Miroslava Karpovich: “I learn from the new “Daddy’s girls”” Stars

You know how it is now fashionable to say, I live here and now and I like it very much. Before, many people depended on the future, but at some point I stopped thinking about it. I’m really enjoying it at the moment. If it continues like this, then yes. My master Igor Yakovlevich Zolotovitsky, you know what he always said? Never give up and do your job with dignity! In addition, the new girls are very spontaneous, young, bursting with energy. I also learn something from them.

It’s hard to say because I got my skills at the institute. You will find yourself in this atmosphere, where they will guide you, warm you up and pick up the baggage from the past years. You don’t think much about what you get at a young age. It’s that when you grow up, consciousness and awareness emerge. Otherwise, the psyche works and the palette of acting tools becomes more diverse. One thing is important: it is never too late to learn and in general it is never too late. Everything has its time, everything has its destiny.

It’s like in Harry Potter: he chooses the hat for us. Like all creative people, I entered all the universities at once, but I did not know the admission scheme and came very late. It was already the end of May and we had to come back in April. I chose the literature myself, I consulted with my mother. We were both well-read and sat together in book queues. She listened, sometimes saying: “It seems to me that it is not very good. Take another piece.” We watched old films and were inspired by our masters. For example, when I entered GITIS, I read something from Anna Karenina in French, but I failed.

I speak French and English quite well. I can speak Italian, but I have to go back and memorize it. I, like my sister, have a talent for languages, I pick it up very quickly. In general, language is the key to all doors. You open it and in front of you are people, communication, humor, mentality. When I was five years old, my mother introduced me to the wonderful world of Anna and Serge Golon’s film stories: “Angelique, Marquise of Angels”, “Angelique and the King”, “Angelique and the Sultan”. I was delighted by these nasal sounds and the “r” babbling, after which I rushed to the library next to my house and found my first book in French – “Caroline on the Moon”. At that moment, my first author’s notebook was born, immersed in a cluster of foreign and mind-wrenching words that were unknown at the time.

I was four. Once a theater came to us in Berdjansk, they performed “Joan of Ark”. My grandmother, my father’s mother, decided to take me, four years old, to this show. But for me the circus and the theater were equal. I knew that my grandmother always had dried bananas with her and went to get them. (Smiles.) And when Joan of Arc caught fire during the play, she was very frightened and threw the whole theater into hysteria. Afterwards, the wardrobe staff gave her dried fruit compote and named her drama queen. (Smiles.) If only they had known that their prophecy would come true many years later, as the first theater awards were presented for leading dramatic female roles. (He smiles.)

No, Mom and Dad. They were very young then: Mom was seventeen, Dad was eighteen. Before I was born, my father left to serve and my mother was a medical student and interned at a hospital. I lived without a name for three weeks: we waited for dad to come back. I was either Dasha, or Cleopatra, or Esmeralda, as they called me. Then the parents went to the registry office and played a “game”: when you close your eyes and point your finger at a book with names. Mom ended up in Miroslava. She wanted to call me the double name Maria-Miroslava, like Maria-Mirabella, but dad said: “I don’t need these.” Let her be like a princess – Miroslava.” (She smiles.)

I have been working in Chekhov’s Moscow Art Theater since 2002. In 2006, the theater took over our performance “You” based on the play “My Happiness” by Viktor Ryžakov. Due to numerous requests and even letters from viewers, we continued to play it. We had an amazing course, stellar: Katya Vilková, Anton Shagin, Max Matveev, Petya Kislov, Maryana Spivak, Anya Begunova, Pavel Vorozhtsov, Renata Piotrovski. Everyone is a perfect choice – incredibly talented. We learned from each other and were actively monitored. For example, Garik Sukachev already at that time approved for me to join “House of the Sun” and came to see our performances. His attention was very pleasant. Moreover, they took me a few whole meters further, and at the same time enterprises began to appear: I played with Dima Kharatyan, Igor Yakovlevich, Zhenya Dobrovolskaya, Dmitry Astrakhan, Roxana Babayan, Mich. Mikh Derzhavin, as his relatives affectionately called him, happy memories. And then there was the casting of “Daddy’s Daughters”.

Yes, the girls grew up before my eyes. When we started, Katyusha was four, she didn’t even read yet. I will never forget how she memorized the text we read to her. At some point she just takes my text like a thresher. The scene ends and Katya comes to me and says: “In general, you missed a page and a half, but I caught you.” (He smiles.) Líza was about twelve, and Nastya and Dasha were probably fifteen.

Yes, almost every day for seven years.

Definitely. I always go to castings with joy to meet new people, to show myself that I can be different, to remind myself that I am a dramatic actress.

No, such a situation has never occurred. Even the cameo actors said they didn’t want to leave. It was an amazing atmosphere. I thank my colleagues, directors, producers, screenwriters who never let me get bored.

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