| Danila Kozlovsky and Elizaveta BoIarskaya in The Cherry Orchard. Photo: Viktor Vasiliev |
1. How does Maly Drama Theatre training differ from other theater schools or companies?
I studied for five years in Lev Dodin’s acting course at the St. Petersburg Theatre Academy, and had the immense luck to perform as Edgar in Dodin’s production of King Lear during my third year. I joined the Maly Drama Company when I graduated in 2008. Most theater companies in Russia, like ours, have a full-time roster of actors and a permanent repertoire. But in a majority of theater companies, training and professional acting are clearly divided. A few years after joining a company, some actors consider themselves professionals—they think they know everything they need to know. It could be viewed as complacency or as self-assuredness, depending on your point of view.
I’m biased but I think Dodin’s way of training is the best: the training process continues seamlessly from the Theatre Academy into the Maly Drama Theatre. For five years we had daily training in classical dance, acrobatics, singing, instrumental music, voice, and speech. Before every show we do extensive warm-ups targeted at what the actors need for that particular performance—voice and speech (always), singing (always), classical dance, acrobatics, orchestra—whatever is needed. Spending an hour or two warming up together before the show allows us not only to hone the practical disciplines, but also to reestablish our connection as a company, which is essential for acting together onstage.
I’m biased but I think Dodin’s way of training is the best: the training process continues seamlessly from the Theatre Academy into the Maly Drama Theatre. For five years we had daily training in classical dance, acrobatics, singing, instrumental music, voice, and speech. Before every show we do extensive warm-ups targeted at what the actors need for that particular performance—voice and speech (always), singing (always), classical dance, acrobatics, orchestra—whatever is needed. Spending an hour or two warming up together before the show allows us not only to hone the practical disciplines, but also to reestablish our connection as a company, which is essential for acting together onstage.