Miroslava Karpovich: “I’m learning new ‘daddy’s girls’”

You know, as it’s fashionable to say now, I live here and now, and I love it so much. Previously, many people depended on the future, but at some point I stopped thinking about it. I’m having an incredible time right now. If this continues, so be it. My master Igor Yakovlevich Zolotovitsky, do you know what he always said? Never give up and do your job with dignity! In addition, the new girls are very spontaneous, young, full of energy. I also learn something from them.

It’s hard to say, because I learned my skills at the institute. You find yourself in this atmosphere, where they guide you, warm you up and collect your baggage from previous years. You don’t think much about what you acquire at a young age. It’s just that when you grow up, awareness and attention appear. The psyche works differently and the palette of acting tools becomes more diverse. One thing is important: it is never too late to learn and, in general, it is never too late. Everything has its own time, everything has its own destiny.

It’s like in Harry Potter: the hat chooses for us. Like all creatives, I entered all universities at the same time, but I didn’t know the admission system and I arrived very late. It was already the end of May and we were supposed to go back in April. I selected the literature myself, in consultation with my mother. We were both educated and sat together while waiting in line to buy books. She listened, sometimes saying: “It seems to me that this is not very good. Take another piece.” We watched old films and took inspiration from our masters. For example, when I entered GITIS, I read something from Anna Karenina in French, but I failed.

I speak French and English quite well. I know Italian, but I need to go back and remember it. Like my sister, I have a talent for languages, I discovered it very quickly. In general, language is the key to any door. You open it, and in front of you there are people, communication, humor, mentality. When I was five years old, my mother introduced me to the wonderful world of the cinematographic stories of Anne and Serge Golon: “Angélique, Marquise des Anges”, “Angélique et le roi”, “Angélique et le sultan”. I was delighted with these nasal sounds and the babbled “r”, after which I rushed to the library near my house and found my first book in French – “Caroline on the Moon”. At that moment, my first author’s notebook was born, immersed in the depths of foreign and moving words unknown at the time.

I was four years old. Once a theater came to us in Berdyansk, they performed “Joan of Arc”. My grandmother, my father’s mother, decided to take me, aged four, to this show. But for me, the circus and the theater were equivalent. I knew my grandmother always had dried bananas with her and she would look for them. (Smiles.) And when Joan of Arc began to burn during the play, she was very frightened and threw the whole theater into hysteria. Afterwards, the locker room attendants gave her dried fruit compote and named her drama queen. (Smiles.) If only they knew that their prophecy would come true several years later, because the first theater awards were received for the main female dramatic roles. (Smiles.)

No, mom and dad. They were very young then: mother was seventeen, father was eighteen. Before I was born, my father went to serve and my mother was a medical school student and interned at a hospital. I lived three weeks without a name: we were waiting for Dad to return. I was either Dasha, or Cleopatra, or Esmeralda, whatever they called me. Then the parents went to the civil registry and played a “game”: when you close your eyes and point to a book with names. Mom ended up in Miroslava. She wanted to call me the double name Maria-Miroslava, like Maria-Mirabella, but Dad said: “I don’t need those.” Let her be like Princess Miroslava.” (Smiles.)

I have been working at the Chekhov Moscow Art Theater since 2002. In 2006, the theater took under its wing our show “You” based on the play “My Happiness” by Viktor Ryzhakov. Thanks to numerous requests and even letters from viewers, we continued to perform it. We had a wonderful, stellar class: Katya Vilkova, Anton Shagin, Max Matveev, Petya Kislov, Maryana Spivak, Anya Begunova, Pavel Vorozhtsov, Renata Piotrovski. Everyone is a perfect choice – incredibly talented. We learned from each other and were actively mentored. For example, at that time, Garik Sukachev had already approved me to join the “House of the Sun”, and he came to see our performance. His attention was very pleasant. Moreover, they took me a few meters away, at the same time companies began to appear: I played with Dima Kharatyan, Igor Yakovlevich, Zhenya Dobrovolskaya, Dmitry Astrakhan, Roxana Babayan, Mikh Mikh Derzhavin, like the affectionately called his loved ones. him, blessed memory for him. And then the casting of “Daddy’s Daughters” took place.

Yes, the girls grew up before my eyes. When we started, Katyusha was four years old, she hadn’t even read yet. I will never forget how she learned from memory the text we read to her. At one point, she picks up my text like a drummer. The scene ends and Katya comes up to me and says: “In general, you missed a page and a half, but I caught up with you.” (Smiles.) Lisa was about twelve years old, and Nastya and Dasha were probably fifteen.

Yes, almost every day for seven years.

Certainly. I always like going to castings to meet new people, to show myself that I can be different, to remind me that I am a dramatic actress.

No, such a state has never occurred. Even the cameo actors said they didn’t want to leave. It was an incredible atmosphere. Thanks to my colleagues, directors, producers, screenwriters, who never let me get bored.

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