Biography of Valentina Gibaltovsky

Biography The task of art is not to cripple human souls every role - this is a certain sacrament, which must be approximately approached. To approach so that the world of a written character does not scare away from its flesh. It is necessary to look for suitable strings in your subconscious, because each role has its own aura, which is not talked about aloud.

One of the largest projects of Russian television is nearing completion - the series “Carmelita. Gypsy passion. " The audience so loved his first part about the stormy life of a young gypsy that a decision was made to continue the project. For almost three hundred episodes, we follow the ups and downs in the life of two gypsy tabers. Love and hatred, good and evil, the problems of fathers and children - all this is intertwined in the storyline of the series.

One of the main characters, charming villain Bango is played by a talented and promising actor Valentin Gibaltovsky. His character is distinguished by unpretentiousness and boundless devotion to his master. During the series, he manages to commit many bad deeds, and the list of his atrocities seems endless. In life, Gibaltovsky is the exact opposite of his character.

Correct and inconsistent, he speaks several languages ​​and is afraid to get on the Schindler list ... Valentine, you are 43 years old. You took place as an actor, or do you think that still ahead? Probably, really held actors can be listed on the fingers. The artists are constantly in search of their "I". The demand for any actor clearly reflects his filmography. Your filmography is more than modest.

What is it connected with? First of all, this is due to the fact that the period of formation, which came in the 90s, turned out to be almost a social disaster for the entire post -Soviet space. Want to voice the famous version that no one shot in the "dashing nineties" cinema? The worst thing is that young artists felt in no need anyone, thrown out "on the sidelines." Everything that you dreamed about since childhood, which you decided to devote your life, all your spiritual impulses and professionalism - all this turned out to be no one.

All artists, young and middle -aged, unknown and famous, all of them were forced to go through the “Survival School”. Life was tough, and did not spare anyone. Including me. From this I became stronger. All this time, up to a year, I worked in the theaters of Romania and in France. Well, everything is clear with Romania - brothers - neighbors. And in France, how did you end up?

In Strasbourg, as part of this project, he met the director of the theater company “On a Beaux Dire” director Mikhail Krutov, with whom he began to cooperate. Are you a confident person? If so, what is your confidence expressed in? And my self -confidence is expressed in what I need. Close to me, my family, friends, and even the surrounding nature. Do not forget that we are all small particles of a huge universe.

Colleagues and directors talk about you as a modest, judicious and balanced person. In life, you are the exact opposite of your hero. It is believed that the role is especially successful if the artist’s inner world is consonant with his theatrical or cinematic character. And then what is the secret of your undoubted success? Well, you are a romantic ... play the role of a frank scoundrel, and at the same time you do not forget about a reverent approach to creating an image ...

People who know you emphasize your language education. Romanian, French, not to mention Russian ... As I understand it, also German? By the way, only Banionis and you tried to speak with me. Banionis - I see, he played in German, but where did you get such a love for the tongue? Our creative task, of course, was a purely propagandist. We were supposed to “show the culture of the Soviet soldier to the German people” on concerts per month, toured throughout the former GDR, performed at different venues - from the modest rustic to the luxurious Berlin.

Of course, besides the Russian repertoire, we sang popular German songs, and they still sound in my head. Probably, since then I love Schiller and Goethe's language ... You received a script with remarks only a day before the start of filming. So, it was necessary to play almost “from the sheet”? It happened so that it was necessary to play almost “from the sheet”. But this was not a problem - the actor should never be caught by surprise, he should always be ready for any changes.

Well, directly the professional code of the scout ... Due to the crisis, the artists of the series were reduced by previously agreed fees, but no one left. Love for art, or fear of losing earnings? Or both? True, this is my personal opinion. Just altruism on the set ... Valentine, it seems to me that the series, especially such “long -playing” are a priori weak cinema.

And not at all because the screenwriter, director or actors are bad. It is simply impossible to make three hundred masterpieces from series. Explain what is then the undoubted audience success of Carmelita? If you like it, then drink a sip, and then discuss a bouquet of aromas of this wine.No one set a goal to make a masterpiece out of the “karmelita”. Yes, and it would cost this astronomical amount.

I think that success lies in the color of the gypsy people - in the manner of communication of people, songs, dancing. How can you play with the full dedication of the series? Surgeons are considered the most resilient in a professional sense. Even the highest high -professional and efficient surgeon cannot physically operate for more than 5 hours, how can one demand from the actor of a daily and many -hour good game?

Or the directors, understanding this, do not require? They have an even more difficult task - to operate and model the soul of a person. We must not forget about the flesh dies, and the soul is eternal. The task of art is not to cripple human souls. Like all creative people, artists are very vulnerable, defenseless. What is your defenseless? Can you, intriguing and pushing your colleagues with your hands, fight for a role?

I think it is mean. Just touched. Well, why, with such high moral criteria, do you play the role of a noble Miro? Where did the lady director look? And how did you get to the casting of the series? The director of the agency called me, and said that a casting is being held for some Russian series. The creative producer was in search of a scenario villain.

Everything turned out very unexpectedly, and most importantly - lightning speed. First, the casting in Chisinau, then in Moscow, and two weeks later, in a suit and make -up, I looked forward to the director of the director, the director of Elena Tsyplakova, “Attention, Motor, what did the work on selecting the actors are impatiently on the set? The feeling is created that the director’s assistants are absolutely not bothering themselves with work.

The same persons wandering from the series to the series have already fed up. Moreover, the same artist today is a noble detective or a brave policeman, and tomorrow is a bandit and a killer. And since, films are mostly low -budget, with modest decorations and costumes, it turns out that the cop and the bandit have the same person, the same costume, the same wife, do you agree?

Now the director’s assistants are not engaged in the selection of actors, they have another task on the set. The directors and producers of the film or series are engaged in this. As for the “wandering” of the artist from the series to the series, this is to some extent even good. What is this? Not a suit makes an actor, but vice versa. As for the “low -budget film with modest decorations” ...

I don’t know, but $ 60 million is a lot or a little? Without false modesty, do you consider yourself a talented actor? What is talent? Probably, this is the ability of the actor to miss the heavenly talent through himself, the ability to later transform it into creative feelings. Are you a believer? What does God mean to you? What do you believe in life?