Illuminating the Stage at the HSE Theatre
We spoke with Maria Shkatova, a second-year Philology student, about her passion for the stage, which evolved from childhood performances into a mature and deliberate enthusiasm.
I am currently in my second year of the Philology program. While I can't say that this field is my true calling, as my interests lie more in the history of art and theater rather than literary studies and linguistics, I have found some aspects of my studies particularly engaging. Our program offers a specialized research seminar focused on the language of drama, which has become a highlight for me. This seminar allows me to delve deeply into the analysis of theatrical works. For instance, this year, as part of my coursework, I had the opportunity to analyze my favorite production at the Satirikon Theater. The seminar involves extensive discussions about various plays and performances, which I find incredibly enriching. Additionally, our professors frequently provide free tickets to theater performances, which is an exciting perk and further fuels my passion for theater.
When I was very young, I used to organize theatrical evenings for my family. My cousin and I would put on skits with music, recite poems, and perform magic tricks. This can probably be considered my very first theatrical experience. As for a more conscious interest, it happened when I was 16. I had the opportunity to enroll in a children's theater school and participate in several performances and events. It was like discovering a whole new world, practically a separate new life. Training sessions, acting skills, speech, stage movement, working with other kids—everything was new and fascinating to me. I owe my entry into this school to a friend who one summer took me to see a graduation play by Sergey Zhenovach's students at GITIS. Before that, I had been to the theater maybe twice in my life and couldn’t even remember the performances. But that time was unforgettable: young actors and actresses, still students, were creating entire worlds on stage.The first performance that left a lasting impression on me was "Richard III," based on Shakespeare’s play and directed by Maya Dorozhenko. I remember being amazed by everything: the scenography, the music, and most of all, the actors’ performances. It was a revelation. After the play, I was so overwhelmed by the experience that I couldn’t speak for half an hour. That was probably the moment I decided I wanted to pursue theater myself. From then on, theater became a significant part of my life. The immersive experiences, the intense training sessions, the camaraderie with fellow actors, and the thrill of bringing a story to life on stage all drew me in. It was more than just a hobby; it became a passion and a profound interest that I continue to explore and cherish.
The story of how I joined the HSE Theater is quite amusing. When I first enrolled at the university, I saw the theater's page on the website and wasn’t impressed. After my experience in a children's theater school, everything seemed too amateurish at first glance, and I wasn’t sure I wanted to dedicate time to something outside of my studies. However, my academic group's curator convinced me otherwise. We were walking to the metro, and she mentioned that the theater had very rigorous training, a large repertoire, an excellent teacher, and overall, it was very cool. Fortunately, that day was the last chance to sign up for an audition, so I did it. The selection process for the theater is serious, like in a theatrical institute, it had three rounds. I took the first round and then went home after the session, completely forgetting about the theater. Suddenly, I saw that I had passed to the next round. The problem was that the audition date fell on a day when I was still in another city. So, I gave up on the idea. The day before my flight back, I checked the lists again, and it turned out that of all the dates, my audition had been rescheduled to the day right after my return to Moscow. “Well, it must be fate,” I thought. I prepared my program overnight, went through all the rounds, and was accepted into the troupe. The curator who advised me to apply was right: I truly have no regrets.
Perhaps the main challenge is the acting itself. Unfortunately, I still lack the experience to feel confident on stage, to fully immerse myself in a role. Memorizing lines is quite difficult. We have several two-hour plays where the volume of text can exceed sixty pages, which is currently the most daunting part. I really enjoy all the technical work backstage: lights, stage setup, costumes, makeup. Thankfully, in the theater, there's always something to do in this regard, as there aren't many people involved. The highlight so far was the end of my first year, when I worked on lighting and sound for the plays - a process equally significant to the actors' performance on stage. The audience never pays attention to you, but in reality, a lot depends on you in the play: when the spotlight comes on, when the phone rings, when the music plays. A mistake could throw off the actors, so the responsibility is substantial. The theater provides an opportunity to interact with students from other disciplines, which is perhaps one of its main advantages. Thanks to our troupe, I've gotten to know students from advertising, economics, media communications, physics, law, and basically every possible program. This has greatly facilitated my adaptation to university life: through rehearsals and training, you spend a lot of time together and quickly become friends. Without the theater, I doubt I could have met so many people outside my faculty.
In our repertoire, one of the standout productions is "The Silver Age," a collection of poignant stories portraying the lives of elderly individuals. These performances often draw in audiences from Moscow's community of seniors. One particularly memorable experience occurred while I was overseeing sound for the play. A delightful elderly woman attended one of the showings, adding her own charming touch by humming along to the music and spontaneously reacting to the scenes unfolding before her. Despite deviating from traditional theater etiquette, her genuine enthusiasm was infectious. She responded to the actors' lines with heartfelt comments like "well said, bravo!" and "that's exactly how it should be!" As we sat in the control booth, trying to stifle our laughter, it was evident that her lively presence added an unexpected and delightful element to the evening. It's moments like these that remind us of the power of theater to connect with and uplift its audience, regardless of age or background.
We have educational showcases: these are performances crafted from various exercises or excerpts, and one of them stands out as my favorite. It was simply titled "Monologues," where we brought to life monologues from diverse prose and dramatic works. What captivated me was the process of organizing and staging these pieces: unlike the main repertoire shows where you fit into a pre-existing framework, here each participant crafted their own narrative from scratch. I cherished this freedom of creativity immensely. During this period, I immersed myself in many organizational tasks: designing posters, orchestrating set rearrangements, coordinating stage entrances, and more. One particularly memorable aspect was directing the monologue of the Owl from the prologue of "Till Eulenspiegel." It was a unique experience for me, driven by a desire to explore something original and unconventional, where I could experiment with form and delivery. This brought to life my view of Minerva the owl, who darted across the stage and even scaled the walls, adding a dynamic and visually striking dimension to the performance.
Since adolescence, my dream has been to delve into theater directing. While I understand that pursuing a career as a professional actress isn't my path, the role of a director deeply resonates with me. I aspire to apply to GITIS, whether it's now or in the future as a second degree option. Should that plan not materialize, I aim to engage with theaters in technical capacities such as producing, assisting, or journalism. Time will reveal the path I take, but one thing I am sure of is that theater will forever hold a significant place in my life.
Working in the theater is fundamentally based on teamwork and engagement. It requires you to collaborate closely with a diverse group of people and establish relationships with everyone involved. Additionally, you must effectively manage your space and time. In our theater, which operates purely on enthusiasm without financial compensation, everyone's dedication to achieving a high-quality outcome is crucial. Through my two years in the theater, I've developed a deeper sense of attentiveness towards my collaborators and honed my skills in areas like rehearsal scheduling. Moreover, the theater has been instrumental in fostering a sense of confidence. Our venue, situated in the basement of the building at Myasnitskaya 20, is adjacent to a bustling cafeteria, wardrobe, and coffee shop, making it one of the busiest spots in the building. This environment necessitates quick transitions from the makeup room to the stage, often adorned in whimsical costumes, amidst professors in their formal attire. It's taught me not to shy away from any challenge and to embrace openness towards the world around me.
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