Star "My man, my woman" Olesya Vlasova: "When there is no good and the desire to help, this is pure evil"
Star "My man, my woman" Olesya Vlasova: "When there is no good and the desire to help, this is pure evil"

On October 19 at 20:15 on STB TV channel the premiere of the melodrama "My Man, My Woman", produced by IVORY films, took place.

The series raises the complex topic of surrogacy. One of the main roles and the woman for whom the child is being carried was played by the theater and film actress Olesya Vlasova.

According to the plot, through the fault of Pavel, the house of his client Sergei burns down, he himself is seriously injured. To pay off the debt and save her husband from prison, Vera becomes a surrogate mother for childless Oleg and Tatiana.

Having given birth, and giving up the child with pain in her soul, Vera learns that Tatiana has died. Oleg begs Vera to become a nanny for his daughter and move in with him for a while.

What a deep question. I'm not a psychologist to talk about personality formation. Of course, Odessa did. And not necessarily the sea, since Odessa is just a completely different attitude to life. I grew up in a communal apartment, my parents were constantly working.

When I came home after school, I constantly read books. My neighbor in a communal apartment, Eva Yakovlevna, was a librarian. She carried me books with huge cloth bags, which I read. It probably influenced me a lot. I think I have read all the books from the libraries of the city of Odessa.

We also spent a lot of time by the sea. Lying on the sand, playing cards, the boys caught mussels and roasted them over the fire. Such was my childhood. Black constantly moved. Even though I am so fair, my skin is very sun-adapted. Probably, this helped me (smiles).

The first time, after moving to Kiev, I really missed the sea. I needed it to gain strength. And then I gradually got used to it. But I want to go to the sea from time to time, like all people. Even to those who did not grow up by the sea.

Olesya Vlasova
Olesya Vlasova

About a few years after graduating from theater, I thought it was it. Acting began to cling to me, I began to deepen. I entered the theater just with a friend for the company. When you get something easily, you don't appreciate it so much. We shirked a lot from classes, and when I finished my studies, I began to think and gradually delve into the profession.

And how many more will be (smiles). There were moments when I left the institute, I wanted to give up everything, I said that it was not mine and I couldn’t succeed….

I don’t know what it depends on. Someone says that teachers are breaking. But we had great teachers. Most likely, this is due to the fact that I do not know how to take criticism. I take it very painfully. After some time, when emotions subside, I understand: "Yes, they told me everything correctly." But the first emotion is a complete rejection of what is being said. It becomes very annoying.

In addition, now I already understand something, I simply will not be led on to some things, because I know how to do it right. And then you still do not know anything, you are in a fog. We had 5 teachers on the course and 5 directors. And everyone said different things - everyone had their own way of playing, their own requirements for you. One asks for Stanislavsky, the second for Chekhov, the third for Vasiliev, etc. How to combine it all? It took me 20 years to come to some personal conclusions. At that moment, you listen to all these people, because you yourself do not know anything yet. Maybe someone was more well-read. But I never planned to enter the theater, I never thought about it, so I arrived and began to comprehend everything on the spot.

So I returned home, told my parents that I would not study. My parents calmly agreed with me. A couple of days later my master Nikolai Nikolaevich called my parents: “Well, has she calmed down? Come on, bring her back. " I drove back and continued to study.

They shrugged their shoulders and gave money. This is the most ideal thing a parent can do. My mom is a housewife. Dad is a dental technician. They are not related to the profession, although they themselves are very creative, emotional people.

I don't believe in immersion either (laughs). I believe in reflection. In theater, I try, by working with energy, to create an image between myself and the audience. Not to dive and reincarnate itself, but to tell the story of the character as Olesya Vlasova. I give people a theme, and they, seeing and hearing it, themselves form an image in their heads. This is interesting. And it happens in the movies too. We shoot randomly in short scenes. You read the scene and understand what emotion the viewer can have, then you get a reflection of this emotion and let it go like a sunburst.

Through reflection and training. I thought about it a lot. I used to cry technically. There was a time when I was proud that I could cry with that eye, which was in the camera, and leave the other untouched for the make-up artists. And then at some point I realized that this was some kind of lie. Now I don't cry if I really don't feel like crying. I already know how to bring myself to this state.

Several years ago I had a severe emotional burnout, worked in two 100 episodes in a row. I didn't want it, but it happened. As a result of this six months of work, I fell into depression for a year and gained 10 kg.

Olesya Vlasova
Olesya Vlasova

Depression is when you don’t want anything, you don’t feel the taste of food. Therefore, you start eating artificial junk food, stuffed with dyes and flavors, in order to at least feel something. I ate all kinds of rubbish. I also watched rubbish on TV. I did not perceive anything subtle. This is a very strange condition. My husband recently reminded me that I hadn’t talked to anyone for six months. I was the hostess, performed some functions, cooked, cleaned, but I hardly remember this time.

At some point, I realized that I was dying and asked my friends on Facebook about acting trainings. Only they pulled me out. Energy practices according to Gratovsky helped me. After a 3-day intensive I bought myself two dresses and realized that I was still alive.

And then we started rehearsing the DreamWorks play at the Podil theater. I was invited to one of the main roles.

Now I am not very much immersed in the theater. But I think theater cannot be just art. First, it is co-production art. We, as actors, no longer have the right to go on stage and act out an everyday situation. It should be more than that. After the performance, the person must change. People go to parties to have fun, and they go to the theater for some experience. We are obliged to give this experience to the viewer. Do not dull him with an idiotic comedy, but throw something at him that he will take with him.

I remember how one performance was played and my dad called me the next morning: “You know, I had a feeling that it was New Year's morning. Something good. I didn't even immediately understand what had happened. And then I remembered that I saw your performance yesterday. " This is how it should be! This is the task of the modern theater, and there they are already divided into acute social, political, new revisions of the classics, or just some kind of musical. But the play cannot be dumb.

It is built differently, it seems to me. For example, I'm starting a DreamWorks show. I have happiness - I say the first phrase alone on stage. I sit down and start listening to what is inside and around me. New people come every time. I turn my head and feel the world changing. I find the point at which the first word needs to be said. It must be said so that the performance will fly.

Not an emotional connection with the viewer, but a connection with the space that includes: the viewer, you, partners, air, text. The word is vibration. You said the word and it can fall, but you need to pick it up. The fallen word will not hit anyone. This is the most difficult thing - to keep this thread with the viewer.

We have a very dramatic and life story. At the very beginning of the series, all the characters are very prosperous, but then everything turns upside down. When I read the script I thought: "But someone will be all right here?" All the worst that can happen to a woman happened to my heroine: the loss of a child, beating, treason, attempted suicide.

I try not to go deeply, not to work according to Stanislavsky, but to reflect. But this scenario has a very strange specifics - it pulls you in like a funnel. I had three days when we were shooting very dramatic scenes, and then for a week I would come to my senses. Everything inside me was destroyed. Why? I did not get used to and did not reincarnate, but still it left a mark. When a woman plays a woman in stories like these about children and love, she can't help but connect. This happens unconsciously. I have a very dramatic role. I hope I was able to find the brink of the fact that all the worst and worst happens very simply and imperceptibly.

Olesya Vlasova
Olesya Vlasova

Of course. I understand and justify every heroine. Even when I played a bitch, I understood them very well. No one acts out of pure evil. Pure evil is indifference. Darkness is simply the absence of light. It does not exist as a physical quantity, it cannot be measured. Likewise, evil is simply the absence of good. When there is no good and no desire to help, this is pure evil. Any crime is dictated by something, indifference - by nothing. My heroines are people who want something. Either good or bad. And if they want something, I understand where the legs grow from.

Perfectly! Great partners. There was a strange feeling with Prokhor Dubravin. We played husband and wife. And Seryozha Tolkushkin, the director of the series, said: “I fought so hard for your pair. I really wanted it to be the two of you. " I wondered why he wanted it so much. And when I started working with Prokhor, I had the feeling that we have known each other for a hundred years. I hug him, but it seems to me that I have already hugged him, I know this person by touch. It is very strange. Basically, I worked with him and Dasha Yegorkina, a wonderful actress. We know each other well, love each other dearly enough and understand.

It's the most important. The first thing you do is build relationships on the set. I even have a clause in my contract about a good psychological state on the set, because without this I die. I cannot do anything if there is pressure and a feeling of negativity. Everyone knows what to do to have good relationships with partners. Some are just lazy and don't want to.

I don't like getting up early, but morning is a very good time. I walk the dog in the morning. And if I have time to do choreography - this is my new hobby - I get a morning charge for the whole day. Although then sometimes I want to sleep in the afternoon … I can say this: I don't like getting up in the morning, but when I get up I really like it (laughs).

Now I’m not learning anything. They have come to the age of nihilism and do not want anything. Hope it goes away. They are now 9 and 11 years old.

You need to see the personality in the child. Do not point out constantly, do not straighten your hair, do not say what to do. I saw these children on the playground. She asked: "What do you want?" He looks, and I understand that this file is not installed on him. He doesn't want anything, just in case. Probably, once he wanted, but he said: "No, you better this." And at some point it disappears from him as unnecessary. The child no longer wants anything and understands that adults know better what he needs. I was very afraid of this.

These children do not look unhappy, but I do not know how they will continue to live. It seems to me that the task of an adult is to prepare his little person for life in society. Therefore, the main thing is to teach the child to think, to distinguish good from bad, to defend his rights, not to do what he does not want, to do what needs to be done and to learn to overcome himself.

Do they feel? I was just thinking that they had cut the budget for culture, which is one of the most important points in the development of the nation. And the fact that in moments of crisis people go to the theater … I don’t think so, but I would be glad to be wrong.

I did it before. I did practices to wake up in the morning, to turn on the body, the swelling went away. Internally, I did not listen to myself.

Right now, in choreography classes, we sometimes breathe through the chakras, ask ourselves questions, and I'm learning to talk to myself. I accidentally got into the choreography and I don't know how I lived before without it.

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