Admission to drama school. How to enter a theater school, university or institute
Shchukinskoe: admission rules, entry requirements, required documents, program, list of required literature, tuition fees, contacts
About the Theater Institute named after. B. Shchukina. Theater Institute named after. B. Shchukina is a representative of the Vakhtangov School of Acting, which was founded in November 1913 by a group of students as an amateur theater studio. A young actor from the Moscow Art Theater, a student of Stanislavsky, Evgeniy Bagrationovich Vakhtangov, was invited as a leader. In the spring of 1914, the premiere of the studio’s play “The Lanins’ Estate” took place, which ended in failure, in response to which E.B. Vakhtangov said “Let’s study!” On October 23, 1914, he taught the students the first lesson in the Stanislavsky system. This day is considered the founding day of the Institute. B. Shchukina. Vakhtangov’s studio combined a school and an experimental laboratory and bore the name of one of the Arbat lanes in which it was then located - “Mansurovskaya”. In 1926, the studio received the name of the Theater. Evgeniy Vakhtangov with his permanent theater school, which in 1932 became a secondary specialized theater institution. In 1939, it was named after the actor, E. Vakhtangov’s favorite student, Boris Shchukin. In 1945, the school received the status of a Higher Educational Institution and from that moment on it was known as the Higher Theater School named after. B. Shchukin at the State Academic Theater named after. Evgenia Vakhtangova.
Faculties of the Theater Institute named after. B. Shchukina: acting, director
Acting department of the Theater Institute named after. B. Shchukina. Acting department of the Theater Institute named after. B. Shchukina trains students in the specialty “acting art” and the specialization “Artist of dramatic theater and cinema.” The duration of study at the acting department is 4 years with full-time study.
Training at the Shchukinsky acting department can take place on a budgetary or commercial basis, depending on the results of entrance examinations.
Feature of the Theater Institute named after. B. Shchukin is that there is no system of workshops here. Each course is staffed not by the “master” and his assistants, but by the entire department of acting skills. The artistic director of the course organizes all educational and creative work on his course and is responsible for it.
International relations of TI named after B. Shchukin: International exchange is supported, students from South Korea, the USA, France, Israel, Estonia, Latvia and the CIS countries study at the institute
Famous actors who graduated from TI named after. B. Shchukina: Andrey Mironov, Georgy Vitsin, Sergey Makovetsky, Konstantin Raikin, Maxim Sukhanov, Svetlana Khodchenkova, Vladimir Simonov, Yulia Rutberg, Yuri Chursin, Kirill Pirogov, Evgeny Tsyganov, Nikita Mikhalkov (expelled from the 4th year for filming films, transferred to directing) 
Rules for admission to the acting department of the Theater Institute named after. B. Shchukina:
Requirements of the Theater Institute named after. B. Shchukin for applicants: completed secondary education, age up to 20-22 years.
Admission to the Theater Institute. B. Shchukina takes place in 4 stages: a qualifying round, a practical exam on the artist’s skill, an oral colloquium and the provision of Unified State Examination results in Russian and literature
1.Selection consultations (tours). Starts in April. Reading by heart programs from a number of literary works of various genres: short story, novella, play. Musical and plastic abilities are also tested.
Applicants who have passed the qualifying round are admitted to the entrance examination stage:
2. I round. Mastery (practical exam). Evaluated on a 100-point scale... Involves reading by heart a poem, a fable (required by I.A. Krylov), a prose passage, it is advisable to prepare several works of each genre). Performing simple stage sketches on topics proposed by the commission during the exam. Testing musicality, rhythmic and speech-voice data - you need to be ready to perform a song and dance, participate in special exercises to test plasticity; have a tracksuit and shoes
At the practical exam on the skill of an artist at the Theater Institute. B. Shchukin evaluates: the applicant’s creative and vocal abilities, their compliance with the chosen specialty and qualifications, and the applicant’s developed technique.
3. Oral colloquium. Tickets according to the proposed list of literature. Evaluated on a 100-point scale. Interview for professional guidance. Reveals: the general cultural level of the applicant, knowledge in the field of drama, theater. Conducted individually with each student.
At the oral colloquium of the Theater Institute. B. Shchukin is assessed: the cultural level, knowledge, aesthetic views of the applicant.
4. Unified State Examination results in Russian and literature for students graduating in 2017-2018.
The threshold for a positive mark is 41 points. If you have a higher education, graduated from a secondary educational institution (school) before 2009, have a secondary vocational education in your specialty of entry, or are citizens of neighboring countries, the applicant does not need Unified State Examination results. In this case, in addition to clauses 2 and 3, he takes general education exams at the Theater Institute named after. B. Shchukina: Russian language (essay) and literature (orally).
List of documents for the Admissions Committee of the Theater Institute named after. B. Shchukin for full-time applicants of the Shchukinsky acting department:
Acceptance of applications from applicants admitted to the competition is from June 15 to July 5.
Entrance exams are held from July 1 to July 15.
1. Application addressed to the rector (using a single form);
2. Certificates of Unified State Examination results in Russian language and literature or their copies, certified in the prescribed manner (they must be replaced with originals before enrollment). Persons who successfully passed the entrance exams, but for objective reasons did not have the opportunity to participate in the Unified State Exam during the final certification period, can take the Unified State Exam after the completion of the entrance exams in the direction of the University, in July of the current year. They will be enrolled upon presentation of the certificate;
3. Certificate or diploma (original);
4. 6 photographs 3x4 cm (photos without headgear);
5. Medical certificate (form 086/у), dated the current year;
6. Passport and its photocopy (to be presented in person);
7. Young men present a military ID or registration certificate and hand over copies of these documents.
In addition, applicants to the correspondence department submit to the Admissions Committee:
1. Certificate of employment;
2. A certified copy of the work record book or, in its absence, a copy of the employment contract.
Applicants who do not pass the competition may be offered paid training by decision of the Examination Committee. If the applicant has a diploma of higher education, according to the Law of the Russian Federation “On Education”, training is possible only on a commercial basis.
Theater Institute named after. B. Shchukin, the cost of commercial training at the acting department: 210,000 rubles per year
Topics and bibliography Theater Institute named after. B. Shchukina:
Topics for the literature exam.
1. Man and history in A.S. Pushkin’s story “The Captain’s Daughter”
2.Romantic hero in the poems of A. Pushkin and M. Lermontov
3. The meaning of the title of M. Lermontov’s novel “Hero of Our Time”
4. What historical events are reflected in L. Tolstoy’s epic novel “War and Peace”
5. Oblomov - “the most generalized Russian national type” (V. Soloviev)
6.Can Bazarov be called a hero of his time?
7. The image of the “little man” in Russian literature of the 19th century
8. “Eternal questions” in the novels of F. Dostoevsky
9. What do you know about the Silver Age?
10. Good and evil in M. Bulgakov’s novel “The Master and Margarita”
11. Prose of writers of the war generation (one of the works of B. Vasiliev, V. Bykov, Yu. Bondarev, G. Baklanov of his own choice)
12. What modern writers do you know?
Questions for the exam “Mastery of an Actor” Interview.
1. Read the following plays, in each play choose the role you would like to play.
Explain your choice.
1. N. Fonvizin “Minor”
2. A.S. Griboyedov "Woe from Wit"
3. A.S. Pushkin “The Miserly Knight”, “The Stone Guest”
4. A.S. Pushkin “Boris Godunov”
5. N.V. Gogol “The Inspector General”, “Marriage”
6. I.S. Turgenev “A Month in the Village”
7. A.N.. Ostrovsky “Thunderstorm”, “Forest”
8. A.P. Chekhov "The Seagull", "Uncle Vanya"
9. A.P. Chekhov "Three Sisters", "The Cherry Orchard"
10. M. Gorky “At the Bottom”
11. M. Gorky “Barbarians”, “Egor Bulychev”
12. W. Shakespeare “Romeo and Juliet”, “Hamlet”
13. W. Shakespeare “King Lear”, “12th Night”
14. J.-B. Moliere Tartuffe, Don Juan
15. J.-B. Moliere "The Tricks of Scapin"
16. F. Schiller “Cunning and Love”
17. G. Ibsen “A Doll’s House (“Nora”)”
18. B. Show “Pygmalion”
19. A.N. Ostrovsky "Dowry"
20. What do you know about the Maly Theater of the 19th century?
21. What do you know about M.S. Shchepkin?
22. What do you know about the Alexandrinsky Theater of the 19th century? What actors do you know?
23. What do you know about K.S. Stanislavsky?
24. What do you know about the Moscow Art Theater? Which Moscow Art Theater actors do you know?
25. What do you know about Vs.E. Meyerhold?
26. What do you know about M.A. Chekhov?
27. What do you know about E.B. Vakhtangov?
28. What do you know about the Vakhtangov Theater? Which Vakhtangov actors do you know?
29. Modern theater directors. Name one of them.
30. Tell us about a performance you liked.
31. Your favorite actor-actress.
32. What do you know about G. Tovstonogov, A. Efros, O. Efremov, Yu. Lyubimov?
33. Modern theater and film actors. Tell us about one of them.
34. How did you get the desire to enter a theater university?
35. Tell us about the theater in your city (about one of the theaters).
36. What do you think is most important for an actor, or what qualities should an actor have?
37. Opera House. Name operas you know.
38. Ballet theater. Name the ballets you know.
1. You need to start preparing not the day before or a month in advance, but certainly a year, if not two, before the intended attempt. A hastily memorized text is not what the commission needs. You are not being asked to demonstrate your memory, but the ability to appropriate a text, make it your own, analyze and visualize what has been analyzed :)) According to an acting (professional) sign, it takes at least 2 weeks for the parsed text to shrink in your head. This is after all the rehearsals, showdowns, etc. 2 weeks of pure existence time in this text for a professional. But you are not a professional yet?
2. It is best to prepare with a tutor, i.e. with a person who knows what theater is. It is best to try to find a teacher from a theater university as a tutor. Simply because they know how to explain what is required, because they do it with their students every day. The cost of such classes in Moscow is from 20 to 40 dollars for 2 hours. According to reviews from those who have used the services of tutors, private lessons really provide a lot of new things, reaching literal revelations. Just remember: NEVER ADMIT TO THE COMMISSION THAT YOU HAVE BEEN DOING THE THEATER anywhere or with anyone :))
3. You can also prepare at preparatory courses, which are usually offered at every theater university (at least in Moscow). Typically, courses last from a month to three, classes one to two days a week. Again, according to reviews from those who have tried, the best preparatory courses in Moscow are the courses at the Shchukin School. They last 3 months, classes are held on weekends, two classes a day. The principles of stage speech, the basics of acting, rhythm are studied, and lectures are given on the history of the theater. The latter is not found anywhere in Moscow, and the department of theater history in Shchuk is the strongest among other universities (IMHO, of course). The cost of the courses is about 3,500 rubles (data for 2003). At the Moscow Art Theater School, courses last a month and cost about $50. You must enroll in courses, i.e. undergo something like an audition. However, the selection there is much less strict; completely unsuitable comrades are eliminated. Classes on the courses are held in a group, so they are inferior in quality and intensity to classes with a private teacher. Although it is useful to combine a teacher and courses. During the courses, you have the opportunity to find out the general level of those who will enroll this year (as they say, to look at others and show yourself), to get acquainted with the teachers of a particular school and with the requirements that apply to applicants.
4. Self-education is mandatory. You need to read a lot and persistently. Knowledge of the school curriculum is not enough here. Here you need to comprehend it. :)) In addition, you need knowledge of the works of Stanislavsky, Chekhov (and developed your own opinion on this matter), read more on the history of theater and literature. After all, you are entering a creative university, and not a machine plant :)). An actor cannot be stupid and uneducated.
If you do not have the opportunity to use the services of tutors and courses. It's hard, of course. But, in the end, statistics say that our biggest stars are residents of the provinces. Usually, having reached the zenith of fame, they still admit that they participated in amateur performances or attended a theater studio :)). As for my personal opinion, it seems very doubtful that one can enter a theater university without ever having had anything to do with the stage before. Perhaps teachers of theater universities are right in some ways when they are afraid of graduates of amateur theater studios... Because, of course, there is a great chance that you will get a good stamp there. But you, too, have been given the head to not become clichés, but to work on yourself. None of the normal directors of theater studios tolerate or like cliches. Exactly the same as venerable theater figures. According to my observations, the presence or absence of a stamp depends only on the personality of the actor. Some buy into the first applause they receive after reading a poem at the New Year's tree in the 5th grade - and then they continue to read the same way as before Santa Claus, like - I'm already smart, I know how to play :)). Others do not perceive awards at festivals and competitions as the limit of their capabilities, but carefully analyze their videos, read, think, polish their technique and speech.
6. About completely independent work (it is also the most important). Remember, theater cannot be done on a schedule. They either always do this or don’t do it at all. Those. You should be constantly working in your head on passages, on accumulating factual material, and observing those around you. Take everything into “your piggy bank” of acting experience.
Every year, theater universities in the capital host thousands of people who want to learn from recognized masters of acting. In pursuit of their dreams, girls and boys storm the doors of admissions offices, but sparkling eyes and enthusiasm are not enough to receive the coveted student ID. In a highly competitive environment, admission to future alma maters requires serious requirements. Despite this, the competition remains incredibly high from year to year, and the conditions for admission are overgrown with more and more myths and stories, which can confuse unprepared applicants.
- How to enter the theater?
- What exams should I take at a theater university?
- What do you need to get into drama school?
In order not to fall into the trap of rumors scattered across the Internet, especially for students of the Acting Skills course for applicants, we will consider what requirements the admissions committees of the most rated theater educational institutions in Moscow impose upon admission to the acting department.
General requirements for admission to a theater university:
- First of all, all school graduates are required to provide information about successfully passing the Unified State Exam (USE) in Russian language and literature. The minimum threshold for reviewing documents: 38 points in Russian language and 40 points in literature. (Certain categories of citizens, which include holders of higher education, foreigners with specialized secondary education in the specialty “Dramatic Theater and Film Actor” and, more recently, permanent residents of the Republic of Crimea or the city of Sevastopol, can apply without Unified State Exam results. For data higher education institutions conduct their own testing.)
- The standard package for submitting documents also includes a certificate confirming secondary/higher education, a medical certificate, a copy of your passport and a set of standard photographs (usually 4-8 pieces). Young men additionally need to bring a copy of their registration certificate or military ID.
- The initial selection takes place in April - June, and the main entrance tests are usually allocated to July - early August. The admission process is divided into several stages: consultations - auditions, competitive selection, and in some cases an interview.
- A prerequisite is the absence of organic speech and voice defects.
Features of entrance tests to theater universities:
Higher Theater School (Institute) named after. M.S. Shchepkina
“Sliver,” as this school is often called, is considered one of the most conservative theater schools. In addition, acting is the only area of training here.
The admission process consists of the following stages: selection consultation, 3 stages of pre-examination consultations and entrance exams.
At the screening consultation, the memorization of fables, poems and passages of prose (at least 2 works in each genre) is assessed. If the applicant is interested in teachers, he will be offered to take a “professional aptitude exam.” A prerequisite for passing this round is the performance of 2-3 songs or romances; in some cases, they may be asked to perform a dance. It is also possible to assess knowledge of acting, speech culture, plastic arts and an interview (topics: culture, art, politics, social life, international situation, etc.).
Theater Institute named after Boris Shchukin
An applicant for the specialty “Dramatic Theater and Film Actor” must first successfully overcome three qualifying rounds, for which it is necessary to prepare 2-3 fables (one of them must be by I.A. Krylov), 3-4 poems and 2-3 fragments artistic prose. And only after this are the results of exams in general education subjects, creative and professional tests assessed.
Be prepared to perform a reading program, participate in sketches, and show your musicality and flexibility.
As a test of professional orientation, an interview is conducted, for which it is advisable to familiarize yourself with the list of references presented on the official website of the school.
Russian University of Theater Arts - GITIS
The first thing to remember: RATI-GITIS is an independent educational institution, i.e. it does not belong to any theater, which distinguishes it, for example, from the Moscow Art Theater School. Thus, there is no single school at the university: the features of training depend on the studio or workshop.
For the full-time department, selection takes place in 3 rounds, after which the applicant is allowed to take entrance exams (2 creative tests: acting skills and an interview).
For the audition, you should prepare short excerpts from the following literary genres: fable, poetry, prose, monologue. You should pay attention to both classical and modern domestic and foreign literature. In addition, the selection committee will pay special attention to the ability to improvise: for example, committee members may offer to act out a small simple skit, sing a song or perform a dance right on the spot.
As for the interview, it is designed to assess your level of culture and knowledge in the field of arts. However, prepare for a possible change in the topic of conversation: they may ask about the characteristics of the theatrical process or start talking about family, parents and hobbies. On the official website of RATI-GITIS in the section “Information for applicants” there is a list of required reading works that you should familiarize yourself with.
Moscow Art Theater School
Qualifying auditions are traditionally carried out in 3 stages. It is necessary to prepare in advance an interesting program consisting of 3 passages of prose, 3-4 poems and 3 fables.
The following entrance tests are conducted for the specialty “Acting Art”: creative and professional. There is no interview.
At the creative competition, the performance of a literary work (poem, fable or prose) is assessed; it is recommended to prepare a performance of several fragments from different genres. There are no special preferences for choosing material.
During the professional test, the applicant undergoes a test of voice and speech, musicality (singing a song, performing rhythmic exercises) and plasticity (dancing, performing plastic exercises and coordination of movements). You must bring sportswear and shoes to this type of exam.
Among the peculiarities of admission to one of the most popular performing arts schools is that the admissions committee takes into account the individual achievements of applicants - confirmed by relevant documents - and awards additional points for them. However, only one achievement is taken into account - having a certificate of secondary general education with honors.
All-Russian State University of Cinematography named after S. A. Gerasimov
VGIK also trains students in the specialty “Dramatic Theater and Film Actor,” but the Institute of Cinematography places special emphasis on training future film and television stars. Therefore, if you prefer television and film shooting to the theater, then it is preferable to submit documents here.
Creative tests are carried out in 3 rounds: photo and video tests, a professional test (reciting a poem, fable or prose by heart, testing musicality and plastic skills) and an individual interview.
As you can see, the stages of admission to the main universities of the capital are practically the same:
- several rounds of pre-exam auditions
- main entrance tests, which include assessment according to two criteria: professional skills and academic results.
For those who want to prepare in advance for all the unexpected tasks of the admissions committee and choose their own program for passing creative competitions, we offer training in Acting courses for applicants to theater universities in Moscow at the “Your Stage” studio.
The classes of this course focus on acting and stage speech, and carry out the selection and analysis of literary material.
Come on, admit it, who among you hasn’t dreamed of acting or - who the hell is you kidding! - a director's career? For those who are not ready to throw this dream into the trash - a manual on how to prepare for admission, what to fear and how it all happens. Sonya, a 2nd year student at the directing department of the Russian State Institute of Social Sciences, tells the story.
Important information to get started:
1) Admission to a theater institute has nothing in common with admission to any other university. This is a huge amount of work, which often turns into many years of war, years of preparation and torment. Unified State Examination points, if they matter at all, are added up during the final stages of a creative competition, which consists of three rounds, several consultations, and an unpredictable number of additional selections. 2) For a theater institute applicant, my experience is amazingly insignificant - only 2 years, only 3 cities, only 5 workshops (for comparison: my current classmate took 6 years to enroll, on average to 4 masters in one run). Be prepared for the fact that you won't get there the first time. 3) There is not and cannot be a universal scenario for admission or preparation - every master is looking for “his” students. Why he will like you or not like you is a mystery. Very often, for the same secret reasons, very bright and talented guys are “thrown off”. Alas, talent is not a guarantee of admission. 4) Tours (in any final scenario) are a strong emotional impression, a crowd of new people, adrenaline and experience. I even envy those who are going to enroll for the first time.INFORMATION FOR THOSE WHO WANT TO BE AN ACTOR
1
What a score. 17-18 years old is the time to get into acting.2
However, there is nothing to do there without minimal experience. Before entering, it is better to “feel” the profession - theater studio, trainings, books. It would be better to read Stanislavsky and watch a lot of different theater, including classics like Efros and Tovstonogov in recordings. I think if you want to go to the theater, you should know a lot about it.3
A program is required for tours. This is prose, poems, fables. The more and more diverse the genres it is, the more confident you will feel in the process. The material must be “yours”, that is:4
Appearance matters. No, it's not about beauty or even weight. It is very important to understand who you are on the court. Nature gave the appearance of a romantic heroine - so, focus on this. More like a comedy character - great, don’t have a complex, read Kharms, prepare a funny dance, take it with humor. The theater needs everyone. And they take everyone. But! It’s still better for girls to wear skirts/dresses; moreover, be prepared to be asked to lift your skirt, show your legs, and show your teeth. It is better to avoid bright makeup. They can rush you to wash it off straight from the top ten, do you need it? It’s easier for boys. Looking neat and in keeping with yourself is quite enough.5
It is almost pointless to advise anything about tours. It all depends on the master. Who is he looking for, what type of appearance does he prefer? Often entire courses are taken for a specific performance. All you can do is prepare as much as possible in advance, and then improvise and not be constrained. It’s good if, in addition to the program, you have a song and dance ready. If you play a musical instrument, juggle, do somersaults - find a way to show it, all additional skills are a plus for you. The system with small options is the same everywhere: they launch dozens, at the first consultations and tours they listen very quickly, they simply remove the categorical “no” , and then the fun begins. A tour where you read, sing, do whatever is asked, and along the way they can give you tasks from “show the bird” to “list the municipal theaters of your city”, after which - screening. And so on until there remains a narrow group of those whom the master wants to see on the course. And when out of 30 you have to leave 15, and everyone is talented, the most severe stage begins - the competition. Secondary breakthroughs play a role here. So don't relax if you've passed the first round. It's only begining.6
Blat does occur, but the myths about it are exaggerated. Yes, I heard conversations in the corridor of GITIS about who paid whom how much, and, probably, this happens, but not a single master will take pathological mediocrity as a course and then suffer with this mediocrity himself. Even the “thieves” study for some merit.DIRECTING
1
It is almost impossible to become a director at the age of 17, being (oh the horror!) a girl. There were exceptions (it seems at GITIS, it seems at Kudryashov’s). Therefore, if right after school you decided to go into a profession... go for it. Give it a try. They promised me that I would be deployed right away, at GITIS I reached the 3rd round, I entered EGTI and studied for a year. The experience is priceless. Entering RGISI in the summer of 2012 was much easier.2
They like to take adults (from 25 to 35), experienced men. Directors are recruited not in groups of 30, but in groups of 3-5 (if this is an acting and directing course) or 12-15 people, if the course is purely directing. 3
The demands on directors are enormous. To practice this profession, you have to be sick.4
See everything that has been written about actors - directors also go through this. The requirements for the acting program, however, are different. Here, be so kind as to show your knowledge of literature, your ability to analyze a text, and raise a problem that interests you, and a lot more. At the same time, they look at you very closely as an actor. Therefore, all the rules about roles and assignment of text are valid. If the course is a directing course, then - congratulations - you will play each other's roles for the first three courses, so with this kind of recruitment they look at acting very carefully. And yes, you will also have to sing and dance (when entering the workshop where I am currently studying, there were as many as 3 purely acting dropouts, only then they started talking to us about directing).
5
Experience matters tremendously. This is why they don’t really like children. You must have ready-made productions (of course, they don’t expect anything higher than amateur theaters and your own projects from you), even a one-act show, even a children’s matinee, but you must understand something about practice.6
It is better to bring an explication/explications and a layout/layouts to the first consultation. Explication, roughly speaking, is your development of the play. In principle, there is a rough plan for such work (what I want to stage, concept, analysis of the event sequence, set design, costumes, actors...), but this is also not necessary. It is more interesting to understand your sincere vision of the play. A brief outline of an unusual solution that will hook you, a memorable layout, costume sketches (if you don’t know how to draw, contact an artist, you can). It’s better if you bring an explication of the staged play (then + photographs, videos) and something about the classics. You can bring one. And in some workshops no one required it at all. But Zhenovach at GITIS would not let her enter the door without her. For example, at 17, I was motivated by an unrealistic desire and the amount of work I had done, so I brought 2 models and 3 explications to GITIS at once, one of them for a finished performance, 2 for classical plays. This year I went with 3 layouts and 5 developments. And yes, don’t be offended if no one reads your works. Most likely, they will talk about the proposal directly on the tour or ask you to leave it. So be able to beautifully express to people what you have written. If you write poems, plays, stories, pictures - bring it. They'll take a look and keep it in mind.7
The websites of GITIS and RGISI provide lists of literature for applicants (different schools - different lists!). These include plays and specialized literature. But this is the required minimum, and you need to know a lot more. Firstly, modern directors and modern drama. Secondly, have formed preferences regarding playwrights and directors from the list + be aware of the situation in the country's theaters. Thirdly, it’s strange for a director not to have a favorite writer, artist, composer, not to know history, not to understand anything about politics... In general, you understand. In any free time from rehearsals, your best friends are books. And, of course, watch. Watch, watch, watch everything, performances in the city, recorded performances, opera, ballet, good cinema. 8
In addition to the explication that you carry, the explication must be written there. They give you a list of plays from the list that hangs on the site, you choose what you like best, and once again prove that you know how to do it.9
A separate tour is staging a sketch. Sometimes in two stages. Sometimes individually (some do one job, others five). It all depends on what the master offers. A sketch of an “incident from life”, or an event, or a proverb, a painting, a play, a sketch to music. It is useless to prepare in advance, but you can practice coming up with sketch stories.10
The final stage is a colloquium. This is where the books you’ve read and the performances you’ve watched will come in handy, although there may be some surprises. For example, they showed me a picture and asked me to tell what happened before the captured moment. Yes, they can test your ability to analyze, speak, everything that has not yet been understood. They may give you an additional study - don’t be alarmed. Work and that's it.11
It’s difficult to say how much Moscow, St. Petersburg and Yekaterinburg differ (besides the number of people per place), because after all, you are entering not a university, oddly enough, but a specific workshop. So find out in advance who is recruiting (logically, the master who is now in his 4th year), ask around among the students. Understand the direction of the work. Although nothing will help you more than the ability to be yourself. As a result, it turns out that through all the tasks, teachers are trying to discern your personality. And until I realized this, no amount of preparation and bulging, burning eyes could save me. Only all this plus the irreplaceable you. And one more thing: admission is not the most difficult thing in theater training. The real work begins afterwards. These are extreme loads that can only be withstood if you absolutely love your work. Lectures on all humanities disciplines, stage movement, dance, acrobatics, vocals, speech end at three o'clock in the afternoon, and then mastery begins - in fact, mastering a profession, which ends only 10 minutes before the metro closes. And then - night rehearsals, individual training, because every day you have to jump a little higher than your head. Are you ready?So, let’s say you are an applicant and flasks, beakers, test tubes along with numbers and logarithms do not appeal to you. What should you do and where should you go? Oh, you've probably heard about creative universities, the famous "Shchepka" and SPBGATI.
Even if you are not an applicant, but a fully established adult, then at least don’t lie to yourself, and honestly admit that you wouldn’t mind exchanging everyday life and routine for your rightful fifteen minutes of fame and public applause, at least once.
Creative trends in one way or another seduce everyone, because only here you can be an astronaut, a chemist, a writer, a spy with a fatal beauty, or the fatal beauty herself five times a day, while remaining known and loved. For some, this happens in childhood, after the first failed entrance exam, for some, it stops at the level of their companies and corporate competitions in production, while others go for the rest of their lives to places where a normal person would never even think of, but namely, into art.
How is studying at a theater university conducted? Oh, very simple and difficult at the same time.
First, you must pass an entrance test. It takes place in several stages, depending on the focus, but you will always read a fable, a poem, a prose of your choice, or everything in a row, and during the break you will chat about life with the admissions committee. Be prepared that you may not be asked about art at all, and this will be normal.
What you will see at the applicant, in front of the selection committee, namely: memorizing roles, flying people, acting out skits and other standing on their heads in the corridors - in a word, all this should in no way surprise or alarm you. If this happens, then it’s a lost cause - you have nothing to do here. But don’t be discouraged, you won’t be alone in this, because according to statistics, out of 30 who entered the workshop (and this is the only way to learn directing and acting), only 10 people will reach the point of receiving a diploma, and even then in the best case scenario.
This happens for the very reason that many of those who entered do not fully understand that the talent they have needs to be developed.
A master, that is, a person with experience, passes it on to his students. He may ask to come on Saturday or even Sunday. And not for an hour or two. And from morning to evening you will have classes with a master, and then even without him. Of course, not everyone can withstand such a pace purely physically. Try playing chair yourself seven days a week, that’s the same!
Moreover, it should be understood that no one has canceled standard subjects such as history with English, but there is one nuance here - priority of display. At the end of each semester, students must present their skills to the public and show them to the rest of the department; if something doesn’t fit with the rehearsal schedule, and the English teacher “doesn’t allow him to create,” then the entire course can cause him a riot and unanimously ban him from attending this subject. How to deliver it is another problem, but display is paramount. To be fair, it should be said that standard teachers understand this and for the most part do not bother students much; In extreme cases, you can negotiate through the master.
As you already understand, the course is called a workshop because it is supervised by a master. This is very important and determines the further development of a young actor/director, which is why in articles about famous people on Wikipedia it is sometimes written who was his master.
The training itself over five years is as follows:
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I year1st semester - introductory. Students perform sketches. This is where chairs, socks, dumplings and other dandelions play. Here the basics are set. In the future it develops or not. Those who immediately realized that this was not for them go into mathematical engineering.
2nd semester - circus. Students learn circus art. In short, the same “Circus with the Stars on First”, only without the stars and ORT. Juggling, clownery, illusions, a parody of the circus. That's all. Many thought that it would be easier, but they can’t stand the flashing of tennis balls and also leave.
II course
3rd semester - fairy tales. Everyone chooses a short fairy tale, or better yet an excerpt from a well-known one, and puts it on. This is more serious, but so that life doesn’t seem like honey, so that no one runs away and goes to the corner to do something on the principle of “each to his own,” the course receives one fairy tale for everyone, which will be a general course and for which it is also necessary to set aside time, which, as you know, is always not available .
4th semester - stories. The same principle as with fairy tales, only there are fewer people on the course and the workload is greater. The only difference is that the general course story is not staged everywhere, and the dramaturgy of everyone and everything should not be too serious.
III course
5th semester - musical. Briefly it looks like the previous work, only here you still need to sing (or at least hit the notes), learn the clavier and much more to “get into” the genre. If for some reason you have not yet left the workshop, then this is your last chance to do so.
Semester 6 - drama passage. In essence, this is the same story, but with more emphasis on the game and the dramatic component. Betrayal, murder, suicide, years spent aimlessly, betrayal of loved ones and the soul inside out, that’s all. Everyone who wanted to have already left, the rest who couldn’t cope will be carried off the stage with a massive heart attack and so on.
IV course
7 and8 semesters - are preparation for the diploma general course performance, that is, to a full-fledged two-act action with a ten-minute intermission to ventilate the hall. Depending on the workshop and the direction of training (director, actor, director-producer, director-actor), you can make such performances from one to several. It is clear that to do such a trick in two semesters and not give up is utopia in its purest form, so in some courses they start doing this already from the fifth or sixth semester and sometimes continue on the fifth, in some workshops they usually put on stories first, and then fairy tales, everywhere -different, but the first course is definitely unchanged. It is also true that a graduation general course performance is an admission to passing one’s diploma.
V courseGraduation performance. Everything is simple here - each student submits his graduation performance, writes a paper on it on one hundred pages and receives a diploma. Or doesn't receive it; but more often than not, it still gets it, because only those who are in the know are left here.
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Agree, the difference from solving logarithms is that here the result is unknown, but that’s the beauty of it. Everything depends on you. In art, two and two are five and eight and sixteen at the same time. And sometimes even the root of minus the first degree.
Theater is a voluntary dictatorship. Only in a theater university can they study until 22:00, the rector can issue a decree that everyone will be driven out with a nasty broom after that, and students don’t want to leave even with walk until 4 am (by the way, a real fact).
Just like that. And you think that everything is simple: go out, play, stage.
Next time I’ll tell you about this in more detail, I’ll start with how they hand over theater exam. Believe me, Shakespeare never dreamed of this.
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