Russia (bbabo.net), - Actor Yuri Chursin seems to be in great demand these days. He starred in one of the short stories of the romantic anthology "Blind Valentine's Day", which is released on Russian screens on February 3. In March, the Moscow Art Theatre. Chekhov as the hopelessly in love Cyrano de Bergerac. And the conversation with the actor turned out to be not just about the oddities of love. Rather, about how information depreciates in a changed world and Time is lost. And why is it so easy nowadays to "erase" JK Rowling and argue about the merits of "Big Clay #4". What Yuri Chursin thinks about this - it turned out to be interesting.
Yuri, since the action of the film that was released on the screens takes place on Valentine's Day, I can't help but ask: do you take this day seriously as a holiday?
Yuri Chursin: This is more a reason for a declaration of love, the toy is so cute. I always liked how it happened in my childhood, and I like how it happens today with children - some kind of cupid holiday with endless hearts. In adulthood, love is not shouted to avoid vulgarity.
This is a comedy - and you admitted that you feel insecure in this genre. Although they played, for example, in the Homeric "Primadonnas" on the stage of the Moscow Art Theater. Chekhov.
Yuri Chursin: Even now it seems to me that comedy is not quite my genre. But, first of all, the story I read in the script was not deliberately comedic. And secondly, this genre was divided into reprise comedy and situational comedy. Here in the latter I feel calmer.
What is the essence of your love story with Veronika Timofeeva in "Blind Valentine's Day"?
Yuri Chursin: The fact that people often look for a partner who they think suits them best. And happy are complete opposites. And what the heroine of our passage resented in young people, as in my character - rude, smart, straightforward, not doubting himself and his decisions - that is intriguing, addictive and ultimately leads to family happiness. So you just have to trust fate.
If your Ivan is so smart, why is he a bartender?
Yuri Chursin: This choice. In fact, this question tormented me in childhood: why such a charming and intelligent person as Gosha from the movie "Moscow Does Not Believe in Tears" is a locksmith. That's about why my Ivan is a bartender. The role, by the way, although small, but there was something to play. Even without a fight, and a serious one, it could not have done. Plus, I got a lesson in bartending, so now I can fence with bottles.
That is, a film about the fact that nothing happens by chance. Do you believe in that too?
Yuri Chursin: Almost any physicist, mathematician, engaged in exact sciences, comes to providence, divine plan, and to the fact that everything is not accidental. As it was written in some book: the most amusing thing is that a person must learn to make choices and make decisions and at the same time always remember that in fact, maybe there is no choice. This is interesting for me, because it gives the freedom to look at the surrounding reality.
Essentially any role can be a trigger for thought, even if it's a holiday rom-com. And what thoughts did the modern version of Pushkin's "Cockerel" prompt - also short stories, but already in the almanac "Pushkin's Tales. For Adults"?
Yuri Chursin: There are a huge number of different topics open. For example, canceling, the culture of cancellation that has now covered the world - it turns out that a person is so easy to take and cancel, like JK Rowling, who was "erased" from everywhere for saying a phrase in a personal post.
And even from the anniversary of his own offspring, Harry Potter ...
Yuri Chursin: And it turned out to be so simple, even somehow ordinary. But while understanding the history of the cancellation, which we played out in Petushka, it became clear that, in general, all this had already happened. In fact, what difference does it make, you are removed from social networks or expelled from the city, as in Ancient Athens or in medieval Europe. In Soviet times, there was the 101st kilometer. The same story - "you are gone" and you are doomed. So it was funny - this dual feeling that the world seems to be changing, but in fact all the rules of the game remain the same, only the "cover" changes.
And outside the context of roles, what topics do you care about?
Yuri Chursin: Such a question: how to distinguish a substitution from a true one? Where is high and where is low, where is thin and where is dense. For example, yourself at some concert of classical music, and you feel when the channel of some higher manifestations is open, and when it is closed. Actually, there is no secret in this, it's all about the talent of a person, whether he is a conductor of pure art. But there are so many talented people around and so many substitutions that are generally accepted as "real art" that you need a personal inner voice, or something, to understand where your own feelings do not deceive you.As for the "substitution" - in this context, what do you think about the sensational sculpture "Big Clay No. 4" by the Swiss Urs Fischer, installed in the center of Moscow? Is this art or substitution for you?
Yuri Chursin: For me, art is something that causes a flow in the viewer, mental, emotional, becomes the tuning fork of your existence. I don’t understand why the sculpture, which temporarily appeared in Moscow, caused such a wave of negativity: it is an art object that works on emotion. The paintings of Jackson Pollock, created by paint flowing down onto a canvas spread on the floor, have long been recognized as works of art. In the case of Urs Fischer's sculpture, we are talking about the spontaneity of the form, its fixation. It's like a photograph, by the way. We are now witnessing two stories - the depreciation of information and the loss of Time. And it seems to me that we are losing time because of photography.
Does photography save Time?
Yuri Chursin: It does not preserve, but cements, makes it dead. The living matter of time is constantly changing, it flows, and photography, like a coffin lid, slams this living second. Instagram, photo albums on the Internet that have grown and become communication, I feel like dead energy. All that was is only a part of the flow of life, and we should not hang on it like that. It is very important for me to be aware of the here and now.
What do you mean by devaluing information?
Yuri Chursin: The fact that we have come to a point where information cancels itself. Regarding the same fact, we can get two equivalent and absolutely opposite information flows. As a result, information has ceased to be a valuable resource. And in this informational devaluation, I am just very interested in what then is a true conductor and what is not.
If we talk about substitution, then this applies not only to art or pseudo-art, but also, let's say, the relationship of appearance, generated by the cult of beauty and youth. Is it necessary to intervene in the affairs of nature and "improve" the face?
Yuri Chursin: I think this is more about how a person relates to the surrounding reality. I have seen people who are extremely subtle about this issue, and they are charming, they are happy, and they live life to the fullest. And even the most captious person from outside would not think to say: "Your appearance is beautiful, but it's all artificial." If it is harmonious, if it pushes a person to a happy life, then, it seems to me, there is nothing wrong with that. Wouldn't it be better if a person dissatisfied with his appearance, without having "worked" on it, would be like a cuttlefish that spreads black clubs of dissatisfaction around itself. And then, people pay for this desire for their idea of beauty with real physical suffering. It is not a fairy who flies to them and changes everything in an instant - not everyone will dare to go through the path of restoration. By the way, Bobby Brown had the idea that now it is not fashionable to remake noses, you need to be proud of what nature has given.
After talking about noses, "Cyrano de Bergerac" naturally arises, which you are now rehearsing at the Moscow Art Theater. Chekhov. You are a rare guest on the theater stage. But when you give the go-ahead to Mrozhek's "Emigrants" - it's understandable, Mrozhek is relevant. And Rostand with his "Cyrano de Bergerac" is generally mossy.
Yuri Chursin: The play is not familiar to our rhythm, and many questions arise. But the more interesting is the process of comprehension. For me, the issue of beauty is very relevant, and this is one of the themes of Rostand's play. "Cyrano de Bergerac" is just the materialization of my thoughts about what is a work of art and what is not. And Cyrano was originally set by the author as an irreconcilable defender of fine art.
And mossy… I don't know, for me "Cyrano" is such a lump of language! Our strange time reminds me of the engravings of Piranesi, which depict the ruins of ancient architecture. There is a feeling that monumental columns stick out on the fields covered with a cultural layer, and we, such tiny swarming creatures, are trying to build our culture over these debris. But if a great flood starts now, and then comes back, there will be practically nothing left of us. Everything will disappear if the electricity suddenly goes out. But "Big Clay No. 4", by the way, will stand. And future people, digging out our cultural layer, will find it, they will understand that it was done artificially: "Oh, the guys tried to create a work of art!"
Why do you think we stopped thinking epic like our ancestors?
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