Alla Semenova biography

Alla Semenova Alla Semenova: - Theater is, of course, art, and art should surprise. It would be nice to leave all the garbage, but all the good remained. I am happy that I work in the Gulliver Theater, I want everyone to worry in the Catharsis Theater, the cleansing of the soul. It is cool that people live and understand you. I would like to fly over grayness and dirt ...

In the profession of an artist, it is very important to make the viewer an accomplice in the search for perfection of life. Through the performance, give a variety of food for the mind and soul. Life is imperfect, because something is sure to hurt and I want to talk about it. And if the viewer leaves the theater with thoughts about the performance, this is happiness.

A lot has been written about the alla. She gave numerous interviews, but at the same time it was never possible to say: here, here she really is! She is an actress, and that says it all. She is flirty, unstable and ready to work always, only give. Her view of the profession, the fate of the theater, with all the visible ease of nature, amazes her professional thoughtfulness, understanding of the situation, the ability to compare and analyze.

The images created by her in the performances are deep to the shock. The movements of her soul always have a response from the audience, and she knows how to appreciate it. She gave her beloved work and the theater 30 years of life, but I want people to understand that the artist’s work is not always a holiday, flowers and applause. The artist does not live many lives - he has alone!

The scene is his work, and not sweet. After the performance - emptiness, fatigue, dissatisfaction - everything is wrong! At night he thinks about it, goes to work - he thinks, he returns home - he thinks. Many lives live thanks to the artists - the audience, but he, sometimes, does not have his own. He does not see the day, he does not see the holidays ... and depends on everyone and on everything.

From day to day, forces go to someone’s life, but there is no longer enough for their own. And you hear all the time - do not regret yourself, spend yourself, do not small things, otherwise, you are not an artist! What do we know about the artist that we see in performances, television interviews? How open is it? If not very sincere - why? Yes, because the artist is terribly vulnerable, not only protected from audience love, but also from the audience rudeness.

Do you think to work in the theater, especially in a children's one, is easy? It is easy to play a performance when unbridled teenagers, having come to the theater with a crowd, armed with chips, bottles of drinks, throw crackers onto the stage, comment on the replicas or actions of the characters in full voice ... In the minutes, all the forces that the artist have, concentrate in the clot, which should overwhelm, defeat the negligent, unprecedented viewer.

At these minutes, there is a real battle for someone's soul, and from the one who wins in this battle, it depends on sorry for the pathos of our future, the future of our city, our country. For more than 30 years, actress Alla Semenova has been conducting a dialogue with the viewer, sometimes reaching despair, and sometimes - to the tears of gratitude to the same viewer. But when the girls dream of becoming artists, they don’t think about it, they just don’t know about it ...

In childhood, Alla learned to play on the accordion, but demonstrations, when a little girl with a large accordion was supposed to walk along the street under her own accompaniment, repelled all the desire to engage in music. Mom really wanted Alla to be a music worker in kindergarten. Inadvertently, with a girlfriend, got into the school of culture.

By this time, the Gulliver Puppet Theater was already in the mound. Oleg Kogut, the chief director of the theater, came to the final exams in the school of culture and, among others, chose Alla. They began to teach puppetery ... in general, with inexperienced girls taken to work in the mass and tour in the region, they turned hard. Nobody spared anyone, did not persuade and did not play democracy.

It was clear: or - or ... when a year later Labetskiy gave Alla the main role, and all the venerable were around, in the extras, then, evaluating her work, he said: "Here you will be an actress!" The artist is a very dependent profession, you don’t really have fun: they gave a role, you work, it doesn’t matter - did you want it or did not want it. And then it begins ...

not just rehearsals, the appropriation of the material begins, the search for character, the coating with the doll ... A lot has been played, there is something to remember, but I will dwell on several roles, which have become staged, significant. The gentle, but piercing intonations of the girl, like weak, but with character. Alla’s ability to work with a doll, support partners in the stage, and most importantly, to live this three quarters of an hour, attracted the attention of the audience, and made her role in the dominant performance.

This performance has become a kind of business card of the theater. He was invited to many festivals, and everywhere he received enthusiastic reviews, where the bulk of the enthusiasm and admiration was addressed to the leading role. She was even called a people's artist. Alla judges herself much more modest.

The non -ambitious, for a long time without roles - did not die, did not demand, I just waited for when I needed it, and each time I rushed into another work with my head and excitement.In the sensational performance, “Serenade”, among the three chicken that the fox seduced, was the one that Alla “drove”. Slender, gambling, seductive, and most importantly, a change in character, grain of the role!

But still I want something else, radically new! And now, already saturated with the heroines of those who know how to love girls, modest, but with a strong character, Alla in some interview to the question: what role do you dream of playing, answers: “Something sharply opposite to those heroines that I play now.” Piaf, for example ... She doubted that it was possible at the Puppet Theater, but Tatyana Ivanovna Tereshchenko, our wonderful artist, said with optimism inherent in her: “Why not?

This is one of the most powerful performances of our theater, and, of course, the merit in this belongs exclusively to Alla. Over the long years of the life of this performance, he could dilapidated, crumble, but this did not happen, because the performance of the road actress. Alla grew up with the performance, penetrating into the depths of the topic, gaining inside that moral power that allows her to easily cope with any hall today.

The role of Katerina in the play “The Mistress Mountain” was made qualitatively, with love, the performance was interesting in itself, and the ensemble in it was wonderful, but it was again a Russian girl - a strong, but with a character that was the one that Alyonushka had. And finally, Piaf! A bright, extraordinary personality, and the image is the same. Of course, the performance was made on Alla, and, I must say, her work from the very beginning was distinguished by power.

The capricious, eccentric nature of the singer and such piercing mental pain ... Each song in the play is confession. Everything is very deeply experienced. The performance, like Vanya Danish, gained strength every year, an emotional baggage was replenished, life experience was added, which is so sometimes important for interpretation and disclosure of a stage image.

They sang a lot in the theater then, loved to sing, knew how. Not a single cabbage passed without Alla, in addition, she was the author and co -author of many cabbage numbers. But besides the cabbage, the artists sometimes do - they come up with very interesting rooms from which the heart simply comes in. In these numbers, the depth is striking, it is surprising that you can fit a whole life in a short number, and this life is worried, worries ...

the number invented by Alla is with the name “hard” with pleasure and today, he has become a classic. This is a small performance about how hard it is for a person who dared to go on a difficult life path - the danger that must be overcome, cope with fear, is in wait for. You can, of course, retreat, but no, does not retreat, it goes forward, and in the end it takes wings!

Another wonderful number with Alla’s participation, “The Polina and Lisa Duet,” was especially popular. An ordinary viewer does not imagine in what uncomfortable position the artist sometimes has to work. So in this issue, the actress stood at the table and appeared because of him. And they “charged”, as a rule, behind a closed curtain. But once there was a concert at the Drama Theater, the curtain was open, all the numbers were in a row, the rearrangement took place in front of the audience.

Of course, you can take the table before the eyes of the audience, but the artist in a wig, with legs hanging waist-deep, pass from behind the scenes to the starting position is simply ridiculous, and the effect of surprise disappears. They decided that the stage workers would carry the table, and the honored artist and the future director of the theater will crawl around the stage, hiding behind the table, most importantly, to shed the speeds of those and others.

The artists did not think about this, taking a low start, but the mounter turned to them with the question: what speed are you creeping at? .. In the same concert for the piano, as an accompanist in this issue, Aleksey Gerushchuk sat. He courageously learned the accompaniment, at the piano, as expected, they raised the lid. The number began. Alexey plays, Lisa and Polina find out the relationship, and at that moment the piano cover, which was behind the actresses, will fall.

I watched from the hall, but I had the feeling that not only the lid fell, but the piano itself, along with Alyosha. But he nevertheless reinforced and courageously continued to put pressure on the keys, and Lisa and Polina, shuddering internally, continued to prove his superiority. In the book of reviews of the Gulliver Theater, the name of the artist Alla Semenova is perhaps more often - many remember her lyrical, reverent Alyonushka from the performance in the Russian folk tale, where she persuaded Ivanushka not to drink from the hoof, but he did not obey.

Remember her touching little prince; Until now, the audience is experiencing grief and despair with the mother from the play “Vanya Danish”, who lost and again found his son; And in the obsessed and woven from contradictions, love and fears of Piaf, the audience simply fall in love ... Alla Semenov can be called the face of the theater. She is an actress without role, and therefore maybe everything!

Alla is the leading actress of the theater, a creative leader, always critically refers to the creative process, being a mentor of the young. When we take a new performance on the artistic council, I always expect what Alla will say. Her comments are always very specific, although someone may seem to be a trifle, a pickup. But, as a rule, if the director, the artists will listen and try to take into account the comments, everything falls into place.

A great professional experience is affected. It is no secret that the creative strategy of the theater is largely formed thanks to the alla - its exactingness, criticality, taste. She, along with the theater, experienced takeoffs, falls, and take off again. The theater is her pain, her fate, her life. A difficult life, consisting not only of applause and colors, but also in disappointments, tears, sleepless nights, contradictions.

Life where feedback is very important, where it is important to remember that you will not see the most important eye, only a heart is vigilantly. In the years, our theater was lucky.