Sergei Garmash - about New York, acting superstitions and good roles

Photo: website of the Ministry of Culture of the Russian Federation

People’s Artist of Russia, famous theater and film actor Sergei Garmash was loved by viewers for his tough, truthful characters.

He was born in 1958 in Kherson, from where in 1980 he went to Moscow to enter the drama school. After graduating from the Moscow Art Theater School in Garmin 1984, he was accepted into the troupe of the Moscow Sovremennik Theater..

Today he is one of the leading actors of the theater with an extensive repertoire: Lopakhin in A.V. Chekhov's Cherry Orchard, elder brother in The Karamazovs and Hell after the late Dostoevsky, Alfons in Three Comrades Remarque and Michael in Murlin Murlo "Nicholas Kolyada, the first minister in" Once again about the naked king "Leonid Filatov.

His filmography includes more than 120 films and TV shows, the most famous of which are “Voroshilovsky shooter” (Garmash was awarded the “Nika” award), “12” (the “Golden Eagle” award and “Nika” award), “Styles”, as well as the joint Russian Hollywood project "Freaks."

January 7 Garmash will show in New York his play "To disgrace is his own decency"in which he has been playing for several years. ForumDaily asked the artist about his scenic tricks and superstitions, found out his opinion about New York, as well as the roles that he would like to play.

You are eagerly awaited in New York. Have you been to this city before and what are your impressions of it?

I was in New York. We came with the Sovremennik Theater twice on tour there. My impressions are the most pleasant, the city is very theatrical, a city unique in the world in terms of architecture.

I was there a long time ago. I have shots where I lay down on the asphalt in order to photograph two actresses of our theater so that the top of the “twin towers” ​​could be seen. Now they are gone, unfortunately.

Could you imagine a situation that you are immigrating to America?

With difficulties.

How do you think, is it important for people who have gone there to see the actors, the productions of the theaters of the country from which they left?

This is not a question for me. This is a question for these people.

Will you be pleased to play for them, to be a culture ambassador for them?

Of course, I enjoy the Russian-speaking audience and people anyway, and maybe there will be some friends there.

Theater or cinema: what brings you more pleasure?

It's 50/50. It's absolutely always been like this, from the very beginning. These are 2 different types of art that have common aspects, such as text, makeup, costume - and that’s it. Everything else is very different.

Thank God, I was lucky to do both, but these are completely different types of art - in message, in impulse, in production, in everything.

Photo: Channel One

You will be recognized for some roles more, for others less. Is there a role that you would like to play, but have not yet had the opportunity?

Yes, I want to play a journalist. Such that the whole hall would feel sick and turn inside out; or vice versa - one that everyone would love. I didn't play, for example, a pilot, I would like to play a pilot. I would like to transform into people of some interesting and difficult professions. But there is no specific role, I never dreamed of specific roles.

I always dream only of a good role, and it does not depend on the character or the budget of the film.

Is there any role you would never agree to play?

It's a difficult question. I do not want to play priests. And not because I treat them badly, no, I think that you can just live without it, so as not to play the priest, because it is very serious.

Once I was asked: "Could you play a necrophile?". I replied: "If I were convinced of this, then yes."

You see, the role can be fantastic, it can be something that does not happen in life. I have played little fiction in my life, so I don’t have any categorical restrictions, the question here is that it is a role. It does not matter whether it is good or bad, because, according to Stanislavsky, the artist is always a lawyer of his role.

Do you have any rules or superstitions on the set?

The superstition that you must sit down on a role that has fallen on the floor is always there. In addition, it is very difficult for me to part with my theatrical costumes. When they tell me: “You’ve been playing in this shirt for so many years, you need to change it,” it’s difficult for me.

Superstitions are not many, but they are. For example, I never tell (and I will not tell you) about the movie in which I am going to be shot this year, until at least it starts. This kind of superstition is not categorical.

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