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we are supposed to talk about our art, about our life, i’m waiting for something so that i have something to tell people and they would be interested in hearing it. he is probably a workaholic, he works in two theaters, acts in films , leads an orchestra, and on weekends, which he rarely has, he goes to his homeland to restore his parents’ house, how he manages everything, we will now find out, today my guest is actor alexander pashkevich , alexander, hello, good afternoon, but we have known each other for so long that it would be logical switch to you, probably for 30 years already. played

on the same stage, so, yes, therefore, yes, so we will be on you, yes, but today we will talk about you, and about your works in the theater, in cinema, about your creative plans, how did your creative destiny develop, let's start with childhood, okay, come on, what events from childhood shaped your desire to become an artist? my mother was a teacher of russian language and literature at school, she had a great teacher, and this...

i kind of plunged into it, although i didn’t realize that this was a theater, then it somehow alekka played, and this was the first experience when i was present in life, but since i was still in music school, i was somehow directed along this side of art, yes, i entered the music school, but there was no theater there either it didn’t work out, there were also a lot of amateur performances , they also did some productions, in the army, by the way, too, i even wrote a play in the army on assignment for... well, after school

, most of the future artists immediately tried to enter the theater institute, how did things work out for you? fate? everything is more complicated for me, i didn’t graduate from theater institute, so it turned out that although i can’t say that i didn’t study, maybe i studied more. than anyone else , this business, because when i came from the army, i already began to work, get a job in my specialty, then i entered and graduated from the conducting department in absentia, here i was at the institute of culture, yes, yes, i was invited to the people's theater , which, in principle, was a very good youngster then, from which the regional theater grew, well why not, i’m not too deep into music yet, so to speak. they invited andriyevich

androsik, vladimir ivanovich lavrukhin, we had such, well, one might say, a training studio, where we studied acting , and this lasted almost 3 years. each theater has its own atmosphere, its own foundations, so you were lucky enough to work in three theaters, the youth theater, the youth theater, and now the kupala theater, for you personally, what are the features of each of these theaters? well, the regional theater, molodechina, minsk. work i had to play a lot, i played , it’s scary to say, about 300 roles, all this has not gone away, it’s all baggage, it’s all experience, then,

that means, at some point, when i was already 50 years old, that moment when i began to question, this is what will happen next, i had a repertoire, there i could of course play for a while and i am a game. left there, well, you understood that you need growth, i need growth, absolutely, yes, absolutely, then, this is a theater, in my understanding, this is not a specific theater, this is where i work, yes, i always patriot theater, i work in it all, but there is

an even broader concept of theater, which is what we do as a business that exists, as a profession, so i, i will play in five theaters, if i have such an opportunity, and i they will... invite and call, and the main thing is that they have enough strength and it could be planned, well, somehow it went, the directors also came, and the performances were interesting and still remain, and somehow the repertoire he gained so much, maybe i didn’t play any very central leading roles there, although this it happened too, but i was interested and as many of my friends tell me, your youth say they’re polished, so that’s the expression? well, it really is, because it’s a little different, well, like a different level, well, i must admit that in the theater, when you work with more than one, with several directors, it’s a school, and that’s how it was, youth was structured like that for a long time, that there was not even a hand of the main director,

guest directors worked all the time, there are also deep performances, but of course there is a need for the viewer to come and relax, to have fun, this is this is a given that cannot be.

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exciting projects that will surprise and lift your spirits. online travel and healthy lifestyle. all this and more. in a weekly project, watch the broadcast 24:7 on our tv channel every friday evening. well, the kupala theater became your third theater, but despite this, you are not one of those artists who often change jobs. you have worked in the youth theater for 10 years, it turns out already, in this molodino for about 20 -odd years, 20-odd since ninety- three, yes, well, one, 21 years, something like that. yes, now the kupala theater, you thought for a long time whether to accept this offer or not,

yes, there was a moment, of course, there was such a doubt, i ’ve already started to join in like this since somewhere in october, i’ve officially been around since 6 january, i got settled, and before that i just walked there, i was introduced to pavlinka, so i already played pavlinka there, but again i don’t know, i don’t feel the years, probably because it’s difficult for me. to leave there in the morning and come home at sunrise and sunset, even at the same time feeling happy, needed, in demand, that for an artist there are periods in life when it’s about you, our profession is dependent, they didn’t see it, didn’t take the material , to whom you are everything, and you can remain in a simple state, this is a very painful feeling, but when it’s the other way around, when you are needed, when they are counting on you and you understand, that

... someone is happy, someone is pretending that it might still be possible, maybe it is, i, in principle , i don’t pester anyone with this question, how do you treat me there? , well, of course there are those who considered this a betrayal, and so on, i think that this is absolutely, this is literally a quote from the phrase, yes, yes, this is absolute stupidity, because what does betrayal mean, what in the first place? we don’t have a youth group - this is not serfdom, but everyone has that i’m the first, i’m the last, that

or i’m leaving there for another theater, well, you served for 10 years, yes, yes, and every person has the right, especially since i don’t slam the door and don’t leave there, but i want to play, because many things are dear to me there, which happened to me in the youth group, alexander, now you are an actor in two theaters, in fact, the kupala theater and the youth theater. how difficult is it to combine and secondly, do you still think about making a choice in favor of one of the theaters in the future? well , i’ve already made a choice, i’ve already switched to my main job in kupalovsk and there’s my work book, so i think that this will be , so to speak, the last place of work, that’s where i am, but i will work in the youth team as long as i can or maybe as long as they will allow me there and so on, kupala. of course, i want to play something there, of some kind, to contribute

to something, especially since i was invited because i was needed, it wasn’t just that i came and asked, but i was invited because they needed me, and this is already a responsibility, because they are counting on me, and i in no way want to, well, not justify this the trust that is placed in me, so i will try my best, but at the same time i don’t want to let you down. i don’t want to let my colleagues down, whom i value and my existing and friendly relationships, because i’m interested in them, i ’m interested in working with them, and the roles are expensive, and so on. actors are such a subjective profession, perhaps no more often than anywhere else they believe in some signs, some signs, symbols. do you have any rituals of your own before going on stage? i definitely will. even if i know the text by heart a thousand times already, i always

have the text of the play in my rattle bag, and not in my bag, i take it out, put it in, take it out of the folder, and it lies there, scratched out, rewritten somewhere ... then there, i definitely have to have it, if i have it with me, god forbid, i forget it, i don’t feel very comfortable, comfortable, yes, it should be there, in your acting career there were a lot of different theatrical experiments , let's just say, here are your roles in the plays chaika, sasha take out the trash, here. the public reacted ambiguously to these roles, even if there was some criticism, why do you think? they thought that these were very bold roles, well , because it is a little unconventional and may be unexpected, because we perceive life in our own way, it seems to us that this is right, in art, well, many people think that they

understand art, although in reality this may not be the case, well, everyone has the right. it is his right to judge, and so on. yes, the seagull was a very extraordinary performance, very, practically, it was a very bold step, and we, in principle, understood what we were going for, but there, yes, there were such opinions, radically divergent, from the delight of the marriage, those who stayed until the end, and until those who left there from the first act said, you can’t do that with a czech, and which of the roles you played turned out to be for you...

the nature of acting is kind of the same, but everything is a little different there, and it’s clear that it’s an episodic , it is filmed, it is filmed several times from several angles, there may be several takes, that’s all you need it’s time to keep perspective, remember what happened to you, and what will happen to you again, if we also talked about this with the director, so he

outlined some tasks, just like it happened with dmitry khananovich, that’s what i have to do with... began to act in these children of his then quite sensational, maybe even scandalous, so he called me to rehearsals far, far before filming, that is, he was there, maybe he was trying on, the role was difficult there, the children killed my hero , it’s so cruel, they slaughtered them right at the station, there 3 day i was running around the station in minsk, here , while they were driving me there, then there was this scene when they... there, it’s so difficult in this regard emotionally, so it was necessary to come to this moment, to run already , that now he ’s done, there’s nowhere else to run, that’s all, the filming was difficult, it was a difficult filming, it was physically difficult, he did it, yes, well, this is the main one, this is the psychological one, because well,

i , probably for the first time i played a hero who is being killed on camera, and children, but i... i remember about this film with gratitude, and it also gave me so much experience in terms of things like this, when you need to break right here, when at the end of the shift, you’re just sitting there, your legs are even reaching the car they can’t convey, god gave wings to one and... the us national debt mark has been reached, they live at someone else’s expense, and this is a very important element that the united states will try to preserve at any cost. all politics is based on this now, it’s very nice to talk about democracy, in fact, on human

blood to make money, we have different motivations, these people... just want money, we are determined to create, thank you very much to our alexander grigorievich, that our world is orderly and that we do not have war, many do not understand this, it is like air, which you don’t notice, when it ends, you begin to realize what you’ve lost. markov’s project is nothing personal, watch it on the belarus 24 tv channel . it’s easy to explore belarus, just create a non-trivial route. adventure awaits us today, but in general they love horses, when they take care of them, stroke them there , the horse has no hands, no fingers, it can’t help itself.

just delight, this is the first thing, what is this, a bowl, what is this, well, this is a jug, this is the first jug made by hand with clay. sergey , thank you very much, look at the project route built on the belarus 24 tv channel. sasha, when you already have, let’s say, so many roles in the theater and cinema behind you, what criteria do you use to choose a role? what is most important to you? well, first of all, if it were

possible to choose her, i hypothetically, hypothetically, well, at least in the theater there is such an opportunity, well, sometimes such a question was asked, but never more often than not it turned out by chance that i had a role.

maybe someone said something about it this way, but i said something differently, maybe i ’m always trying to look for something, i don’t know, maybe it doesn’t always work out, but i don’t give up trying to do this, what kind of role would you never agree to, a vulgar one, and now i’m not saying vulgarity in the sense that there is some nudity and so on? in one of his interviews andrei mikhkov formulated the concept of vulgarity, he said: “vulgarity is a banality expressed with pathos. you understand what it’s about, right? that is, i don’t want to say some things that have long been clear to everyone, but talk about it as if everyone is hearing about it for the first time, something like this, here i am, i don’t want to do it, maybe it’s even a play , nothing, maybe, or maybe in the play there are some things about which...

to play these roles, that’s what actors often say that the best performance, the best film is the one that has not yet been played, what is your

dream, what is it? well, firstly, it is not alone, i would, i would, perhaps, expand more about my dreams and say that i would also like bulgakov to appear in my creative biography, for example, mikhail afanavich, i love him very much, as a writer. i don’t know, the white guard, which is any role, i would like, no matter, they are all wonderful, very bright, there is something to play, character, well, the story is wonderful, again, and love, there, everything is there, bulgakov , i don’t know, the cabal is a saint, maybe mister demaliere, i don’t know, this is also a story that oh, this interesting material, yes, again , of course i would like to play mister de moliere, but there are other wonderful roles there, sasha, you are a very active person, active, you work in two theaters, but you kept silent about one more type of your activity, this. .. that

you are the head conductor of the orchestra, yes, tell me how it happened? yes, i did n’t give up this business, well, i studied right away, we already talked about music school, college, institute, duty faculty, i taught at a music school, i had a class and even students, there were laureates and so on, but then the theater outweighed and i began to be more involved in the theater and the groups that i had were folk with titles, children's, exemplary, i left them, now i only have one left... this is a group, this is the orchestra of the timbrov boyanov teachers of the art school in molodechno, here which i direct , the orchestra already has a history, it is already 45 years old, it exists, there is a repertoire that i write for it myself, i make scores myself, even some original things, because i had experience, i wrote there for the theater, back in well done there, yes, i also wanted to mention

this, that you also write music. i designed several performances as a composer , several seven, maybe there were six or seven , i don’t remember exactly now, so this is also interesting to me, because this is also creativity, when you have time, well, somehow i have time, it happens, no, sometimes there is time to eat , it’s disingenuous if you say that oh i ’m right there, there are such zones or something, no no, then a hop happened there, here i was in the twentieth year, when this pandemic happened and we... had to stop rental and sat at home, during this time i wrote six or seven scores there, then the conducting profession, it’s an acting one, i don’t know, 90%, well, these are emotions, these are hands, try this, convey this without words , so that the musicians understand you, of course, all this is discussed , rehearsals and so on, but that’s all, i know that you - during the hours, on the days when - you are not

busy anywhere, either in the theater or with the orchestra , you go home and restore your parents’ house, which you managed to do in the village, well, so that you succeed, you don’t have time or money enough, yes, i understand, no, i’m really drawn to it, there’s a garden there, there’s a vegetable garden, there are some buildings there, a bathhouse, so simple, but still a bathhouse, that’s where i love it, it makes me feel... like this, of course it’s difficult to dig up even a hundred square meters of land there, it’s a pleasure , it’s a release of some kind of physical energy, i don’t know, because acting work also requires physical exertion , be healthy, what kind, but it’s a little different right there and the result here's the other one, you 're fiddling with the soil, you're planting, weeding then it’s all growing, it’s making me happy, i’m worried.

there is a dream in life, in a career, in life there is a dream , well, i won’t say it openly, but i hope that it will come true someday, but as for the creative profession, of course i’m waiting for roles, that’s what i see in this your meaning of life, just like some of your

everyday personal life. the same thing, here i am, i have some kind of, i don’t know how it was formulated, or i read or heard somewhere that you have to live according to the principle that the best will definitely happen to you, not has already happened somewhere, it makes you feel somehow sad, yes, to realize that everything is better behind you, you just have to live there somehow, something, no, you have to live with the feeling that the most important thing in your life will still happen , the program is called the meaning of life, here it is for you now. what is the meaning of life, since the creative profession, i strive all the time , we already talked about this from childhood, i always want to create something, our art, unfortunately, is ephemeral, theatrical, well, sometimes this program will remain, glory god, someone might one day maybe he’ll turn it on somewhere, listen to something and some thought will catch on somewhere, that is , something, some performances are also recorded, you can watch them, but in principle a performance...