Instagram through the eyes of boyar stars. Instagram Liza Boyarskaya

“Anything is possible in St. Petersburg” - a series of meetings with famous people for students and graduates of St. Petersburg State University, organized by Beeline, the St. Petersburg State University Alumni Association and Paper." Project participants talk about how they managed to make what they loved their profession.

How did Elizaveta Boyarskaya hide filming from her theater master, why is it easier to play Anna Karenina than the heroine of a two-page text, and what is the charm of an old St. Petersburg dacha?

"Paper" publishes a transcript of an open interview with actress Elizaveta Boyarskaya for students of St. Petersburg State University in the second season of the project "".

Igor Antonovsky: Elizabeth, good afternoon.

Elizaveta Boyarskaya: Good day, hello.

IA: Today is the last day of spring, tomorrow will be summer.

EB: It will rain and snow.

IA: It seems to me that this is a kind of New Year.

EB: Essentially, yes.

IA: Especially for us, St. Petersburg residents, summer and white nights are the only time when you can live in our city. It seems to me.

EB: My whole life has been like this: everything lasts a very long time until May. And when it comes, we can assume that September has already [arrived]. You think: “Wait, we were just waiting for these leaves and this spring.” Summer always goes by very quickly. But we were very lucky with May, I think. I was on tour in London with the Maly Drama Theater for almost the entire month, but I was regularly informed that the weather in St. Petersburg is amazing. Let's see what happens in the summer. We are used to different things. It's a sin for us to complain.

IA: By the way, I wanted to start with this - knowing that you are now between London and New York, where your next tour will be. It’s very interesting who goes to MDT performances in London. As far as I know, not only Russians.

EB: Mostly English.

IA: I wanted to ask you about the difference between the London and St. Petersburg public. And what kind of audience are you expecting in New York? This is not your first time going there.

EB: It seems to me that there is no global difference between the St. Petersburg and London public. We took Grossman's "Life and Fate" - it is a complex work: both the performance is complex in itself, and the theme is complex. But the audience was very responsive, very attentive. The play raises an infinite number of topics: the totalitarian regime in the Soviet Union, Nazism in Germany, the relationship between man and the state.

The tour organizers were hoping for the first performance because the review system is very important [in England]. After good reviews, word of mouth helps, and eventually all the tickets are sold out. Fortunately, this is what happened for us. In England there is a five-star [review] system, and all reviews of our performance were with maximum ratings. Very good critics wrote wonderful words, which was nice. Until the end of the tour, the hall was packed, there was applause.

In St. Petersburg, of course, our theater is well known and loved, and there is an audience that goes specifically to the Maly Drama Theater. I even remembered two spectators who travel to our theater from the Urals - they buy tickets for performances and organize trips to St. Petersburg. It’s also very nice to know that they want to come back to us.

In America, the public is different - reacting brightly. When we came out to play" The Cherry Orchard“two years ago in New York, everyone started laughing after the first three lines. It turns out to be a funny play. I never would have thought.

IA: Comedy. Chekhov lists it as a comedy.

EB: The first few introductory remarks - and we see a live audience that is ready to swallow, to hunger for the emotions that we broadcast to them from the stage. They follow the translation and react very quickly to humor. And, for example, the Japanese public is completely different. We took “Cunning and Love” (a play based on the drama of the same name by Friedrich Schiller - approx. "Papers"). This, of course, is not Chekhov, not Grossman, not Abramov - this performance is more graphic, more structured. But there are also a lot of feelings and emotions. We were absolutely discouraged, it seemed to us that we were playing in an empty hall: people simply could not breathe. We thought: is it really that bad? Failure? And then, at the end - loud applause. Apparently, it is part of their culture not to react during a performance. Maybe it’s indecent, maybe it’s not accepted. I don't know.

IA: Disciplined.

EB: Disciplined. This, of course, is a completely different culture. I've never been to the East before. Japan remained an unsatisfying mystery for me: I really liked the people, the culture, and the customs. Everything is special there. I would like us to return there again.

Australia was also in our lives with theater: we also took Grossman there. We arrived at the festival in Perth, it was +33, and that means we [play on stage] in felt boots, fur coats, and prison uniforms. They looked at us with pity, horror and respect for how much [people in Russia] managed to survive: “Lord, poor things, how did you live there, poor things.” And we played and thought: they have sun, ocean, surfing here. And they looked at us: “Hmm. That's what happened to you guys. What kind of movement did you have a hundred years ago?” But, of course, they cried; they were hurt by a lot.

We are closest in mentality to Europeans. If we compare with the St. Petersburg public, [we are close to] France, Paris.

IA: Is the St. Petersburg public more different from the Moscow public than the St. Petersburg public from the European one?

EB: The St. Petersburg audience, it seems to me, is more strict. But by the way, I like it. This sets some kind of bar.

IA: Is he strict in his judgment?

EB: In judgments, tastes, views. It is clear that some people accept a particular director, others do not; Some people like contemporary drama, some don't. But the St. Petersburg audience needs to please. In Moscow everyone will find something for themselves. And how many theaters there are in Moscow! I don’t know how many of them are officially registered, but there are a lot. Although when we go to Moscow with the Maly Drama Theater, we always worry and worry - this is very responsible. They look at us like this: “Well, St. Petersburgers, let’s see what you brought us.”

I play in two more theaters in Moscow: in the Youth Theater - in the play “Lady Macbeth of Our District” by Leskov, and in the Theater of the Nation - in the play “Ivanov”, staged by Timofey Kulyabin. And this is a completely different feeling: I play on the Moscow stage, with Moscow artists, and I no longer have this exam in front of the Moscow public. I am inside [the process] - not as a Muscovite, but as part of this theater.

IA: But in Moscow there is no feeling that people come not for content, but for names: you, Evgeny Mironov...

EB: Eat. Although my personal impression as a spectator is that if you like the performance, you stop paying attention to whether the artist is famous or unknown. A famous artist can play very poorly, and next to you there can be an actor whom you don’t know, but you can’t take your eyes off him.

IA: And if we abstract ourselves a little from the theater and return to the theme of our meetings “Anything is possible in St. Petersburg”: Is St. Petersburg a European city in comparison with London and Paris? In terms of opportunities, life, the feeling of being here?

EB: In my opinion, yes. We travel a lot, and St. Petersburg is in no way inferior. I'm not even talking about our tourist architectural wealth - this is understandable. Sometimes you are walking down the street, a foreigner stops someone and asks English language how to get there - they answer him completely freely and are happy to help. In French, in German, in English. There were a lot of signs for foreigners.

Another thing is that there is a Russian mentality that will not go anywhere. Everyone expects something to fail. Which might be a good thing. But in general, it seems to me that a city is people, first and foremost. Tour guides, cafe employees, baristas from whom you take coffee, the guys who stand at the hotel reception - all of this creates an impression, and it seems to me that it is positive. Everyone I talked to - Italians, French, Americans - was completely delighted: with the people, with the traditions, with the fact that everything works at night and doesn’t close at 11 pm.

IA: And in terms of work opportunities - in theatre, cinema, TV series, media industry? Would you advise young people who want to build their career to stay in St. Petersburg, stick to it - or should they go to Moscow? As you know, we have one city in the country: have we managed to defeat this curse?

EB: It seems to me that we are now so interconnected and mobile... I live in Moscow and work in St. Petersburg. I go to work by train. I play a play, get on the train and come back. These cities have already become communicating vessels.

As for the acting profession, yes, we have one main theater institute on Mokhovaya (Russian state institute performing arts - approx. "Papers"). There are probably more prospects in Moscow. But now there are so many theater organizations, courses, institutes - public, private... Offices that promise to make you an artist in two weeks. You need to choose your own path and go into the profession with the right ideas. Choose the right places, show yourself to the right masters - if you seriously want to engage in this profession. And so, it seems to me, it’s not important - Moscow, St. Petersburg.

IA: I received a lot of information about you through your Instagram. There you have about a million subscribers, and it is semi-official, semi-personal - like, in principle, many people have. If earlier people went into the acting profession for fame, popularity, the desire to speak out, now we see that it is not necessary to be an actor - it is enough to be a participant in the show “The Bachelor”: there will be two million subscribers. First question: does Instagram take up a lot of your time?

EB: I'm having a hard time with Instagram. Let's call it "I don't like it." It seems to me that this is the greatest evil that our time has come up with. I understand that you can make money there and get a lot of information, but it’s such an infection. At one time, I was more dependent on Facebook, but at some point I deleted it because I realized that it was taking up an impossible amount of my time.

IA: Were you addicted to journalism?

EB: Yes, I was subscribed to interesting people - scientists, journalists - I was interested in their reasoning. But at some point I realized that I myself don’t think, I don’t develop when I fit it in [within myself]. And Instagram, it seems to me, is generally some kind of fiction - endless scrolling through photos, likes. But people are really dependent on this: who has how many subscribers, who has how many likes. “You wrote me a bad comment. Oh, you are so-and-so. I’m unsubscribing!” The whole system relationships.

Many artists started Instagram only to maintain some kind of reporting to the audience. When necessary, I make some posts. Naturally, I don't monitor comments. But I would be happy if the fashion for this passed. It seems to me that one must get tired of this at some point - being inside the network, communicating within the network, information that passes through the brain and leaves no trace, except [a feeling of] tinsel, complete dissonance.

I don't know how to use gadgets, I don't have a laptop. I have a paper diary, a pen, and the Internet to search for information. I order my books from Ozon: I love everything paper.

Now in our thinking the chain of connections has become short. In order to remember something, you need to find this information on Google. Previously, in order to remember a certain date, you built a connection: so, it was this year, it was that year... Then there was already that king, and then serfdom was already abolished... Some kind of work was happening in your brain . And now it’s not even a clip consciousness, but a flipping consciousness. The first post is about someone passing away and you are grieving...

IA: And then he rose again.

EB: Yes, like yesterday (talking about journalist Arkady Babchenko - approx. "Papers"). And then someone makes a cute joke and you sit there laughing. Absolute dissonance - internal and intellectual. I am a disgusting adherent of the past, but I feel calmer this way, and I trust myself in this sense. When I think with my head, feel with my heart, I am more honest.

IA: Do you treat this as some kind of social elevator? As we know, Irina Gorbacheva, thanks to Instagram, starred in the film “Arrhythmia”.

EB: Well, that's talent. What is truly great and talented deserves both respect and attention. Irina is a wonderful actress, with a great sense of humor, very serious and deep man. It's not something flashy, but vacuous. No. Behind this is enormous talent, background, Fomenko Theater. It all shines through in what she does. That's why she's so charming and really talented.

I recently downloaded the Arzamas app and am listening to their lectures. I like it a lot better. I can listen in the car, on the plane, on the train. And this gives food for thought. Another time you'll learn interesting information- both for yourself and for work. Something's going on spiritual development, and not the endless “missing” of unnecessary information. This format is closest to me. Now technology is developing so much... I graduated from college in 2007 and realized that I didn’t have a single photo left from there, because I didn’t have a smartphone yet. This was ten years ago.

IA: Don't you feel sorry that there aren't any left?

EB: God bless him. I have several paper photo cards - and that's enough. Ten years ago no one had smartphones, but now every course has its own blog. But I hope that this is similar to the fashion for fast food: everyone has finally come to a healthy lifestyle. I hope it will be just as fashionable to be an intellectually developed person.

IA: Do you have the same conservative position in the theater? MDT is a classical theater. There is a lot of innovation there, but not in form. What is your attitude towards modern theater and the use of technology and interactivity, which often happens at the Gogol Center?

EB: Theater, it seems to me, is exactly the platform that should develop with the times. The main thing is not to lose the essence. So that it is about a person, reflects the time, our era, our problems. The work done at the Gogol Center is wonderful, talented, and somehow amazing. The Maly Drama Theater, in fact, is also not lagging behind in this regard. It's just more, let's say, classical in perception. Let’s say the play “Fear, Love, Despair” is our premiere based on Brecht. Or "Enemy of the People". These performances are blatantly modern. And Grossman is terrible, but he has become modern again. Sometimes you read and think: “How? This was written about then and about that.” But in fact, no.

I try to watch productions by different [contemporary] directors. It’s a little more difficult for me with the new drama in terms of dramaturgy, because maybe I haven’t grown up to it yet. It's not always easy for me to accept this. But, let’s say, classic works interpreted by modern directors in a new form are always very curious to me. That's why I'm all for it. If an artist expresses his thoughts in the most appropriate and accessible way, no one should censor it.

IA: And if we talk about cinema: do you have any projects now?

EB: No.

IA: Is this your principled position?

EB: Well, yes.

IA: Unlike many artists, you appear less in TV series and feature films.

EB: I just love theater more, let's put it this way. There I feel calmer and more confident. And maybe it’s easier for me there. For me, theater is a more conscious approach to craft and profession. There is a piece, there is time, there are rehearsals. There is a deep dive. We need to look at the role from different angles and find new meanings. Playing the same scene many times in completely different ways. That is, to work on a future work for a long, long time. And in the cinema - we met quickly, here’s the text, we rehearsed, filmed - that’s it, we parted ways. I can’t say that I’m slowing down and not having time. I always work in the rhythm set by the film crew and director. But it's much harder because for me it's a much more unnatural process. I give my all, try to work as focused and efficiently as possible. But this is much more difficult - without repetitions and room for error. There is no such thing: today I played like this, and next time I’ll play like this, I’ll try to test it - just like in the theater. I played it in a movie once and it was filmed.

IA: Is there more dependence on the director?

EB: Yes, I just wanted to say that in cinema not everything depends on the artists. And you know very well such cases when the cast is amazing, but the movie, unfortunately, is unsuccessful. And vice versa: no one has ever seen the film, the rating is zero, but you watch it and can’t tear yourself away, because the film is very simple and human.

And theater is a more harmonious process for me. Of course, I am incredibly lucky that I work for Lev Abramovich (Lev Dodin, artistic director of the Maly Drama Theater of Europe - approx. "Papers"). There are probably more successful performances, and there are less successful ones. But, nevertheless, this is some kind of thoughtful, correct, serious, harmonious process. I got used to it, as one gets used to everything good.

If such conditions exist on the set, which is very rare, this is, of course, a luxury. “Anna Karenina” was filmed by Karen Georgievich Shakhnazarov: “Mosfilm” is his domain. And we, of course, were in no hurry, we filmed one scene a day, and did several takes. Classic, perfect process on set. And there are others: “So, we have two hours, we have to shoot eight scenes. Guys, get your act together!”

IA: It's in TV series.

EB: Usually in TV series, yes. Every time you believe that it will be different. Thank God, we have a lot of people working in the cinema. good people, and all enthusiasts. In America there are trade unions, you can say: “Guys, my overtime is an hour. I will never get up from this chair." Everyone has trade unions: lighting workers, make-up artists.

IA: The drivers.

EB: The drivers. My last shift in the painting lasted 21 hours. Instead of 12. They told me: “Lisa, we understand everything. Can you give me another hour?” What can I say? I understand that there are no more shooting days. If I say “no”, they will decide: “She’s so capricious, she can’t work.” The cameraman couldn't film my close-up, filmed me from the side, because my eyes became different from fatigue: one was big, the other was small. I say: “Guys, I can’t do it anymore. I’m going to die right here on your site.” And as luck would have it - the most difficult scenes.

I remember at some point I was arguing with my “young man”: showing off, emotions. You had to be at a high emotional point. And I burst into tears. It was half past three, and we were filming until seven. From seven in the morning to seven in the morning. My legs and knees were shaking. And I burst into tears simply from resentment. I felt so sorry for myself. I think: Lord, what the hell! At the same time, feeling that I was sobbing, I don’t forget about the acting nature, I say: “Let’s shoot quickly!” They say to me: “Oh, now it’s good!” Removed. Then: “Well, moving to another point?” Restaurant scene, new makeup. At half past three they re-made me in the makeup car. Therefore, you know, in the theater I feel somehow calmer.

IA: Don't there really be 12-hour rehearsals in the theater?

EB: There are, of course. In general, we really like to rehearse. But somehow everything is more logical and calmer there. Some kind of stability is nicer to me. Of course, when interesting film roles come, I agree. But it’s not so frantic anymore.

IA: However, now, one might say, is the heyday of domestic films and TV series, a lot is being filmed. Including your friend and colleague Danila Kozlovsky, as a director, directed the film “Coach”. Did you support him?

EB: Yes, sure. I went to a cinema in the city of Krasnoyarsk. I really liked the movie.

IA: Didn't he offer you a role there?

EB: No. There wouldn't be much room for me there. But I know that Danya had been nurturing this idea for a very long time; he told me about it almost after college. I am very glad that he came to this - and he would have come to this anyway. Danya is such an active, bright, gushing person, bursting with energy, talent, charisma, who can be enough for anything. And whatever he undertakes, he does it to the end and always highest quality. With great seriousness and never for the sake of some shocking or anything else. He is a man with incredible taste. It’s clear that we studied acting with Lev Abramovich, but still. We've been side by side for over ten years now. Fifteen years. It seems to me that he will go very far and very successfully in the director’s field. And God forbid, because there are not so many such energetically charged and talented, organized, responsible people - [it rarely happens] that everything comes together like that in one person.

IA: By the way, there are many debuts of actors as directors. For example, Konstantin Khabensky directed a film. Do you have any directorial ambitions?

EB: No. The only thing is that lately I have felt the need to study. Naturally, I wouldn’t want to abruptly leave the profession, but I would go to the screenwriting or directing department. For myself. I want some kind of upgrade in terms of theory. I already know a lot about the profession from different sides, and I would like to raise some internal bar - namely knowledge. This can be done in absentia, after all. So I have such an internal need. But I'm not sure it's practical.

IA: Now this is what I would like to talk about. We are still within the walls of the Faculty of Economics. And it so happened that you are a representative not only of the St. Petersburg dynasty, but also of the St. Petersburg brand. Brand “Boyarsky family”, brand of the MDT theater. What is the responsibility for the surname, for the brand? What are the pitfalls?

EB: Fortunately, I don’t feel like I’m a brand, so I probably don’t have a problem with this. It just so happened that dad is a St. Petersburger and stayed in St. Petersburg, did not go to Moscow. We have St. Petersburg artists - for example, Ivan Ivanovich Krasko - who studied here, became successful and remain to live here. But there are not many of them. Dad, for example, thanks to his roles in “The Three Musketeers” and many other films, became a great creative unit in Soviet cinema in his time.

There is always a very prejudiced attitude towards the children of [celebrities]. I believe that everyone faces this - and not just in the acting profession. If, say, a small surgeon grows up in a family of surgeons, everyone will immediately say: “Oh, look, we have a new kid here. Daddy's boy." Where else should a child go whose mother is a pathologist and whose father is a surgeon? He shouldn't become a librarian. It is clear that at home they are talking about one thing. Therefore, professional dynasties are quite natural. But the actors are always visible - so they can be discussed. The Mironovs, Yankovskys, Efremovs, Boyarskys have always encountered such a story in one way or another. I’m very lucky that I [work] in St. Petersburg: here it’s easier.

When I entered, it was a bit difficult. There was a huge competition for admission to Dodin: several hundred people per place. And everyone said: “Look, she’s doing it. It won't work. Ha ha ha." I absolutely sincerely did not understand this. I was discouraged. Fortunately, it was such a difficult admission that there was no time to be distracted by it. When I started studying on the course, individualities were erased: everyone in black, everyone with slicked hair, pale, unhappy students of the theater academy. Who you are doesn't matter. Moreover, it seems to me that in the acting environment this is very easy to identify. You can't write off the exam here. When they look at you, it’s either “yes” or “no”. You can’t cheat here, everything is obvious.

We were wrapped in a ram's horn and immersed in Grossman's novel: we rehearsed Life and Fate for five years. Last name, not last name - I had my own problems. When I started acting, I was a little offended by [the title of] “daughter,” but then all that sank into oblivion: probably because I stopped thinking about it. I was more involved in my profession: it constantly required something. And now this is a source of pride: I understand that I am the twelfth actress in the family. We have artists from the Komissarzhevskaya Theater and the Alexandrinsky Theater. Serious theatrical history.

IA: Was there a moment when you realized that your parents were proud of you?

EB: Fortunately, my parents, as probably all good people do, are not very generous with compliments, but when they say a few important, serious words, this is more than enough for me. Several times people whom I respect - Oleg Basilashvili or Liya Akhedzhakova - spoke after the performances important words. Not many, but those that you remember for the rest of your life - and you feel more confident that you are not in this profession in vain. So do parents - they find some important, laconic words. And if [I played] badly, they will tell the truth.

They can say that they liked my role, but did not like the performance. Or vice versa: the performance is wonderful, but I didn’t think through something, didn’t feel it, I need to tighten it up. They give some hints. At the same time, understanding that we still have very different schools. Vladimirov’s school and Dodin’s school are two different planets (Mikhail Boyarsky and Larisa Luppian were students of theater and film director Igor Vladimirov - approx. "Papers"). But, nevertheless, they, of course, treat the Maly Drama Theater and Lev Abramovich with great reverence. And to what I'm doing there. For them, every performance, every premiere is an event. As for the films in which I participate, it’s the same. Moreover, the most unexpected ones [resonate]. What seemed more serious to me can be taken calmly. And what I thought was more transitory can [cause a strong reaction]. For example, dad really loves the movie “Status: Single.” He says: “Such a good movie.”

IA: The movie is really interesting.

EB: It’s unexpected that people of this generation can respond to such a film about youth love relationships like this.

IA: I can’t help but ask: I know that you and Danila Kozlovsky were the first MDT artists whom Lev Abramovich released into the media. Do you get any feedback from him?

EB: At first it was difficult for him to let us go, but he let us go. And, of course, in the beginning we filmed a lot at night so that no one would find out anything. I had to dodge. But then he began to let go. Of course, we have ironclad agreements with the theater. Let's say we knew that we would have Hamlet in such and such a year. And none of us takes anything for this period. Even if you crack. So please, take off. Tours, repertoire - theater always comes first.

As for ratings, I don’t think Lev Abramovich watches everything, he doesn’t have time for that. He always congratulates us and treats us with sincere kindness. I think he is pleased that his chicks were able to achieve something. Regarding the same “Anna Karenina”, Lev Abramovich told me pleasant words. The same goes for Valery Nikolaevich Galendeev, Danya and I’s speech teacher and theater director, professor. Wonderful man and legendary personality. The opinion of our masters and teachers is very important to us. We always listen to him. I’m not even talking about the fact that when I was preparing for the audition for “Anna Karenina,” I came to Valery Nikolaevich and said: “Let’s prepare together.” So that I can be absolutely sure that I am on the right path.

IA: Returning to the family. You now live in Moscow: has your father ever commented on this? Didn’t he say: “Boyars should live in St. Petersburg”? Didn't you feel like a captive of a city in which 12 actors [families] lived and where you should meet old age?

EB: Maybe I'll meet you. I’ll work, the children will grow up... Internally, St. Petersburg remains home for me. But now my child will go to Moscow school. Three days in St. Petersburg, three days in Moscow - this is how my week goes. My husband works at the Moscow Art Theater and at Tabakerka. And I'm nearby. But I consist of St. Petersburg, I am woven from it. I understand that Moscow may be more hospitable, the people there are simple and open. But I like it better when people are more closed and don’t always accept you at first sight. I like everything about the character of St. Petersburg. I like that it's challenging. I like that people are more complex, not so simple. I like to feel part of this city. Although I have settled in perfectly in Moscow - I can’t say that I feel at home there foreign body. But in terms of character and atmosphere, St. Petersburg is closer to me - in every sense.

IA: Do you have vivid memories from childhood of how you and your dad walked around St. Petersburg?

EB: Try going for a walk with dad. Can you imagine [this]? In the 1980s. I don’t remember how I walk with my dad. I’m walking, my dad is walking ahead, there’s a crowd of people around him. Of course, he took me somewhere, but where there were fewer people.

I have a lot in common with St. Petersburg: we have lived in the same apartment on the Moika all our lives. I spent my entire childhood there. The only difference between the lives of children then and now is that the child walked a lot. I remember we spent an endless amount of time in the courtyards, playing “Cossack robbers,” hopscotch, and towns.

IA: Is this possible in the city center?

EB: Well, there is three meters of grass there. And some kind of hill. In 1992, we got a dacha. Sometimes it seems to me that people don’t believe it and think it’s some kind of joke. Let’s say they ask: “What kind of car does your father have?” - "Opel". - "Yes?" - "Yes". There is a stereotype that artists - especially famous ones - are some kind of celestial beings who sleep in rose petals, put on gold-plated slippers, and wash themselves with dew. And when the three of us are sitting at the table at the dacha, I say: “People should see now how you and I are sitting.” All the old clothes are taken to the dacha: it’s a pity to throw them away, but at the dacha it’s normal to walk around [in them]. And you realize that you have everything of different sizes, different colors, some stupid caps. You go into the forest in rubber boots: in one pocket there are seeds, in the other there is a bag [for the husks]. You go and bite the seeds because it’s cool. The way we look, the way our dacha looks, the way dad looks...

IA: No hat.

EB: No hat. In a country training suit. Fortunately, we never rebuilt the dacha. She stayed wooden house, in which there is no winter hot water, no double glazed windows. They tried to rob us several times: they opened the door and didn’t take anything - nothing. We only had a very heavy Sony TV: it was stolen, and two months later we found it in the forest.

IA: They didn't report it.

EB: Apparently they thought: screw him. We put it back and it worked.

This is the charm of an old St. Petersburg dacha - simple, wooden, cold, with rotten boards. But there is so much coziness, so much history; Our family went through so much there. Our holiday village is called “Culture”, and choreographers, choreographers, conductors, and musicians live there. And everyone has the same dachas. And the road will never be repaired. And the way we are there - the real ones, the way no one could imagine us - is an ordinary acting family.

When my parents’ friends come, it’s not a restaurant on the top floor of some hotel, but boiled potatoes, vodka from the refrigerator, and pickles that my mother pickled. This comes from somewhere - from my parents’ youth. Rostropovich and Vishnevskaya told how they celebrated their wedding. They met a friend on the street, took a bottle of vodka and a bag of herring and went to celebrate the wedding in this way. And there is an incredible charm in this, which, it seems to me, is largely connected with St. Petersburg. I would like this charm not to be lost as long as possible.

I recently had a meeting with friends, I invited them to a restaurant next to the theater. A friend of mine came from Moscow, a journalist. And it’s customary for us to sing songs with a guitar. We sat down, drank wine, started singing songs by “Kino”, “Splina”, Shevchuk - everything in a row. He looks and says: “Lord, it seemed to me that this simply could not happen.” This charm of live communication can never be replaced by scrolling through your phone. Fortunately, I have a lot of this in my life. And thanks to the theater, and thanks to our family, and thanks to our traditions. I wouldn't want to change that.

IA: Is this possible now for young artists or was it due to Soviet Union, 1990s? Now, it seems to me, the first thing celebrities do is build summer houses and lose contact with reality.

EB: I understand, but it depends on values. All my friends love such gatherings, companies, conversations. We all know Vysotsky's songs. Someone can sit and read aloud Tsvetaeva or Pasternak. We discuss cinema. In Moscow, everything is a little different. The artists are younger, oddly enough. They're already out there somewhere.

IA: In the Hollywood Hills.

EB: If a person goes into an acting career for fame, you can immediately say that nothing will work out. And if he goes for a craft - to turn into this pale student in black clothes, sit locked up for five years and devote himself to the profession - perhaps some good will come of it.

IA: Maybe the advantage of this era is that it will filter out the actors: those who go into the profession for fame will go to Instagram, and those who are interested in the craft will go to the theater academy.

EB: And the first will earn a lot of money, and the second will eat crusts of bread.

IA: Does anyone have any questions? Let's listen to the public.

Woman from the audience: You said that you play the same performance in different ways. How does the director feel about this?

EB: It’s not that I’m changing anything globally - say, the mise-en-scène. We simply do not have the right to change the direction itself. Moreover, we have very strict discipline in the theater, which I really like. For example, if we say the text incorrectly, our salary may be deducted for this. I think this is wonderful. Sometimes you will hear enough of such gags. We are not allowed any liberties.

I mean that you can check and change some internal connections. Lev Abramovich loves such things very much. The performance must grow and develop. When Three Sisters was released, I was unmarried and did not have a child. But along with the events in your life, you change, and the words that you pronounce on stage for the hundredth time suddenly acquire new meanings. It is very interesting to watch how the performance develops. This is the most interesting thing. When we rehearse before a tour, Lev Abramovich tries to give new meanings and signs: playing the same thing every time would be unbearable. And the search for something new gives growth.

Girl from the audience: Thank you for your creativity. Tell us about your theater preferences: what you like, what you can go to.

EB: There is almost no opportunity to walk at all. But, one way or another, I am a very grateful viewer - and therefore I enjoy watching performances by a variety of directors. And I like almost everything. I watched the performances of Bogomolov, Butusov, Moguchy, Serebrennikov, Fomenko. And something always resonated [with me]. If we talk about younger directors, I watched something from a new drama: Dima Volkostrelova, Semyon Alexandrovsky. New drama, new views - I'm interested in all this.

For me the worst thing is when there is only form. If there is no content, I don’t feel, I don’t worry and I don’t think; for me it’s empty. Such performances also occur. But this, as they say, is on the director’s conscience - when everything is for the sake of shockingness, for the sake of form. But, for example, I really liked the very shocking performance “Muller’s Machine” at the Gogol Center. This frank visual form had such a strong emotional impact on me, the performance is so intellectually loaded that I need to go to it five more times to delve into these complex, detailed, interesting texts.

If a performance makes me think and worry, that already means a lot. The form is already the prerogative of the director. I can watch a super classic play with classic costumes and sets - and feel that it relates to both me and today. “God, it was written a hundred years ago, but nothing has changed.” It is important that there is contact with today's times.

Man from the audience: Have you already decided on The Brothers Karamazov?

EB: You know, just in time for the premiere, which threatens to [take place] in April 2019, we will decide. Not before, that's for sure. This is the process in our theater. Creative cauldron: everyone tries everything. We explore the depth [of the work]. There are so many complex, deep, bottomless thoughts. God willing, we’ll release it in April, but we’ll have to figure this out for decades to come.

IA: We know the theatrical legend about Yuri Yakovlev, who, while playing Myshkin, almost went crazy. "The Karamazovs" is an even more complex story. Do you even see the sun, summer?

EB: Of course not. Firstly, Lev Abramovich really likes to rehearse in the summer. Secondly, he really loves air conditioning. It’s always about +16 degrees in our rep hall. We come from the street in sandals, then we put on fur coats, UGG boots, scarves, sit down and create a performance. All works are no easier than the other, but “The Karamazovs” is a special story. It has never been so difficult for me personally.

IA: Is there any cure for this penetration of Dostoevsky into the head? It seems to me that this is generally important for St. Petersburg residents - a cure for Dostoevsky.

EB: In theory, you should think about it all the time. But sometimes you just need to shake these thoughts out, put them out to dry, and put them back [into your head]. Very heavy topics, too lofty matters - religious, moral, and spiritual. And when you come to the rehearsal of Abramov’s “Brothers and Sisters,” it’s so good. Everything is so clear about people. Play what you feel, what hurts and abscesses.

Well, we'll break through. But it's not easy, very difficult. This is the first Dostoevsky in my life, and I never thought that it would be so hard. Interesting, but very difficult.

Girl from the audience: Elizabeth, do you like football?

EB: Are you filming? Yes, sure.

Girl from the audience: Zenit or Tosno?

EB: Or who?

IA: It's a simple trick question. Your father was recently spotted supporting Tosno.

EB:"Zenith". I said it right, right?

Girl from the audience: Everyone is so passionate about the football championship and only talks about it. Will you be sick? What matches will you attend?

EB: So far the plans are as follows: to evacuate to the country. I definitely won’t go to the matches. I believe that the situation in the city will be difficult.

IA: Yes, it will.

EB: And I understand that I will still have several performances in Moscow, and I will need to get there. Therefore, I hope that the championship will not disrupt my personal plans. I will travel on foot and rejoice at the football players’ victories from afar.

Girl from the audience: I would like to thank you for your work in the film “Admiral”. I would like to see more of you on TV. Values ​​Question: Name your three core values. And what would you wish to graduates who are just now starting their adult lives?

EB: It’s always exciting when you have a blank sheet of paper in front of you that needs to be filled in little by little. Firstly, you need to not be afraid to try and make mistakes. And don’t try to climb the highest one without going through all the steps. Many artists start out as film editors and then become theater directors - or good actors and directors. It seems to me that in any field you should not be afraid to do simple or dirty work: start small. Because all this is an invaluable experience. In my opinion, the main thing is to be able to work. You must love working in any profession. Being a good housekeeper is very difficult and finding one is not easy. You also need to be able to clean: do it well and love what you do. If you are a good housekeeper, there will be a line lining up for you. Everyone will understand that in front of them is an ideal person who knows how to keep the house completely clean, because this is his calling.

It doesn’t matter whether you work as a theater director or as a driver - be the most careful, the most punctual. In any profession you need to try to be better than yourself. And therefore, even when you start with a courier service, you need to do something so that only you are trusted - because you are the best in this very simple matter. Wherever you move, never allow yourself to relax and do something carelessly. Sometimes you can’t go to a good restaurant because the quality deteriorates. Everyone takes off very quickly, but it is difficult to stay at this height. This can be done if you promise yourself to never slack on anything. Character, self-demandingness and colossal responsibility to others and oneself are probably the most important things.

Girl from the audience: How difficult is it to get into the role? And how do the plays you perform affect your daily life?

EB: The more complex and detailed the process of immersion in a role, the easier it is for me. You come to the audition, they give you two pages of text from the heroine Masha. Not enough text. I learned it. But what is it about? Who is this Masha? What is her job? Who are her parents? How did she spend her childhood? And it seems like two pages is very simple. But in reality it is very difficult. And there is Anna Karenina and the novel by Leo Tolstoy. And I feel so good: I have so much information. I have lectures from our wonderful teacher from the theater academy, Yuri Nikolaev Chirov: he gave all the lectures amazingly, but I remember very well the lecture about Anna Karenina. I can read on the Internet what Nabokov said about this. I can watch programs where different directors and critics discuss the novel. I can read Lev Nikolaevich's diaries. But the main thing is that I have a book where everything is written. And you just have to play it. Reproduce it as I understand it. And this is a huge help. Therefore, playing Masha can be much more difficult: you have to pile up some internal circumstances yourself, invent them if no one gives them to you.

Working on Anna Karenina became the most harmonious work of my life: I had a lot of time to prepare. I kept a role-playing notebook, where I wrote down scenes from the script and remarks from the novel, which showed all its turns. You had to practically know the entire novel by heart. Of course, this role is emotionally difficult. In the end it was a bit difficult, the role took a lot of energy. But it was very interesting. I understood well how I wanted to play and what I wanted to tell the story about. It happens that due to lack of content you waste your emotions and energy on a role. And sometimes you play a difficult performance, but you understand that it was good. Everything happened, all the turns were turned, the entire score was performed - plus something new was discovered. It brings great satisfaction.

Does this affect life? Not for mine. I heard all sorts of stories about artists turning into maniacs, their families suffering: “You’ve become different, stop it, come back.” I don’t have that - I have too many worries in life: I’m a mother, a wife, I need to buy bread, pay rent, pick up clothes from the dry cleaner. I leave [the stage], take off my suit - and only you saw me.

But there was such a funny incident. Maxim (Maxim Matveev - husband of Elizaveta Boyarskaya, theater and film actor - approx. "Papers") plays the play “Kinaston” in “Tabakerka”. The performance is now very popular in Moscow. Everyone goes to him because he is cool and fashionable. And they go largely because of Maxim, because he has built a brilliant role. Kynaston is a real man, who played female roles at the Shakespeare Theater. And it was precisely in his time that a change came when women were allowed on stage. And so, before my eyes, Maxim became a woman over the course of three months. At some point I thought I would strangle him: “That’s enough, why am I living with another woman at home?” And Maxim is a wonderful artist, very meticulous. When we came together on the same set of “Anna Karenina,” it was the rapture of two idiotic grain lovers. We sat at night, sorted it all out and composed it. Two crazy people. We were incredibly comfortable with each other. Maxim composed the role of Kynaston very carefully and in detail. Plus, he lost weight, got himself into a certain shape, and worked with a plastic teacher for a very long time.

When I saw the performance itself, I realized what it was all for: I was in shock. Absolute perfection on stage is truly a woman. A man, but a woman. My jaw dropped, like in a cartoon, I couldn’t believe that this was even possible - to build the role so delicately. There was a very funny situation: he once came up to me, took my hands, looked into my eyes for a long time. I think: how nice. Otherwise we both run, sometimes we don’t have enough moments like this. I say: “What, Maxim?” - “I see how your eyes are made up.” In the morning, a graceful woman comes to prepare breakfast. Well, family. Some kind of perverts. But it’s good that I’m an artist - I understand that. Another woman probably wouldn’t have put up with it.

IA: Thank you very much, great conversation. Special thanks for describing your dacha - I felt the smell of this dacha. I wanted to leave urgently by train. You definitely need to study to be a screenwriter and director after this story.

EB: Thank you very much. I hope everything will be fine for you all, and you will follow the right path - with a sense of responsibility and love for your work. Good luck to all.

Friends, hello! We are staying at home, but do not get discouraged, and enjoy communicating with our family!!! There are so many things you can do, write, invent!!! And to maintain a good mood and positive attitude, #tousrussia and I are announcing a competition. Post a video and tell us about how you spend time with your family. The participant who publishes the most tender, joyful and bright video with the hashtags #zaTOUSimhome #stayhome #staytender #TOUSrussia @tousjewelry will receive a pleasant surprise from me and from TOUS, which will definitely cheer you up. Take care of yourself and your loved ones! 03/20/2020 08:10

March 24, 25, St. Petersburg. Small Hall of the Philharmonic. April 23, 24, Moscow. Theater hall MMDM. Multimedia musical performance “1926”, based on the correspondence between Tsvetaeva and Pasternak and the poem “The Pied Piper”. See you. #Tsvetaeva #parsnip #Rilke #beautiescatcher 03/14/2020 09:22

The mood is outstanding! When there are 3 boys and one girl at home, you understand that March 8th is a fundamental holiday 😄 Thank you, my beloved! ❤️ Girls, happy March 8th! A galloping horse, into a burning hut - this is all good, but may we more often manage to be light, carefree, cheerful, gentle, defenseless and fragile! Spring is coming! Yay!!! 03/08/2020 11:40

Today we can officially congratulate this guy on the premiere!!! Today is the last episode of Triger. This is your success, your success and your breakthrough. During these weeks, people kept coming up to me and saying, “We’re watching, we can’t tear ourselves away.” I'm so glad, I'm so proud!!! @maxim_matveev_ Your talent and your fantastic performance met the coolest team and the coolest material and the result was a bomb! I congratulate all the creators, all the artists!!! You made a wonderful movie! #trigger #maximmatveev #premiere @1tv 03/05/2020 01:54

Eh-ma, life is crimson, where ours did not disappear! Chekhov again today! Back at @theatreofnations. “Ivanov” We haven’t played for a long time! We miss you! #theater #Chekhov #Ivanov #girls #group #chulpankhamatova #mariannaschultz #tousrussia #tousjewelry #touslovers 02/24/2020 11:55

In love with life! To the sky, to the Sun, to the universe! In love with family, friends and work! Happy Valentine's day! Celebrate it every day! #Valentine's Day #love #in love #❤️❤️❤️ #tousrussia #tousjewerly #touslovers 02/14/2020 11:08

Friends, this Saturday the artists of the MDT Theater of Europe and I will gather in HAPPINESS at Italianskaya 17 @schastyelove to dedicate good deed Saturday brunch, where, like the waiters, we will bring happiness to our guests. The brunch will be held in a friendly atmosphere with the musical background of the Not Jazz Band, and the artists of our theater will play the roles of waiters and raffle off tickets to the premiere performance of the MDT Theater of Europe “Where there is no winter.” Come enjoy communication and spend time with us, and we will transfer all the funds raised to the children of the Sun Foundation. We start at 11:00, reserve your table. Waiting for you!!! 02/13/2020 03:57

Well, now, at the Radio House, the premiere has officially taken place! Mobile Art Theater for the first time in St. Petersburg. Theater right on your smartphone. Download the Moscow Art Theater application @mobile.theater, come to Rubinshteina Street at the beginning of the route and start listening to the play “I Lived,” based on the Siege Diary of Olga Berggolts. This is a story about love, about an undying love for life, adjacent to hunger and death. This is a very important job for me. I have long wanted to meet Olga Fedorovna. Thanks to @zygaro for the invitation, trust and sensitivity, @perovaa1 for always making the impossible possible, to the House of Radio and Teodor Currentzis for the opportunity to hold a press conference within the very walls where O. Berggolts worked for many years, including, during the years of the Blockade. #mobiletheater #mkht #olgaberggolts #forbidden diary #siege diary #premiere #domradio #rubinstein #mikhailzygar #lovemyjob #tousjewelry #tousrussia #touslovers 02/04/2020 01:30

MHT - Mobile Art Theater @mobile.theater came to St. Petersburg. I have the honor to be involved in his first steps in our hometown. On January 27, the audio play “I Lived” was released, based on the diaries and memoirs of Olga Berggolts. I played in it and voiced the poetess. I dreamed of touching the fate of this fantastic woman. I read a lot about her, worried, thought and felt even more! I'm sure we will meet her again. In the meantime, I invite you to take the route that Olga Berggolts covered every day during the Siege - from st. Rubinstein, to the House of Radio on Italianskaya. When I read her “Forbidden Diary,” what struck me most was that no matter what monstrous circumstances fate threw her into, she never stopped LIVING. To live - greedily tasting life with all your being, loving life. Think, feel, love. This story was written by journalist Valery Panyushkin and I really like that when we talk about a hungry, dying city, we are talking about love. We speak in the words of Olga Berggolts. “Why did we defend ourselves then? For the sake of life, and I lived.” If you are in St. Petersburg, download the Moscow Art Theater app and go to Rubinstein Street. The performance was created in partnership with the Lev Lurie House of Culture @dklurie. Thank you very much to Mikhail Zygar @zygaro, the creator of the Moscow Art Theater, for your trust and passion. See you at Rubinstein. #olgaberggolts #mobile art theater #mikhailzygar #yazhila #forbidden diary #lovemyjob 01/30/2020 08:21

Russian media never tire of congratulating actress Elizaveta Boyarskaya on the birth of her second son. The editors of the site also join in the congratulations and recall the biography of the actress.

Childhood and youth of Elizaveta Boyarskaya

Lisa was born in St. Petersburg in December 1985 in the family of two national artists Mikhail Boyarsky and Larisa Luppian. Lisa already had an older brother, Sergei, who was 5 years old. Already while growing up, everyone believed that the girl would follow in the footsteps of her relatives, who were actors. Her brother Sergei Boyarsky first appeared on screen at the age of 4, and was seen for the second time at the age of 12 in the film “The Musketeers 20 Years Later.”

Elizabeth, on the other hand, was not into theater and did not strive for it; she preferred choreography. For 13 years she danced classical and jazz dances, adolescence graduated St. Petersburg school of models. Lisa made her first film appearance at the age of 15; she played the young drug addict Alice, the daughter of wealthy parents, in the film “Keys to Death.” At school, Boyarskaya knew how to organize good holiday and theme parties, so Lisa thought that she should be a PR manager and journalist.

Then she began to intensively study English and German languages, in high school I took a PR course. During the course, she realized that this was not for her. But at the opening of the educational “Theater on Mokhovaya”, Lisa caught herself thinking that time flies by on theater stages. Boyarskaya attended several performances at the Lensovet Theater and became convinced that she was drawn to the stage.Elizaveta entered the Academy of Theater Arts (RGISI) to take a course with People's Artist of the Russian Federation and professor Lev Dodina. During her studies, Boyarskaya received a Presidential scholarship.

Elizaveta Boyarskaya in theater and cinema

At the Maly Drama Theater, Elizabeth played for the first time in student years, in King Lear she played Gonerel. Theater critics were so impressed by her performance that she was awarded the prestigious Golden Spotlight theater award. After graduating from the university, Boyarskaya was accepted into the troupe of the Maly Drama Theater (Theater of Europe). Today Elizaveta Boyarskaya is the prima of the Theater of Europe. In addition to her native theater, she also played in others, for example, at the Art-Piter Production Center, Elizaveta Boyarskaya played Roxanne in the enterprise "Cyrano de Bergerac". And in 2013, the artist appeared on the stage of the Moscow Theater for Young Spectators, playing Katerina Izmailova in the play “Lady Macbeth of Our County.”

In the cinema, everything is also going well for the actress. Like most of her colleagues, Lisa started with episodes in films and TV series. And already in 2005, she tried on the image of a hopelessly in love girl in the military drama “First After God.” In 2006, the artist appeared in the films "Storm Gates", "Junkers" and "Park of the Soviet Period", but Boyarskaya's great success was brought by her role in the New Year's melodrama "The Irony of Fate. Continuation" directed by Timur Bekmambetov. In the spring of 2017, Karen Shakhnazarov’s drama “Anna Karenina” was released on TV, where the Boyarskaya-Matveev tandem again appeared in the leading roles. Lisa played Anna, Maxim got the role of Count Vronsky.

Later, Lisa starred in Andrei Kravchuk’s blockbuster “Admiral” and played Kolchak’s lover. But these are not all the films in which the actress played.

Personal life of Elizaveta Boyarskaya

For the first time, the media started talking about Boyarskaya’s personal life in connection with her affair with Danila Kozlovsky. This couple was called Romeo and Juliet. Only Lisa’s chosen one did not like her father Mikhail Boyarsky at all. After a short time, the couple broke up. The father of the Boyarsky family did not like Liza’s next boyfriends - Sergei Chonishvili, Pavel Polyakov.

Everything changed in the summer of 2009 on the set of the film “I Won’t Tell,” where Elizaveta met Maxim Matveev. True, at that time he was already married to the “Snuffbox” actress Yana Sexta. But a year later, Maxim broke up with Yana and in the summer of 2010 he took Lisa to the St. Petersburg registry office. Only the closest ones were at the wedding.

In the spring of 2012, the couple had a son, Andrei. In honor of this, Mikhail Boyarsky gave the young family an apartment in the Northern capital. However, even after the birth of his second son on December 5, 2018, Maxim Matveev continues to play at the Chekhov Moscow Art Theater. But both spouses say that living in different cities does not affect them in any way. They still have a very strong and happy family.

Instagram of Elizaveta Boyarskaya

Photo: lizavetabо/Instagtam, open sources
Video: maxim_matveev_/ Instagtam

But very soon Lisa was able to prove that she was not only the daughter of a famous father, but also a completely self-sufficient, talented actress. This finally became clear after the films “First After God”, “Admiral”, “I Won’t Tell” were released, and on the theater stage the audience saw Lisa in the productions of “Lady Macbeth of Our County”, “King Lear”, “Cyrano” de Bergerac." Dancer and model Liza Boyarskaya was born and grew up in creative family. Around the girl there were solid artists: dad Mikhail Boyarsky, and mother Larisa Luppian, and older brother Sergei, and grandparents, and uncles... However, the girl, contrary to expectations, did not dream of an acting career. She was much more attracted to jazz and classical dancing, and Lisa also graduated from a modeling school in St. Petersburg.

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Liza Boyarskaya touchingly congratulated her husband on his birthday. Maxim Matveev turned 35 years old. One day, 15-year-old Lisa agreed to an invitation to play a drug addict girl in the film “Keys to Death.” The work turned out to be successful, but the filming process did not captivate Lisa, and she was sure that the movie would remain a random episode in her life. She wanted to become a journalist and “make holidays.” Young Lisa mistook her ability to organize any celebration at school for her inclination to work as a PR manager. So it was decided: to enter the Faculty of Journalism and specialize in PR. Lisa “turned on” all her determination and became an excellent student in high school, tirelessly studying with tutors.

And then... completely unexpectedly it became clear to Lisa: she was not a journalist at all, but a real artist! In any case, the girl felt a powerful pull towards the theater stage.

The parents did not dissuade their daughter from the decision to enter the Academy of Theater Arts, but they warned: the profession is complex and nervous, with a lot of pitfalls. This, however, did not frighten Lisa.

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Elizaveta Boyarskaya: “The reason for rigidity lies in internal loneliness”In exclusive interview To the TV program, the popular actress talked about raising children, choosing roles and spiritual comfort. It often seems to uninitiated people that a well-known surname gives applicants some preferences when applying. Usually it turns out the other way around: more is expected and demanded from the daughter or son of a famous artist than from others.

This is what happened with Lisa: while others took the entrance exams for 10 minutes, they talked with Boyarskaya for more than an hour. Apparently, the examiners wanted to make sure that they were not making a mistake by enrolling Boyarsky’s daughter in the course. Within a few years she became a recognizable actress. Still from the film “The Irony of Fate. Continued" (2007)

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Konstantin Khabensky will become a father of many children. The actor’s wife Olga Litvinova is expecting a child. So far, the star couple has not given any comments about the addition to their family. After receiving her diploma, Elizabeth immediately began actively playing in the theater. However, she had the opportunity to participate in performances while still a student - for example, for her role in “King Lear” the girl received the “Golden Spotlight” award.

Still from the film “Admiral” (2008)

However, viewers are more familiar with Boyarskaya’s film roles. After a number of episodes, a role followed, for which Boyarskaya was nominated for “Breakthrough of the Year” - the girl played in the military drama “First after God.”

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Boyarskaya Elizaveta Mikhailovna Actress, daughter of Mikhail Boyarsky and Larisa Luppian. This success in cinema was the first, but far from the last. Lisa appeared in the sensational films “Stormy Gates”, “Park of the Soviet Period”, but perhaps her most significant works can be called roles in the films “The Irony of Fate. Continuation” and “Admiral”, which literally “blew up” Russian cinema, occupying the first lines of ratings for a long time and causing a lot of discussion and controversy. Liza Boyarskaya as mother - for the second time Liza Boyarskaya. Source - instagram.com/lizavetabo/

We can talk a lot more about Elizabeth’s roles, the number of which has now exceeded 60. But, I think, now all her viewers are much more concerned about another question - how does Lisa feel in the role of a mother? In 2012, after her wedding to artist Maxim Matveev, Boyarskaya gave birth to a son, Andrei, and now, at the end of 2018, a second boy has appeared in the family. The baby was named Grisha.

Lisa Boyarskaya. Source - instagram.com/lizavetabo/

Disciplined and responsible Lisa returned to duty literally a week after her second birth. She has no time to relax - the second half of December in the Boyarsky family is rich in birthday people, and Lisa habitually gets involved in the pre-holiday chores.

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“I am a rebellious one asking for a storm”: Mikhail Boyarsky is dissatisfied with his quiet life with his wife. Today, the famous actor Mikhail Boyarsky became a guest of Boris Korchevnikov’s program “The Fate of a Man.” In a frank conversation with the presenter, he said that in his family life passions always raged with Larisa. She was preparing to celebrate the birthdays of her grandmother, grandfather and father, and then her own birthday arrived, and again the birthday girl was all in trouble. But these chores, as Lisa herself admits, are pleasant.

And yet, the main event of the past year for the Boyarsky family, without a doubt, is the birth of Grisha. The boy was born healthy and handsome; Lisa’s mother, Larisa Luppian, was with her during the birth, and the first photos of the baby have already appeared on the Internet.

Elizaveta Boyarskaya is still full of strength and energy, she has big plans for the future, and the actress does not intend to stay on maternity leave - rehearsals at the theater are already scheduled for January.

Account: lizavetabo

Occupation: actress

What makes Elizaveta Boyarskaya unique on Instagram is that she gives detailed comments on each image posted. From the quotes one can draw a certain conclusion about her character.

Elizabeth is a very positive and good-natured person, ready to share her kindness and happiness with other people. Just as she doesn’t feel sorry for the words on the quotes for the photo, she doesn’t feel sorry for her warmth from her heart.

Elizaveta Boyarskaya posts photos from Instagram from various social and creative events, performances, and tours. A special place is given to helping drug addicts and cancer patients. The actress constantly encourages people to step up their efforts to help such patients, and does this with skill.

There is a category on the artist's page family photo. Here she is with her son, and with her husband, and with her parents, and with close friends. Her interest in the history of her family line deserves respect. And by the way, for those who would like to see Mikhail Boyarsky without a hat, follow Elizaveta Boyarskaya’s Instagram.

The actress is successful and boasts such influential acquaintances as Ian McKellen, Ralph Fiennes, Konstantin and Valery Meladze. But despite this, there is not a drop of pathos in Elizabeth, but only cordiality and kindness. It is not typical for her to show off photographs from famous resort places - she loves every corner of her Russia.

Biography of Elizaveta Boyarskaya

We can say that the biography of Elizaveta Boyarskaya was predetermined from birth. After all, she is the daughter of a musketeer of all times and peoples - Mikhail Boyarsky. And what brought her to the acting field was not so much her father’s fame and connections in the relevant environment, but rather the character inherited from her father and the skillful ability to transform on stage. And also irrepressible positive energy.

The actress’s first serious debut happened at the Maly Drama Theater, where she played in the play “King Lear” (2006). Her role was awarded the Golden Soffit Award. The artist continues her labor activity in MDT to the present day.

She has many works in films, among them:

• "Admiral" (2008);
• "Five Brides" (2011);
• Sherlock Holmes (2013);
• "Contribution" (2015);
• "Headhunters" (2016);
• “Status free” (2016).

Elizaveta Boyarskaya's biography includes, in addition to filming and acting on the theater stage, filming in V. Meladze's video clips.