Martynov Andrey Actor Biography

These denominators do not converge too much, but now you definitely can’t confuse drinks. Andrei Martynov also cannot be confused with anyone. In the end, he is the only one who immediately began to work in the theater. We met to talk about his choice of profession, the new Russian theater and the reason why he is not acting on the movie Skinhed from St. Petersburg to Moscow - if you look for information about you on the Internet, Tabakov’s school is considered to be a starting point in the biography.

Why did you decide to go there? If we talk about a creative career, it all started with St. Petersburg. I was always eccentric, loved to sing and traveled to children's camps. One of the vocal teachers, with whom we made friends, brought me to the TUT Theater of Youth Creativity. From there, many talented people came out, for example, Leo Dodin. There I ended up in a company related to the filter, great teacher and director of the St.

Petersburg school. The filter teaching system is partially based on the Stanislavsky method. In Tyuta, we played different performances: “Tomorrow was a war,” set up “wine from dandelions”, where I had a main role - in a word, a creative party. Nobody understood us, and we did not go to school. I hated my elite gymnasium in St. Petersburg, appearing only on control, which I wrote stably well.

It is clear that the parents were not enthusiastic about this, and now I understand them perfectly. But the teenager was shamelessly running into the tut, it was impossible to pull me out of the stage. The school leadership did not share this enthusiasm. When I came to pick up documents for Tabakov’s college, my mother was said directly: “You make a huge mistake.

Your son will drive up to the gates of the school on the collapsed "Lada" and ask for the role of Santa Claus on the matinee. " Six months later, I played on the stage of “Dandelion Wine” at the invitation of Leo Dodin, and the pedagogical council brought me a huge bouquet of flowers. How did you get to Moscow? By train to Moscow, I saw an announcement about the last day of admission to Tabakov’s school.

We knew poems, with prose, too, everything was clear - I remembered the “Dandelion Wine” by heart. They called me right away and said that they would take it to college if I change the program. As a result, among other things, I read Krylov’s fable “The Wolf on the Psarn”, and the duet with Tabakov, about which he did not know anything then. One of the teachers whispered to me: "Repeat after him." In fact, I repeated, absolutely confident that they would not take me anywhere.

I remember that I had already managed to change when they suddenly called back. While he was walking along the corridor, the mothers of those who arrive sympathetically whispered: “They will now say that you can’t be upset after refusal and throw a dream.” I also thought: "God, what monkeys are sitting there." When I entered my leather pants and a haircut under the hedgehog, Oleg Pavlovich turned and said: "Old man, we were waiting for you." My fellow student Maxim Tenyakov, we play together, just from the city of Kopeisk.

He told me how he bought a ticket to Chelyabinsk with the last money to get to Tabakov for listening. For guys who did not have funds, Oleg Pavlovich gave a gold ticket to life. Theatrical colleges are everywhere, but Tabakov’s school is unique. This is an amazing building in the very center of Moscow, in fact, a boarding house, where our life has completely passed. We studied for free, there was a five -rat food.

Everyone accurately recovered five kilograms - they handed out rolls and pizza in the dining room - then lumped together. The atmosphere of absolute creativity reigned when we calmly left the lessons to rehearse the performance. Of course, there were also ordinary items for the school - Russian, literature, mathematics - but everyone was in love with the theater. How many people are recruited to school?

Already at the time of admission, we knew that only half of the guys would remain to the release. The previous set, Pasha Tabakov studied in it, consisted of only twelve people - in the hostel there was exactly the same number of beds. With great warmth, I recall this time, but the first year of training was difficult: constant competition and struggle for a place under the sun.

Every six months I laid an application for deductions to the table. Fortunately, they always discouraged me, otherwise I would not sit here now. For us, spectators, he is a semi -mythical figure, but you knew him much closer. He was very ill, my release was his last, but Oleg Pavlovich still appeared at each exam and even came to watch independent shows. When we saw him for the first time, he spoke and said - none of us understood anything.

But we recorded his words, and then solved them like crosswords. It was very important for us. Some comments said to me for a long time still live in my head. I struggle with them and prove to the inner Tabakov: "Here you were wrong, Oleg Pavlovich." Oleg Pavlovich terribly did not like such people: "You can’t hold a large hall, there is not enough energy." From the day I came to Ermolovka, where a person can sit in the hall, I continue to convince the inner Tabakov in the opposite.When Tabakov saw that the passage was going well, he could take a very rustling candy and slowly turn it around, looking directly at the actor.

He always sat at the table: the crayfish was brought specifically from Saratov, there was a mug of tea. In the act of acting, I played Zhadov, an excerpt from the "profitable place". The scene is quite serious: neurasthenia and tears. In my case, Tabakov went even further: for a long time he did not pick up the phone, which was torn to the whole hall, and then began to speak loudly on the phone.

I was set up for this exam. Not everyone was taken, but they hinted to us that the issue of employment was resolved. But what happened happened - Vladimir Lvovich came. There were no more guarantees in the theater. Mashkov said that the past order does not suit him, we need a show for everyone. He wanted not just excerpts, but a complete program with dancing, singing and moving.

They gave us three days to prepare. They called the phoniatrists, gave adrenaline, but the voice never appeared. Most likely, psychosomatics, there were no more similar cases in my life. But Mashkov refused to give me a second chance. I do not really believe in fate, but if it exists, this is direct proof. Now I am glad that then I could not go to the show. Usually they go to universities further.

One of my fellow students was lucky, they fell into the internship group of the Moscow Art Theater. But for me this path was closed. I seemed to Kalyagin, he likes to arrange shows and not take anyone at the same time. I tried from Pisarev, but he had no places. Theater schools remained: I was taken by Zolotovitsky, Kudryashov and then another person gained his first year.

Theater named after Ermolova: Love is not at first glance, but forever - I remember that I did not want to get to Menshikov for the course, and the first acquaintance with the theater Ermolova cannot be called successful. Now I am a more conscious person, but a few years ago I was a real provincial. I moved to St. Petersburg only at eight years old. Of course, I had good school knowledge, but I began to read books only in Tabakov's college.

Suddenly, at the qualifying stage, Oleg Evgenievich dumped his thoughts on my course: “Why are you going to me, Tabakovsky?

You are ready -made artists. ” With the temperament inherent in me, I replied that I have nowhere to go. And what could I do. Return back to St. Petersburg and get to your parents to the airport? Menshikov, apparently, was awesome from how honestly and brazenly it was said. He missed me onto the second round, but I frankly said that I want to get to Kudryashov. Everyone dreamed of learning from him, including me - although, frankly, I still do not understand why.

Then Oleg Evgenievich offered me a place in Ermolovka. I was already taught by bitter experience with a snuffbox, they also promised work in the theater. But, to my shock, Menshikov immediately said: "Let's bring the documents, now we will draw you up." How did you manage to combine work with study? Oleg Evgenievich convinced me to study at the correspondence department, I even entered the budget place.

But I had to skip two sessions, because in Ermolovka there were issues of performances. First, I became part of the team of the play “Macbeth”, then suddenly Yura Kvyatkovsky saw a comedic artist in me and “Mr. Servant” appeared. We were taught professions.