So, let's say you are an applicant and flasks, beakers, test tubes, along with numbers and logarithms, do not appeal to you. What are you to do and where to go? Oh, you must have heard about creative universities, the famous "Sliver" and SPbGATI.
Even if you are not an applicant, but a fully-fledged adult, then do not lie at least to yourself, and honestly admit that you are not at all averse to exchanging life and routine for your legitimate fifteen minutes of fame and applause from the public, at least once.
Creative trends in one way or another seduce everyone, because only here you can be an astronaut, a chemist, a writer, a spy with a fatal beauty, or the most fatal beauty five times a day, while remaining famous and loved. For some, this happens in childhood, after the first failed entrance exam, someone stops at the level of their companies and corporate competitions in production, but someone goes for life to where a normal person would never even think of, but namely, in art.
How is training in a theater university? Oh, very simple and difficult at the same time.
To get started, you must pass an entrance test. It takes place in several stages depending on the direction, but you will always read a fable, verse, prose of your choice, or everything in a row, and during the break you will talk about life with the selection committee. Be prepared that you may not be asked about art at all, and this will be normal.
What you will see at the entrants, in front of the admissions committee, namely: memorizing the role, flying people, acting out scenes and other standing on their heads in the corridors - in a word, all this should in no way surprise or alarm you. If this happened, then write wasted - you have nothing to do here. But don’t be discouraged, you won’t be alone in this, because according to statistics, out of 30 people who entered the workshop (and this is the only way to learn directing and acting), only 10 people will reach the diploma, and even then in the best case.
This happens for the very reason that many of those who entered do not fully understand that the talent they have needs to be developed.
The master, that is, a person who has experience, passes it on to his students. He may ask to come on Saturday and even on Sunday. And not for an hour or two. And from morning to evening you will have classes with the master, and then also without him. Of course, not everyone can withstand such a pace purely physically. Try yourself seven days a week to play a chair, then the same!
Moreover, it should be understood that standard items such as stories with English language also no one canceled, but there is one caveat - the priority of the display. At the end of each semester, students must bring their skills to the public and show them to the rest of the department; if something does not fit with the rehearsal schedule, and the English teacher "does not allow to create", then the whole course can arrange a riot for him and unanimously score on attending this subject. How to take it is another problem, but the show is above all. In fairness, it should be said that standard teachers understand this and for the most part do not bother students much; In extreme cases, you can negotiate through the master.
As you already understood, the course is called a workshop, because it is supervised by a master. This is very important and determines the further development of a young actor / director, which is why articles about famous people Wikipedia sometimes says who was its master.
The five year course itself looks like this:
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I course1 semester - installation. Students put sketches. It is here that chairs, socks, dumplings and other dandelions play. Here the foundation is set. In the future, it develops or not. Who immediately realized that it was not his - goes to mathematical engineers
2nd semester - circus. Students learn circus arts. In short, the same "Circus with Stars on the First", only without the stars and ORT. Juggling, clowning, illusions, parody of the circus. That's all. Many thought that it would be easier, but they could not stand the flickering of tennis balls and also left.
II course
3rd semester - fairy tales. Everyone chooses for himself short story, but rather an excerpt from the well-known, and puts. This is already more serious, but so that life doesn’t seem like honey so that no one runs away and goes to do it in a corner according to the principle “to each his own”, the course receives one fairy tale for everyone, which will be a general course and for which it is also necessary to allocate time, which, as you know, is always missing .
4 semester - stories. The same principle as with fairy tales, only there are fewer people on the course, and more workload. The only difference is that not everywhere they put a general course story, and the dramaturgy of everyone and everything should not be too serious.
III course
5th semester - musical. Briefly it looks like the previous work, only here you still need to sing (or at least hit the notes), learn the claviers and much more to "get" into the genre. If for some reason you haven't left the workshop yet, this is your last chance to do so.
6th semester - drama excerpt. In essence, this is the same story, but with more emphasis on the game and the dramatic component. Treason, murder, suicide, wasted years, betrayal of loved ones and the soul inside out, that's all. Everyone who wanted to - has already left, the rest, who did not cope, will be taken out of the stage with a massive heart attack, and so on.
IV course
7 and8 semesters - are preparation for the graduation general course performance, that is, to a full-fledged two-act action with an intermission of ten minutes to air the hall. Depending on the workshop and the direction of training (directing, acting, directing and producing, directing and acting), you can make such performances from one to several. It is clear that in two semesters to do such a trick and not throw back the hooves of utopia in pure form, therefore, in some courses they begin to do this already from the fifth or sixth semester and sometimes continue on the fifth, in some workshops they usually put stories first, and then fairy tales, everywhere in different ways, but the first course is definitely unchanged. It is also true that a graduation course performance is an admission to the delivery of one's diploma.
V courseDiploma performance. Everything is simple here - each student submits his graduation performance, writes a work on it on a hundred sheets and receives a diploma. Or does not receive; but more often than not, he still gets it, because only those who are in the subject are left here.
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Agree, the difference from solving logarithms is that the result is unknown here, but this is the charm. Everything depends on you. In art, twice two is five and eight and sixteen at the same time. And sometimes the root of the minus first degree.
The theater is a voluntary dictatorship. Only in a theater university can they study until 22:00, the rector can issue a decree so that everyone after that is driven with a filthy broom, and students do not want to leave with go until 4 am (by the way, a real fact).
That's it. And you think that everything is simple: went out - played, put.
Next time I will tell you about it in more detail, I will start with how they pass theater exam. Believe me, Shakespeare never dreamed of such a thing.
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Entrance tests to a creative university bear little resemblance to exams to an ordinary one. Sometimes they don’t even look at knowledge and the result in the USE, or look at them last, when all the main rounds (there may be a dozen of them) have been completed. It is more important to be able to convey an emotional mood, to express it by all accessible ways. Acting school-studio will help the future artist to become more expressive.
One of the most important characteristics the actor is speech. It is primarily tested in creative universities. They may be asked to read prose or poetry for admission to the theater.
The school studies a lot of works by both Russian and foreign authors. It is necessary to choose one in order to maximize your gift as a reader. The main selection criterion is the emotional component. If the text does not cling to the soul, then you can not read it. Size doesn't really matter. It is important that there is a desire to infect others with the thoughts of the author of the work, that is, to experience the essence of the poem.
It is necessary to prepare several texts, they must have opposite content, be written by different poets. If one of the works is about love, then the other should carry a different meaning. This is the only way to show off different sides and show your personality. If the work is humorous, then the emphasis is on irony, if philosophical, then on reflection.
When reading a poem, you need to remember:
A good choice would be the works of the classics. It shows great taste and professionalism. You need to know by heart, because memory is the fitness of the artist to work on the stage. If it’s hard to remember a work, it’s worth considering whether the right choice of profession has been made.
When choosing a dance for admission to the theater, it is highly advisable not to overdo it if you do not enter the circus variety department. Too complicated composition is not needed, as in a poem, first of all, the manifestation of emotions is important. It is necessary to show the viewer your understanding of the created image.
If possible, it is better to prepare more than one dance, although the direction can be anything, from folk to ballroom. Musical accompaniment better than your own, but not the fact that it will be required. At the exam, they may be asked to perform to a different accompaniment. Do not constantly think that this is an exam. IN future profession it becomes daily. The most important thing is to feel the music, keep the rhythm and give the emotional component, even if the dance is very simple. By showing the nature of the dance, you will easily pass the test
The main difficulties will begin in the learning process. All loads are sustained by those who are selflessly devoted to the theater. Lectures, rehearsals, training, in irregular hours, the least that awaits the future artist.
If you are ready to devote yourself to the profession of an actor, then do not hesitate, you will definitely achieve your goal and will be in demand!
Come on, admit it, which of you has not dreamed of acting or - what the hell is not joking! - directing career? For those who are not ready to throw this dream into the trash - a manual on how to prepare for admission, what to fear and how it all happens. Sonya, a 2nd year student of the directing department of the RGISI, tells.
On the websites of GITIS and RGISI there are lists of literature for applicants (different schools - different lists!). These are plays and literature by profession. But this - necessary minimum, and you need to know a bunch of everything beyond. First, modern directors and modern drama. Secondly, to have formed predilections regarding playwrights and directors from the list + to be aware of the situation in the theaters of the country. Thirdly, it is strange for a director not to have a favorite writer, artist, composer, not to know history, not to understand anything about politics… In general, you understand. In any free time from rehearsals, your best friends are books. And, of course, watch. Watch-watch-watch everything, performances in the city, performances on record, opera, ballet, good cinema. Every year, theater universities in the capital host thousands of people who want to learn from recognized masters of acting. In pursuit of a dream, girls and boys storm the doors of admissions offices, but burning eyes and enthusiasm are not enough to get the coveted student certificate. In the face of fierce competition, there are serious requirements for admission to future alma maters. Despite this, the competition from year to year remains incredibly high, and the conditions for admission are overgrown with more and more myths and tales, which can confuse unprepared applicants.
In order not to fall into the trap of rumors scattered across the Internet, especially for students of the course Acting for applicants, we will consider what requirements the admission committees of the most rated theater educational institutions in Moscow impose when entering the acting department.
General requirements for entering a theater university:
Features of entrance examinations to theater universities:
"Sliver", as this school is often called, is considered one of the most conservative theater schools. In addition, acting is the only area of training here.
The admission process consists of the following stages: selection consultation, 3 stages of pre-examination consultations and entrance examinations.
At the selection consultation, the reading by heart of fables, poems and excerpts from prose (at least 2 works in each genre) is evaluated. If the applicant is interested in teachers, he will be offered to pass the “aptitude test”. A prerequisite for passing this round is the performance of 2-3 songs or romances, in some cases they may be asked to perform a dance. It is also possible to assess the knowledge of acting, speech culture, plasticity and interview (topics: culture, art, politics, social life, international environment and etc.).
An applicant for the specialty "Actor of Drama Theater and Cinema" must first successfully overcome three qualifying rounds, for which it is necessary to prepare 2-3 fables (one of them must necessarily belong to the authorship of I.A. Krylov), 3-4 poems and 2-3 fragments artistic prose. And only after that the results of exams in general education subjects, creative and professional tests are evaluated.
Be ready to perform with a reading program, participate in etudes, show your musicality and plasticity.
As a test of professional orientation, an interview is conducted, for which it is advisable to familiarize yourself with the list of literature presented on the official website of the school.
The first thing to remember: RATI-GITIS is an independent educational institution, i.e. it does not belong to any theater, which distinguishes it, for example, from the Moscow Art Theater School. Thus, there is no single school at the university: the features of education depend on the studio or workshop.
The selection for the full-time department takes place in 3 rounds, after which the applicant is allowed to pass the entrance exams (2 tests of a creative orientation: the skill of an actor and an interview).
For listening, you should prepare small excerpts from the following literary genres: fable, poetry, prose, monologue. Attention should be paid to both classical and modern domestic and foreign literature. In addition, the admission committee will Special attention on the ability to improvise: for example, members of the commission can offer to play a small simple skit right on the spot, sing a song or perform a dance.
As for the interview, it is designed to assess your level of culture and knowledge in the field of arts. However, get ready for a possible change in the topic of conversation: they may ask about the characteristics of the theatrical process or start a conversation about family, parents and hobbies. On the official website of RATI-GITIS in the section "Information for Applicants" there is a list of required reading works that you should familiarize yourself with.
Selection auditions are traditionally carried out in 3 stages. It is necessary to prepare in advance an interesting program, consisting of 3 excerpts from prose, 3-4 poems and 3 fables.
The following entrance tests are held for the specialty "Acting Arts": creative and professional. There is no interview.
Performance is evaluated at the creative competition literary work(poem, fable or prose), it is recommended to prepare the performance of several fragments from different genres. There are no special preferences for the choice of material.
On a professional test, an applicant passes a test of voice and speech, musicality (performing a song, performing exercises for rhythm) and plasticity (dance, performing exercises for plasticity and coordination of movements). On this species Exam must bring sportswear and shoes.
Among the features when entering one of the most popular schools of performing arts is the fact that the admissions committee takes into account individual achievements applicants - confirmed by the relevant documents - and awards additional points for them. However, only one is among the achievements taken into account - the presence of a certificate of secondary general education Honours.
In VGIK, they also train in the specialty "Actor of Drama Theater and Cinema", however, special emphasis is placed at the Institute of Cinematography on the preparation of future film and television stars. Therefore, if you prefer television and filming to the theater, then it is preferable to apply here.
Creative tests are carried out in 3 rounds: photo and video tests, a professional test (reading a poem, fable or prose by heart, checking musicality and plastic data) and an individual interview.
As you can see, the stages of admission in the main universities of the capital are practically the same:
For those who want to prepare in advance for all the unexpected tasks of the admission committee and choose their own program for passing creative competitions, we offer acting courses for applicants to theater universities in Moscow at the Tvoya Stsena studio.
In the classes of this course, emphasis is placed on acting and stage speech, selects and analyzes literary material.
GITIS, VGIK, Shchukin Theater Institute, VTU. Shchepkin and the Moscow Art Theater School are called the "golden five" of theatrical universities, where everyone who dreams of becoming an actor aspires to get. But to do there for most and will remain a dream. For admission, an applicant must pass at least three rounds of auditions and a competition. First, applicants read the so-called program by heart: prose passages, poems and fables, then they pass a colloquium on knowledge of the history and theory of literature, theater and cinema. By the end of the selection, out of several hundred applicants, 30-40 people remain.
We talked with those who have already tried - successfully or not - to get to eminent masters. They told why it is easier for guys to do than for girls, which program is better not to read, and how at the audition they can deploy a Mongoloid face or ugly teeth for inconsistency with the personal preferences of the teacher. And the teachers themselves shared what mistakes applicants most often make and what is still the most important thing for a future actor.
I went to auditions at four universities from the “golden five”: GITIS, Moscow Art Theater, Sliver, Pike, RGISI in St. Petersburg and also at ITI and ISI.
I have a program from two teachers, although this cannot be done, because everyone has their own approach. From prose I have “Letter to Rilka” by Tsvetaeva, an excerpt from Teffi’s memoirs, very funny, about how someone was shot, Averchenko’s “Day of a Businessman” and Dostoevsky’s “Someone else’s wife and husband under the bed”. Several poems and three fables.
According to the program, teachers have preferences. In "Sliver", for example, Velikhova listens only to the classics. All applicants know Velikhova, she has the nickname "Tooth Fairy" because she loves to look at her teeth. She scolded me for the fact that Teffi and Tsvetaeva were first in my profile, and then only Dostoevsky: “Well, you can’t do it like that, Dostoevsky is third in your list! Where is Teffi, and where is Dostoevsky!
Only in "Sliver" are they allowed to enter the university itself. In GITIS, for example, they generally keep you near the gate before listening, they take you to the audition like cattle for slaughter, they don’t even let you into the courtyard. Of all the masters of GITIS, Kudryashov has the toughest selection, he has a preliminary round. At the same time, at least they listen to Kudryashov - sometimes you are faced with the fact that people do not listen to you. At the first round in Pike, the teacher told me that I was somehow arrogant, gave me two lines to read and sent me to the exit.
In "Sliver" they are screened out by the type of face and the shape of the teeth: they ask you to open your mouth if they hear some kind of defect, they see an incorrect bite - "thank you, goodbye." This is logical, but rather cruel. Weed out, and if a person reads well, but reads material that does not suit him in psychophysics. On the first round in "Pike" was quite fat girl, read an excerpt from "White Nights" by Dostoevsky. She was told that she reads well, but was refused in a very harsh manner, because she reads a program for the small and thin. She even cried. In general, applicants often cry. Those who have been enrolling for more than a year have a philosophical attitude to this, but those who fly by in the first year cry.
You go to the university, and someone in tears meets you, you understand right away - you didn’t pass
This, of course, is discrimination, but it is clear where it comes from. Master is dialing nice people either for their future progress, or for future course progress. In performances, not only talent is important, but also how you look.
Non-standard appearance is good everywhere, except for "Sliver", there are very conservative views. For example, a very small chance for children of a different nationality to pass, a girl with a Mongoloid type of face was sent to the exit immediately.
It may also be that you have an interesting type, but the course is recruited at the theater. A very handsome man listened to me, he looked like a rabbit. I saw that he liked how I read, but they did not take me. I went in and asked what was wrong. He replied that everything was so, but the course was at the theater and types were needed that did not exist yet.
In the end, I didn’t go anywhere, I’ll go to apply to Moscow State University and VGIK for a screenplay. There is no such garbage with types. But I will continue to act. I go to a theater studio, I have a very good director there, I studied with Fomenko and would have worked in his theater if I hadn’t swelled. I will do it next year, and if it does not work out, then in another year. Now I’ll go crazy with my resentment for the whole world and again into battle. I'm going to acting, so that in the future I'll go to the director's, but the director's usually take people with one education already ready. And if it still doesn’t work out for acting, I’ll finish my studies in screenwriting and go to directing.
No one has ever argued why they didn't take me. No and no. In this sense, entering the theater is a ruthless spectacle, because you can be as handsome and charismatic as you like, but all masters have different tastes.
I formulated for myself the reason why they did not take me. Here I have such a bright appearance: freckles, long hair, figure, voice, temperament. My soul was not ready to maintain such an appearance. At VGIK, Mikhailov told me that, in principle, I had chosen the wrong profession, Lyubimtsev said that he did not like the hollow on his chin. Some people didn't like my height. In GITIS, once a woman at an audition asked her to lift her skirt right up to the middle of the thigh, to look at her legs.
In the years of my admission, there was not a day that I did not see some crying girl. I myself was that crying girl. I perfectly remember my most difficult non-admissions, these were just non-passages at the Moscow Art Theater. There, every year I reached the third round and flew on it. It was almost a tradition. Therefore, when I went through the third round with Ryzhakov, I started to panic. I don’t know what will happen next, what to do, how to act, I don’t know what a competition is. I studied at GITIS on the stage, but there is another competition, and here the educational theater is Tabakov, Zolotovitsky, Brusnikin, students and artists of the Moscow Art Theater. It was a very important event in my life.
Our master once said that everyone has their own type, and we will have to follow it. But I really want to do something new, destroy stereotypes, expand horizons. I am a character actress, I can be a heroine, but for this you need to make a lot of effort, meet your director, find your team of people who will be ready to do something extraordinary. Why can't I be Juliet? Or Ophelia? Especially in the theater, not in the cinema! I think this is so stupid. But I fight it because I don't like the stereotypes that are in the theatre.
Entering the theater is a ruthless sight, because you can be as beautiful and charismatic as you like, but all masters have different tastes
When I entered all these times, I already had friends who studied at the institute. I think because they Good friends, they said something to their teachers about me. Is it connections, is it blat? Don't think. And someone's daughters and granddaughters simply pay more attention. I personally do not know a single example when someone who is not talented entered because of relatives. Genes usually take their toll, and all the guys from theater families are great artists.
I follow the admission process a bit, I'm extremely interested in attending the auditions. It seems to me that I close some kind of gestalt, help people, relax them. I know how difficult it is for them. IN last years there was more modern dramaturgy and poetry, some kind of personal statement. Husky and Oksimiron are read like poems, which I think is very cool, because it is the voice of the times. If earlier they tried to surprise with something and took a little-known author, now people for the most part have become conscious, they talk about what worries them.
For those who enter the theater, I want to advise: guys, understand why you need it. Theatrical is a school of survival. You need to think two hundred times whether you are ready to give up your personal life, your friends and do this whole thing.
I am entering the first year, went to all the masters of Moscow in the "five", tried to enter the RGISI in Yaroslavl and St. Petersburg, as a result, I went there.
They complained to me because I was twenty-one years old and it was too late for admission to theatrical universities. And before entering, I studied for a year and a half as a programmer, until I realized that this was not my thing and that I had to enter acting. Many people told me: “What are you doing in programming, why don’t you enter theater universities?”. And when I was told this for the fifth or sixth time, I thought - but really! And next year I went to enter.
When I entered, I had long hair. No one openly told me anything, but, I think, in many places it could interfere with admission, especially in Sliver and Pike. It was one of the reasons why I flew off the first time. Types and appearance in any case decide, especially in universities assigned to theaters.
"Sliver" and "Pike" are very conservative. In each university and each master, the school is different. These universities select people for their theater, and Maly and Vakhtangov are rather old-fashioned. What is possible at the Moscow Art Theater and at the Moscow Art Theater School is considered too modern in Sliver, Pike and their theaters, but the more different theaters and schools, the better so that everyone can find something for themselves.
Purely statistically, admission is easier for guys. As a rule, there are more places on the course for boys and fewer of them are enrolled. But this does not mean that if you are nothing at all and have learned one and a half fables and one poem, you will succeed.
In RGISI they gave many strange tasks: to show animals, to show a mixer, to show a Georgian mixer, a Japanese mixer. After reading the program, everyone had to stand up, take turns introducing themselves and doing something short to be remembered.
One girl said: “I’m the queen of the ball, I fucked everyone in the mouth,” which is why they didn’t take her, although before that they said they would
In GITIS or in the Moscow Art Theater, this could come in, but in St. Petersburg it is unlikely. Universities in general are very different from each other. In GITIS, everyone is alive, everyone is moving, something is always happening, but in Sliver everything is measured. The Moscow Art Theater is similar to GITIS, but more relaxed. There are small rooms and a lot of students walking around, and the props are displayed right in the corridors - all this creates the impression that the performance is about to begin. Applicants immediately go on stage, this sets the tone for the audition. I liked the Moscow Art Theater and GITIS the most, they are very alive, something is happening there all the time, and I need to constantly recharge my energy, because I myself am quite a dead person inside.
I am 25 years old, this year was already the third attempt to enter the universities of the “golden five”. Before that, I studied in another specialty and earn money as a rewriter and copywriter, but I always wanted to be an actress. I don’t want to live only my own life, I want to try on other images and situations that will not happen to me in my life.
During the practice of admission, I realized that there is only one criterion: you either like it or not. Talent, skills - this is secondary. At some point, it began to seem to me that they decide whether they will take it or not, as soon as the group enters the audience.
You may not like me, because I am a comedian, they like dramatic ones more, everyone likes it when girls suffer. Andreev said that I was old. Then we all laughed a lot about this, because the fact that I was old at 22 years old was told to me by a man who is 88 years old. Then it turned out that Andreev takes only 17-year-old tall blondes. They often lie about their age, after all, documents are brought after auditions, and the winners are not judged.
Last year, VGIK recruited by height: in the second round, the master, even before you start reading the program, looked at height and chose only tall ones. In "Pike" and "Sliver" they love traditional Slavic faces, tragic girls, but such traditionalism is not good. A friend of mine studies at Sliver, he said that they still teach there like in the 20th century, but now it’s already 2018, wake up! And it's the same in "Pike", they teach according to the Vakhtangov system and do not deviate a single step from it. Maybe because of this we don’t have good actors, where can we get them?
Now we have introduced an electronic queue. You arrive at your time, they listen to you and you leave, and you don’t stand there from four in the morning, not knowing whether they will listen to you or not. You can’t even go anywhere, because if you go away, they will call you. It's good that at least they are allowed to change clothes before the audition, skirts are mandatory for girls, and it can be cold to stand in them. Now electronic queues are everywhere except the Moscow Art Theater, they are still alive there and you have to come there by seven in the morning. Night standings are not welcome there, they are categorically against the lists that applicants themselves make up, to the point that everyone on such a list may not be allowed to audition at all. But even an electronic queue does not guarantee that you will be listened to: this year Menshikov listened to three dozen, said that he was tired and the audition was over, but it was impossible to re-record.
The most important thing for an applicant is not to be afraid, no matter what you are asked to do.
I reached the competition in four workshops, and the same people were selected at the competitions. Not just outwardly similar, they even read the same program. They select all the same for a certain type and certain roles. A role is an internal state, your internal type should be combined with your appearance.
The most problematic was Karbauskis' admission, because his audition was like a mockery. It is unpleasant when the master does not listen to you and sits on the phone. Then he asked me to sing ten songs each. You sing a line, and they say to you: “Another one. Another." I got to the competition with him and flew off after the colloquium, I was hysterical for two days. Flying out of the first round is not as offensive as from the competition.
A colloquium is a one-on-one conversation with a master or with teachers. Questions can be anything from "hello, how are you?" to “who was the pharaoh of Egypt in some seventeenth dynasty?”, that is, in general, any, but I was most often asked about my favorite actor and what performances I saw. At the colloquium, the most important thing is not to be silent and not to say that you don’t know something, this is not even for knowledge, but for whether you get confused.
The most important thing for an applicant is not to be afraid, no matter what you are asked to do, but they can ask you to tell the program, laughing or shouting from the window. Many people get lost at times like this. I remember that at Plotnikov’s in GITIS, the girl was given the task of telling the program in some fictitious language, and I was asked to read a fable and sob.
It is impossible to say unequivocally which criteria are important for admission. All applicants - different people We pay attention to everything, including appearance. We are not necessarily looking for handsome guys, there must be interesting guys, lively, open, uneducated. They come to learn, not to show what they have already gained.
The main thing is to guess, recognize whether a person has a talent or not, whether he came to us by chance. It happens that people come who prepare in such a way that it is impossible to understand [what is behind this preparation], you have to knead it. If they are interested, then it is important to understand how much they closed with preparation. I repeat once again how lively and open the applicants are, how they communicate is the most important thing. You pay attention to everything, this is a process, it is impossible to fully explain what and how. It is very important that the personal beginning be in a person. Sometimes you see a person and it seems to you that there is something in him, that he represents something.
First of all, we pay attention to appearance. This is a public profession, a person must be charming, attractive, he must be enlightened with something, talented. This is all included in the concept of appearance, appearance is not just a pretty muzzle. We are not guided by types during admission, they do not bother us. For a person entering the Shchukin Institute, it is important to have a soul. It’s not just that I took a story on the Internet, learned it by heart and spat it, it’s not interesting. And when he made this text his own and he wants to talk about something - about war or about love, it doesn’t matter - then it’s a different matter.
Such, for example, that an applicant is immediately refused because of excess weight, it can't be, it's nonsense. Only if the girl weighs under one hundred and fifty - two hundred kilograms, and this is clearly unhealthy fullness. I studied on the same course with Gundareva Natalya Georgievna, yes, she had a big figure and a lot of weight, but this does not mean that every fat, overweight girl is Gundareva.
Legends of applicants are complete nonsense. It's about about the best theater school in the world, Europe for sure. There are two legends of applicants: I came, farted and they immediately took me, and the second - I went in and they immediately told me “thank you, no need.”
A lot of mentally ill people come. You listen to such people for a long time so as not to offend, not to upset. There are special children, it seems to them that they can be actors. For example, a person with a tick cannot be offended either, but there is no time to listen to them, because a hundred people or more come a day. At the first listening, we listen quickly, because we check the material, whether there is an appearance, charm, whether it pronounces the letters. At the next round, we listen in more detail, the competition - in great detail.
If we talk about the recruitment experience, then I can look into the standing crowd and understand that this is not our person, I don’t want this, I want a tall, handsome one. I want him to have a texture, so that he can act in films later, so that he can earn money with this profession. I want to take a course that will create glory for the school and for myself, work in the profession.
We need, first of all, capable talented people, it would be nice if they were also musical, with a good singing voice. I pay great attention to the musical side of education, because I believe that music should be the main subject in training an actor not only in musical theater, but also in drama.
The face and eyes are the mirror of the soul, I pay the least attention to what can be called cuteness, to pretty doll faces. It is very important for me to have a lively, diverse, mobile face, mobile eyes, mobile muscles that respond very well to any internal movement. And we do not have such a criterion that it is necessary to recruit only beautiful young guys and girls.
First main mistake audition applicants - they try too hard. They are too worried and give out too much. Secondly, they are extremely insistent on their decision regarding the material. The program becomes incredibly aggressive, very active, and because of this, the essence is often lost.
