People's Artist of Belarus Sviatlana Akruzhna celebrates anniversary

In total, more than six dozen have been created on the Kolas stage (where the actress has served for 47 years). And there were also roles in cinema (Anna Karpilova from "The Quail Cries", Alenka from the film "The Second Autumn", Daughter from "The Tormented Apostle"). On the eve of the anniversary, we met with the famous Belarusian actress.

— Did you dream of an acting career at an early age?

— As a very little girl, I sang and recited poems for guests who came to our house. Then at school, I played in a drama club, in particular, the role of the Old Woman in "The Tale of the Fisherman and the Fish", I remember, the whole hall roared with laughter. We won the amateur collectives competition, and we were shown on television. The desire to become an actress arose after watching the film "The Age of Love" with Lolita Torres. Something unusual, mysterious was born in my soul. I cried that I wanted to be an actress. Even my parents couldn't understand such a strong shock for a little girl. This desire never left me. I was very attracted to cinema, but the stage drew me with a special magnet. Not a single school concert went without my participation. I was in a drama club, sang in an ensemble, danced, and tried gymnastics. At first, I was an excellent student. Then, in exact subjects, fours began to appear. I read a lot, even during lessons.

My parents wanted me to become a doctor. They said that with such a short stature, one doesn't become an artist. But persistence still won. Mom and Dad gave me a chance to try. My father himself brought me from Ukraine to Belarus, to his homeland. When I was admitted, no one talked to me until my father himself spoke with the head of the course, Professor Dmitry Orlov. He said: "Don't worry, there is something in your daughter." I got the best teacher.

— Whose acting served as a benchmark for your creative growth and professional development?

— I have always been fascinated by the acting of such actors as Innokenty Smoktunovsky, Marina Neyolova, Tatyana Samoilova, and from Belarusian actors - Stefania Stanyuta, Anatoly Trus.

— Please tell us about your first roles.

— I played everything: children (including boys), teenagers, and young heroines. Whatever role I was entrusted with, I always worked with full dedication, and so it has been all my life. The responsibility for going on stage never left me.

— In your opinion, which roles were the most successful? Which performances do you remember most?

— The roles in good, high-quality drama were the most successful. In my youth, it was Inga in Valentin Yezhov's "Nightingale Night," Anyutka in Tolstoy's "Power of Darkness," Daughter in Makayonok's "The Besieged Apostle," Nellie in Dostoevsky's "The Insulted and Injured," a little later - Katrin in Brecht's "Mother Courage," in more mature years - Bobbie Mitchell in Neil Simon's comedy "This Passionate Lover," Franka in Eliza Orzeszkowa's "The Chamomile," Marlene Dietrich from Dmitry Minchonok's play "Marlene... Marlene...", Emilia Marty from Capek's "The Makropulos Affair," in recent years - Katerina Ivanovna from the play of the same name by Andreev, Gorky's Vassa Zheleznova, Klara Tsekhanossyan from Dürrenmatt's "The Visit."

— Is it easier for you to play heroines who are similar to you, corresponding to your appearance and nature, or the opposite?

— When I get a role, I carry it around like a mother carries a child. Until the birth happens. I like to try and play diverse characters. It's interesting. This way, you get to know yourself better. The philosophy of good drama influences me very positively. You learn more about human psychology, their inner world. I try to play every performance thoroughly, as if it were the last time I was going on stage. Of course, physical condition can make its own adjustments and changes. We are all human.

— How were your relationships with directors? Was there one who was dearest, most beloved?

— Recalling my stage life, I think that with two directors I did not

could understand: one completely, the other halfway. A special place in my life is occupied, of course, by Boris Eryn. Working with him was a real pleasure. We wrote letters, called each other, were friends until the end of his days. It's a pity that all this is in the past. Only memories remain. But they also support me. If only you knew what power they have! There are few such masters now. Almost none. I really want, if health permits, to meet again on the stage with Pinin, with Roman Viktyuk (especially since he is my countryman) - he highly praised my Charlotte in "The Cherry Orchard" during the last tour of the Kolas Theater in Moscow.

— How were your relationships with your partners? Does such mutual understanding exist now as it did before?

— I worked with wonderful artists: Trus, Kuleshov, Markina, Tishkin, Kanapelka, Doubov, Sevko. I didn't feel any problems with them. I don't feel them now either. I suggest something to young actors.

— What does the audience's reaction mean to you? How do you feel it?

— We live for the audience. We love them. And our entire acting existence is connected with them. From heart to heart. We are destined to feel the breath of the hall, to laugh, to experience - all together with them. And so every evening.

— Last year you received the title "Vitebchanin of the Year". What specific actions have been taken to improve the cultural and social development of the city?

— In cooperation with Vladimir Gortsev, we created a society of wheelchair users in Vitebsk. After the death of the first head, my son, Dmitry Styamosov, headed the society for 10 years. Therefore, it is not surprising that the mother also lived with the concerns of the society: she contributed to the organization of a number of sports events, excursions to Polotsk with a visit to the Spaso-Yefrosinievsky Convent, and simply trips out of town for recreation. These people want to feel like full members of society, they want to develop their physical and creative abilities. With the support of the Vitebsk regional branch of the Republican Red Cross Society, a marathon for wheelchair users was organized on Victory Day. Creative competitions are regularly held

among this category of people, poetry evenings. Very recently, such an evening with the participation of poetess Irina Malashenko took place at the cultural and historical complex "Golden Ring of the city of Vitebsk "Dvina". I was also present there, I read the poems of the young author. I was simply impressed by this young woman. She loves nature, is keen on sports, travels, participates in international competitions, and songs are even written to her poems. Irina writes with amazing insight about the war in Afghanistan, as if she herself had been there.

At one time, I managed to get a minibus allocated for people with disabilities with musculoskeletal disorders. I helped organize a rehabilitation center with a computer class at the Vitebsk boarding house for veterans and disabled people. I was also able to order and bring the Dikul simulator from Moscow. Later, in Vitebsk, workers of the "Visas" plant in their free time produced two similar machines, albeit with different комплектацией. This is an example of our person who is able to understand and share the troubles of another, to help overcome difficulties. While working in parliament, I fought for a long time to introduce an amendment to the Regulation on the procedure for providing disabled people with motor transport and compensation for their transport services. Many hundreds of young people who suffered while performing their military duty are deprived of a very necessary means of rehabilitation. I also devoted a lot of time to protecting the interests of military personnel and their parents: I helped the victims win three court cases. I resolved housing issues. Not a single appeal remained unanswered. Everyone received help.

— Thank you for the conversation. Happy anniversary!

Interviewed by Yuri IVANOVSKY, art critic.