Biography Denis Balandin

Kozaka and D. has been working in Ramt since the year. He is busy in 11 productions of the current repertoire: he plays the main role in the play “Red and Black”, the central roles in the premieres of the season: “How the cat walked, where he wants”, “Fearless Barin”, “Scarlet Sails”, “Proof”. Under his acting charm, you fall immediately and unconditionally. Denis is convinced that a person should be spiritually enriched all the time, and gives such an opportunity to the audience with his works.

Among his interests, poetry occupies an important place, thanks to which “meetings in the theater foyer” arose in Ramt - musical and poetic concerts, where Pasternak, Baratynsky, Brodsky, Tsvetaeva sounded performed by the actor. A literary word and an opportunity to speak out a lot for him, and when time and desire to write appear, Denis Balandin looks into his live magazine.

Even, let's say, nothing began and I just see the space of the scene where two chairs cost - for me it was “other” chairs. They had a seal, a mystery. They were unknown from which world and what time. The artists were expected, and it was uneasy of anticipation of what they would now turn this reality ... ”From the LiveJournal of Denis Balandin - how did the serious intention of becoming an artist appeared?

Therefore, there are a lot of apartments in my childhood, and each is connected with their memory. As a rule, they were small, our own furniture was crowded with the master's, and some things were not even unpacked. Among them was a huge suitcase stuffed with clothes that parents wore at the time of their early youth, and cards from tourist trips. My sister and I built some building from chairs, an old floor lamp, a large bedspread, dressed in these same things, called parents from the kitchen, stood on this very suitcase and arranged a “theater”.

The performance usually lasted less than a minute, since we had no pre -thought scenario. But for some reason, this was always enough for us. At some point in childhood, I already got into a real theater called “Vera”, which is still in Nizhny Novgorod. He used to be in the basement, and when you went down there, the artists immediately met you. And the number in the wardrobe was not ordinary, but hung around the neck like a pendant.

There was a feeling of some miracle in all this. Then, at school we had very good teachers, and my path to the decision to become an actor began with school holidays, with literature lessons, from a reader's competition. So, at some point I already clearly knew that my profession would not be related to getting up by calling, working in a time, or sitting at the table in the office.

She had to be creative. For several months I was engaged in the theater circle, and after the ninth grade I entered the Nizhny Novgorod Theater School for the course of Leo Belov at that moment the head of the Nizhny Novgorod Youth Theater, where he began to study as an actor. These were three completely different people, each had their own school, and with them we put very different educational performances.

The dead sorcerer of the play "Fearless Barin". The hanged man - Alexei Bobrov - training at the school always ends with a week of diploma performances played by graduates. These performances are watched by an authoritative commission. It so happened that the head of the commission is invited by a famous actor from Moscow. Alla Borisovna Pokrovskaya watched our diploma performances.

Then I entered the course of the course. Two more of our guys - released older - fell on the course to O. I had several proposals: from the Lenkom, theater named after Mayakovsky and Ramta. Of course, the proposal of the Lenkom was tempting, but the choice was between the three theaters, and ... I decided to go home. Lined up in "Sect"! Just joking, of course. My friends and I use this word, when we tease each other for fanaticism in work ...

”From the LJ Denis Balandin - where did the creative life in the theater began? The first big role was in the musical performance “Forever”, where we played with Ramilus Iskander, and we liked this work, we did it from the heart. Prince Myshkin in the play "Idiot". Suddenly because I was not distributed there initially. The main roles have already begun to rehearse other artists, but did not work out with one actor, and then they began to look for someone else.

I was invited to seem among others. When Alexander Ustyugov and I tried to read the last scene, the one that is happening in the Rogozhin house, something happened that then we could not, probably, repeated to the last. We suddenly suddenly grabbed some things that the goosebumps ran on the back. And then heavy, hard work began. I believe that everyone in this performance won a tremendous victory over themselves, over their physical capabilities.

For Moscow, it was an unexpected performance. Many then took this production in bayonets, but for us - those who were inside - it did not matter at all, because everyone knew what kind of work he did. The scene from the play is it important for you that the hero is spiritually close to you?Then it seemed to me the only opportunity to express my individuality of Myshkin exactly as I felt it at that time - through what I had inside.

Over time, you think that some things could do differently. Julien Sortiel of the play “Red and Black” - this work became my second big role. The paradox is that when I began to read big novels in the school, it was these two characters, Myshkin and SORREL, were deposited somewhere in consciousness. And so it was amazing when these roles fell almost one after another. It is ridiculous to say, but the biggest problem in Red and Black was to leave Myshkin’s image.

Work on the Silery continues, in it we need to open something new, to go somewhere else. I would like to grab the excitement that drives them, its rabies, treachery, which again find themselves in the engines of action, and with all this-unexpected boyish naivety and gullibility. Meners in the play “Scarlet Sails” - the story of Meners is deeper and sharper, if everything he does, he does for love.

When we rehearsed the performance, the installation of Alexei Vladimirovich Borodin was that it was impossible to interpret those people who confront Assol as bad, each of them - their own colossal truth. The main idea of ​​the performance: today, in order to have some kind of dream, you need a million times more will, strength, perseverance in the pursuit of it, because the pragmatic world has a very attractive face and owns a very hard grip.

We fought for a long time over the image of Menners Jr., and it was a tremendous experience, because they almost never gave me such roles. The horse in the play "How the cat walked, where he pleases." The woman - Anna Kovaleva - is very good. Firstly, I am very glad to young directors who came to our theater graduates of Sergei Zhenovach, participants in the RAMT project “Young Directors - Children” - approx.

The material that the guys brought is very interesting, besides, these works helped everyone to open up from a new side. When for a long time we do not play the play “How the Cat was walking, where he wants,” we manage to get bored on him, he is very well invented. As if from nothing. No costumes, no scenery, but as if it is all here. It looks like the same parental suitcase.

So all the children play at home. And now the "fearless master" has come out. And again, illusions: the cart rides through the forest, a swamp that the viewers of the first row can touch. But in reality - benches, branches, a large rag ... Wasn’t it, dreamed or did not dream? It's all about fantasy. With Alekd Mishakov and Alexander Nineyarov - when I studied, I already worked with young directors.

And then she invited us to Italy to the theater festival. Together with students from different countries, we rehearsed a performance, which was composed in the course of rehearsals on Tonino Guerrae poems. We also worked at a studio school with students of Kama Ginkas: in their first works they invited us. When a young director comes, a certain freedom is given to your hands, there is no authority pressure, you exist on a par, and are not afraid of errors.

Sometimes something unexpected can be properly sprouted. I play, for example, in the Practice Theater in the play “Niagara”. After the death of his mother, my hero is locked in an apartment, having shutdown a self -sufficient world around him. To save him, to force him to live fully, only an older sister who returns home after a long absence. A lot of dirty laundry is pulled out and, as a result, she, saving, will pay a terrible price herself.

It would seem - the common tricks of modern drama. Say: "It was not without chernukha." But the author is Agnetta Playel is a smart and thin person. The play is multi -storythe. The problems are very acute for today. To reveal this text, to detect these “floors”, the setting of the Obadia directing helps, in which plastic plays an important role. To work with modern drama is interesting, only its quality is important, it is important what it is, who is doing and what means.

By the way, “Scarlet Sails” can also be attributed to modern drama, because the libretto was written by Mikhail Bartenev and Andrey Usachev. Find the strength to "create" in life. To have your own world, friends who can without fear give and draw from them. It turns out that the “miracle” is something from the field of spiritual, from the field of insight ...

”From the LiveJournal Denis Balandin - and when did you have a love of artistic reading? At a meeting with the audience, the “Christmas mechanism” after the evening in the theater foyer - at school we had a teacher of Russian language and literature Olga Romanovna Novozhilova, who all the time sought to expand the horizons of students, she brought some records, textbooks on world artistic culture, reproductions of paintings of great artists, arranged trips to the theater, she also sent me to my first competition of readers.

Maybe she will be pleased to hear that her work, which seemed desperate, hopeless, the life of the industrial region of the city was then severely disappeared.