Andrzej Seweryn - wywiad - video Dailymotion

Głos Wielkopolski

1 year ago

Andrzej Seweryn - wywiad

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00:00In short, I work very intensively, even more than I used to.

00:06Does there exist a pension for an actor?

00:14I would say that there isn't.

00:23Formally, yes, but actors play until their bodies refuse to cooperate.

00:37Do such moments happen?

00:41Not yet, but I'm sure they will one day.

00:47Then I'll be sorry, but I won't despair either.

00:53I'll be watching the NBA matches more carefully.

00:59I work regularly, I play a very important role.

01:09When I played my first role in France,

01:21it was the role of Spiky Tremendous, directed by Andrzej Majurek.

01:29I can say that it wasn't the most important role for me.

01:35Then, when there was no Polish world around me,

01:41I started working with French people as a French actor, not as a Polish actor.

01:47I worked with Claude Régis.

01:51Then I met one of the greatest French directors, Patrice Cherou,

01:59director of the film Intimacy.

02:03I played the role of Juan Fitez, a phenomenon in the French theatre.

02:09Then I went to the French Academy,

02:13where I played the role of a bourgeois,

02:17and in Hamlet I played the title role of a noblewoman.

02:21I played a lot of roles, and then I came to Poland.

02:25I also played the role of Boris Godunov or Arnolphe in School of Wives.

02:35We also had attempts to play the role of Edip in the film Kolonos,

02:41but unfortunately it didn't work out.

02:45What is the biggest difference between the Polish theatre and the French one?

02:53That's a very interesting question.

02:57On the one hand, the organisation of life.

03:05There is one theatre with a permanent cast,

03:09which is the Comédie-Française.

03:13There are five or six permanent actors,

03:19and people are encouraged to perform.

03:23That's the first thing.

03:25The second thing is that there is no permanent cast.

03:29The second thing is the way in which the theatre is financed.

03:37The Comédie-Française is financed by the Ministry.

03:43Theatres throughout France are places

03:51where various performances come to be shown.

03:57These are the National Dramatic Centres.

04:11They have a budget,

04:15they hire a director,

04:19the director offers the cast,

04:23there are rehearsals, performances are made,

04:29but before the rehearsals,

04:33there is a period of building the budget.

04:37There are a few places throughout France.

04:41Now I would like to switch to Bordeaux,

04:45Dijon, Valenciennes, etc.

04:49France is covered with such a network of performances,

04:55which means that the best performances

04:59with the best actors

05:01are shown in many places in France.

05:05The concept of an open-air theatre, a tournée,

05:11is an obvious phenomenon in France.

05:15This is not the case in Poland when it comes to state theatres.

05:21Today, private theatres,

05:23the most important theatre initiatives,

05:25travel a lot.

05:27The Polonia Theatre, for example, travels a lot.

05:29The Polish Theatre, for example,

05:31travels a lot less,

05:33because we are not able to get money for it.

05:39It is not easy to buy us.

05:43When I was the director of the Polish Theatre in Warsaw,

05:49my idea was to travel around the Basel Voivodeship.

05:53To go from France to Poland.

05:55Yes, of course.

05:57It was not easy.

05:59It is not easy to organize.

06:01There are state theatres,

06:03such as Comédie-Française,

06:05financed directly by the Ministry,

06:09with a huge budget.

06:11But of course,

06:13when you produce so much as Comédie-Française,

06:17it turns out to be a normal production.

06:21There are theatres,

06:23such as the ones I mentioned,

06:27theatre groups,

06:29companies.

06:31A company gets, I don't know,

06:3340,000 euros per year.

06:35And it organizes its own work.

06:37In the same way as the theatres I mentioned.

06:41There are a lot of such companies.

06:45And the fourth group of theatres

06:49are private theatres.

06:51In a strict sense, private.

06:53And there is a lot of it.

06:55In Paris, the most.

06:57Did you travel around playing solo in France?

07:01Well, yes.

07:03Well, yes.

07:05But I don't remember anything.

07:07I'm exaggerating.

07:09What do you mean, you don't remember anything?

07:11Sir,

07:13I remembered during an interview

07:15for TV

07:17about an actor

07:19called Robert Hirsch.

07:21He was one of the greatest actors

07:23in French comedy.

07:25He played all the main roles.

07:27When they went to the tour,

07:29they asked him,

07:31what kind of tour was it?

07:33I had to rest before the show.

07:35So it was a hotel?

07:37Of course.

07:39A dinner on the spot.

07:41A dinner on the spot.

07:43Allow me.

07:45These are the differences

07:47in organization,

07:49in structure.

07:51And, of course,

07:53there are differences

07:55when it comes to acting,

07:57directing,

07:59I would even say,

08:01the decorations.

08:03The decorations in France

08:05were a huge surprise to me.

08:07When I came to France,

08:09the decorations were

08:11a real floor,

08:13almost a real wall,

08:15a real table,

08:17a chair.

08:19In Warsaw,

08:21in the Ateneum Theatre,

08:23it was a set,

08:25it was painted.

08:27In France,

08:29there was more money,

08:31so the decorations were different.

08:33Now, when it comes to acting,

08:35there is no acting there.

08:37In Lyon,

08:39in Paris,

08:43in Paris,

08:47apart from that,

08:49actors are trained

08:51in a workshop,

08:53a studio,

08:55or they are not trained at all,

08:57they are just engaged

08:59in the theatre, etc.

09:01There is a greater freedom here.

09:03This freedom,

09:05according to Antoine Vitesse,

09:07is a positive thing

09:09in France.

09:11I would not be

09:13such an enthusiast

09:15of such a model

09:17of acting,

09:19but I understand

09:21what Antoine had in mind.

09:23Diversity,

09:25the power of French theatre,

09:27organizational diversity,

09:29literary diversity,

09:31actor's diversity,

09:33director's diversity, etc.

09:37I think

09:39that is all.

09:41The rest is a long story.

09:43A long story.

09:45I would like to ask

09:47if it is about

09:49your experiences,

09:51if it is about an actor,

09:53if it is about a wish,

09:55if it is about a work

09:57in the style of a hotel,

09:59a play, a restaurant,

10:01a restaurant dinner,

10:03what was the biggest wish

10:05you had to make

10:07during

10:09your career?

10:11What was the biggest wish

10:13you had to make

10:15during your career?

10:21No, no, no.

10:23You know,

10:25for sure

10:27my family

10:29and the closest ones

10:31suffer from it.

10:33The absence of an actor

10:35is not

10:37always

10:39positive.

10:41It is negative,

10:43of course.

10:45It is not good.

10:47The other thing is

10:49that I had to

10:51get out of it.

10:53It happened

10:55that

10:57I travelled less

11:03and I read less

11:05about theatre literature.

11:09And for sure

11:11I neglected

11:13literature.

11:15When someone read

11:17a fashionable story,

11:19I had to practice

11:21dictation

11:23or physical exercises

11:25before a play.

11:29Please note

11:31that an actor

11:33usually

11:35works in the evening.

11:37In the evening

11:39he goes out

11:41with his wife

11:43for a coffee,

11:45for a walk,

11:47for a dinner,

11:49or for a nap.

11:51I used to nap

11:53when I was a child.

11:55I am a fictional character.

11:57I am a fictional character.

11:59I am a fictional character.

12:01I am a fictional character.

12:03I am a fictional character.

12:05I almost died.

12:09When it comes to serious reflection

12:11on what it means

12:13to be a fictional character,

12:19I think

12:21like Olga Tokarczuk

12:23who says

12:25that there is no fiction in art.

12:27Art is reality.

12:31I will give you a simple example.

12:33If you come to a play

12:35and see me on stage,

12:37will you still be able

12:39to say

12:41that I am a fictional character?

12:43Will you still be able

12:45to say that I am a fictional character?

12:47Will you still be able

12:49to say that I am a fictional character?

12:51In fact,

12:53Shakespeare invented

12:55something,

12:57he wrote it on paper.

12:59So, first of all,

13:01reality on paper.

13:03And the third reality

13:05is what I do on stage

13:07by saying this text,

13:09by identifying with this text,

13:11with this character,

13:13with what was imagined

13:15by the author.

13:17At what stage is it fiction?

13:19What does fiction mean?

13:21If it is written on paper,

13:23it cannot be fiction.

13:25These are letters that mean something.

13:27Come to me.

13:29Of course, I know

13:31a popular definition,

13:33a simple definition

13:35of what is fiction.

13:37Fiction means invented.

13:39He invented something.

13:41But if Einstein invented

13:43the definition of energy,

13:45then it is not fiction.

13:47It is written on paper.

13:49I don't want to

13:51develop this here.

13:53In any case,

13:55fiction does not exist for me.

13:57When I play

13:59in front of the camera

14:01or in front of the audience

14:03at the theatre,

14:05I am a living character,

14:07but not a fiction.

14:09This documentary is not a character

14:11on paper.

14:13I hope that

14:15a documentary about me

14:17will be made,

14:19in which it will be written

14:21that he was born here and there,

14:23then he studied here and there,

14:25and then people will say

14:27that he was a good actor,

14:29or he was a very good actor,

14:31or he was a bad friend,

14:33or he was a good friend,

14:35and in the end they will say

14:37that he died a year ago,

14:39and we are very sorry

14:41that he died,

14:43because he could still play.

14:45I hope that it will be made,

14:47so that the future

14:49children of my grandchildren

14:51or grandchildren of my grandchildren

14:53will be able to know

14:55the facts of my life,

14:57because the film

14:59that will be shown today

15:01tells about one year of my life,

15:03and there is no comment

15:05on it,

15:07only what is on the screen,

15:09only what is filmed.

15:11There is no comment,

15:13I am just me.

15:15Especially that it was

15:17the idea of my wife,

15:19and this idea,

15:21she always had good ideas.

15:23It turned out to be

15:25a useful system.

15:27And in summary,

15:29what is the film about?

15:31No, no, no,

15:33only a year of my life.

15:35Thank you very much.

Andrzej Seweryn - wywiad

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