galina: It is a difficult question. Some are gone already. In this sense, I do not stop getting acquainted with the theatre’s history. When we created ARTiShock, I was an ardent supporter of Vakhtangov’s methodology. I quoted him very often. This was evident from my first performances. There are people with whom I was familiar, and I mentally turn to them every day. Boris Preobrazhenskiy. I’m not his student, he never taught me directing. I have just worked for the theatre. I’m not his favorite actress either. But I remember everything he said when we started to build ARTiShock. In my thoughts I also talk to Boris Preobrazhenskiy as I would to my own father, who is not alive. Julie: You are doing a completely different kind of theatre. I notice in your direction a mindfulness, an amazing vision of human psychology and a love that is characteristic for Preobrazhenskiy. He loved deeply what he did and adored every actor he has worked with. At the moment, ARTiShock is preparing for a new performance. The work process has already begun, so it’s time to wrap up. My congratulations on the Golden Mask! This is just the beginning! I express my admiration to you and wait for the moment when the performances you do will be played on the coolest world stages. Galina: Julie, you bring us good luck! Photographer: Frol Podlessniy Old House Theater, Novosibirsk, Russia supported by EUROBAK 85