Jan Gaharmanov Biography

Schukin, but in his acting “baggage” not only work with outstanding theatrical directors and filming in the cinema, but also the creation of a performance in the company of individual friends. The performance, who was so loved by both the audience and professionals, which was included in the repertoire of the Vakhtangov Theater. Ian is a master of all hands: can make sketches of costumes, write a sonnet and tell about yourself so that all the authors of monospores will envy.

We go to the Simonovsky scene of the Vakhtangov Theater, on which there is no performance on this day. An unusual feeling for an ordinary person is to go to an empty theater where twilight reigns, and steps are given to a booming and quiet echo. I immediately want to speak in a whisper, every rustle makes you tremble, and in my head, instead of serious questions, only fairy tales about good ghosts.

Photo: Lyudmila Safonova Yang, are you superstitious? There are many different theatrical signs of superstitions, and each they have their own. For example, if you dropped the text, you need to sit on it, or you need to say hello with the scene. With the text, I do not really adhere to the rules, but I greet the scene. I don’t know where it is in my head, but I always greet the stage, with the floor, with the props, with the decoration, especially if this is some important decoration.

We had a performance at the institute where I made a somersault from the wall, it was very nervous. And I always approached the wall, greeted her and asked for everything to go well. It seems to be working smiling, you become calmer. The space of the theater is generally a magic thing. There are not even signs, but rather the rules of good tone: it is not necessary, for example, to enter the scene in street shoes.

Sometimes the scene replies: if something is wrong and you somehow treated something carelessly, you will definitely fly. Something will happen to the light, something will fall at the wrong time, and you understand that this place is resisting. This applies only to theaters or any space where the performance is played? I somehow never had to be in places of new and fresh, always entered places with history, no matter how pathetic it sounded.

In each theater there is something personal, nevertheless, the memory of the place consists of people and fates. Somehow I happened to visit one theater, in which, let's say, something was wrong with the atmosphere. It was felt that everything was done wrong, without trepidation to the ancestor and how everything should be there. Such moments are very clearly felt. Of course, no one thinks about this every second, otherwise you can go crazy.

But you go out onto the stage of the Vakhtangov Theater and you can’t think that the difficult people stood on this scene, you still reach for them and stretch and not the fact that you will reach. Photo: Lyudmila Safonova such thoughts do not put pressure on you? They are simply forced to work a little differently. If, for example, you play a performance at some old factory as it is now fashionable, you do not owe this place, it does not require anything from you, and in the theater you don’t want to disgrace where great things have been done.

At the factory, you can disgrace yourself once. On the other hand, if a performance with an open heart is done, you can play it anywhere. Unfortunately, I did not find him, but, they say, it was some kind of incredible performance. So maybe nothing depends on the place. But much depends on people, almost everything. When the premiere of your performance “Comedy of the Widow” took place, we were surprised to find that the performance has no director, or rather, all the participants in the production are equally directed.

How did it happen? This idea was born immediately after release. Our master - Alexander Anatolyevich Koruchekov - instilled in us a love of joint creativity and composition, as well as interest in the theater of the Renaissance. The desire to realize all this was huge, and the production was born from it. Now, looking around, you think that this is impossible, because we did everything ourselves, almost nothing.

Masha Meleshko came up with a scenography, then we developed costumes that my mother thought up and sewed. Mark Burlai and Zhenya Ivashova were responsible for the sonnets, Vitaly Dovgalyuk for the choreography, and all this was somehow weaved and the devil knows how it was laughing. Apparently, the universe responded to our frantic zeal. The performance "Comedy about the widow." Photo: Lyudmila Safonova Zeal is great, but the production of the performance requires quite “earthly” skills.

Of course, we started very frivolously. Then they ran into the first problem, somehow they solved it. Then there were three problems, and then the thirty -three laughs. This production, in addition to our love for her, gave an understanding of what a difficult work it is to make a performance. A lot of people are involved in it whose work is not heard and not visible, but it is just some kind of enormous.

Costumes, decorations, light, sound and much more, the head will fluff from how much it costs everything. I don’t even know if this is possible again, it’s very scary to step into such a story again. With such single-minded friends, probably everything is possible. Our teachers have always said that the theater is an ensemble business, there can be no loner here.You can, of course, be a great artist and play monopsy.

But if this is some kind of big thing, then it is always love for each other, work, material, stage, public. The theater is not the most profitable thing, there is no talk of some great glory, it is difficult, scary, exciting. And if people follow this path, then only in great love. If this is not, then do not do this, there are a bunch of other professions.

And when did you realize your love for the theater? At the Theater Institute, the course at the fourth. By the time of graduation, I saw one performance in my life and knew absolutely nothing about the theater. I had a comrade older than me for a year who entered VGIK. When I graduated from school, he decided that I also needed: apparently, he was sad in Moscow. He recorded me for auditions, and for some reason I thought that he would fly to him if I did not come.

I did not know that there was a crowd of several thousand, and the commissions did not care whether you arrived or not. And I liked it so much that I passed the second, but from the third I flew. And he was surprised: how is it? What is it suddenly? And he was even offended.

I think that next year I will go again, the same story went. I think, well, in a year. And then everyone began to say to me: are you a fool, there are at least four more large universities. So I got to the Schukin Institute for Alexander Anatolyevich Koruchekov. Jan Gaharmanov in the play "Comedy about the widow." Photo: Lyudmila Safonova looking at your course, it seems that you, as they say, are “on the same wave”, and with each other and with your master.

Of course, every master is gaining people close in spirit to the course. This is logical, you won’t create a team of people with a diametrically opposite attitude, how to build a dialogue then? Alexander Anatolyevich was and remains for us an example: both human and professional. It is difficult for me to talk about him detached and calmly, nevertheless I will bother, he is my master, I love him endlessly.

Did your relatives support such a stubborn desire for the profession of an actor? My parents gave me freedom of choice early and never insisted on anything. They are very proud of my successes and are watching them very carefully. I now remembered a funny story: in the first year we served the performance of four -year students, which was staged by Alexander Anatolyevich Shirvindt.

As is customary, after the premiere was a feast. So, I, clinking, tried to dodge so much to clock with Shirvindt. Not one on one, of course, in a common heap, but so that Dzyn take place. Then he called his grandmother and proudly said that he drank with Shirvindt laughing. From what course do students of the Schukin Institute fall on the stage of the Vakhtangov Theater? From the second year, many fall into Mademoiselle Nitush.

It is clear that this is small work, but the very fact of being on a professional scene is inspired by. And on the stage of the school theater - immediately from the first year. This is more often backstage, but sometimes they come out in mass scenes. What is the sortone to go on the same stage with the master? Yes, this is not only a sortone, and now it laughs very scary. These are people who have already managed to do some huge deeds and continue to do.

But they are very careful about us, they support with fatherly love, and if they advise, then carefully, for which many thanks to them. Jan Gaharmanov in the play “Nizhinsky. A brilliant idiot. "