Our environment has such an expression - “Shurik syndrome”. It is connected with Alexander Demyanenko, who, according to his acting data, was simply created for the dramatic roles of Shakespearean scale. But he brilliantly played Shurik in Leonid Gaidai’s comedies, and this role ruined his entire acting career. Because after that, all the directors saw for him only roles of the same type with Shurik. He was not allowed to play dramatic roles, because they were afraid that the obsessive “Shurikov” associations in the audience would spoil their perception of a non-comedy play or film with the participation of Demyanenko. In general, “Shurik syndrome” is when the actor is no longer able to escape from his role.

- I never would have thought, Inga, that something like this threatens you.

- You know, when I hear about myself the stamp “Favorite TV series actress”, I want to strangle the person who says this. Now I just hate those near crime series that I starred in. Of course, they gave me all-Russian popularity, gave me a decent salary and status in the acting environment. But for me, this is something like “phesa for plywood” in show business. TV shows having a box office success are generally a trap for an exacting actor. And this is a trap for the demanding director.

- Why?

- As soon as the viewer is fused in the first series, investors require replication of commercial success in the new seasons of the series. Around the first success begins turbid turns of hack to fill and maximize the screen time. The writers try to invent a continuation of the plot line, literally sucking it out of my finger. The stellar actors raise the stakes in their personal requirements for the director, thereby introducing at times the full discord in the team play. And the director needs to be a very cool personality to cope with this orgy of conflict of interest around the continuation of the series. Most of the directors cannot cope with this, and therefore the series following the first season become only a pale remake of the first season. In general, all this is sad. Too often, predictably sad.

- That's what I have not seen you in the new series for a long time.

- Well yes. I also have a separate problem in that the directors impose on me the role of the sacrificial "Turgenev girl" because of my appearance. Well, how can you! I was already fed up with supporting my partners in the roles of the semi-infantile "Turgenev youth". In general, I have long been thinking of raising a riot against my current role. The revolt, noticeable above all to the mass audience, and through the mass audience reaction, is already produced by producers and directors. You suggested to me unwittingly the idea of ​​the form of this riot. Through the media project, which is publicly available on the Internet. I need in this project a communication partner from the audience environment. And I want this partner to be from a younger generation than me. Here I look at you ...

- I just take your breath away from the prospects. I would like.

- OK, let's try. Only I have three conditions for you.

- What kind?

- First, you should not read theatrical reviews about me, nor reviews of the audience. You need to develop your own opinion. Moreover, it is not necessarily the same as mine. I want to beat the dissonance of points of view on the fate of an actor in this media project.

- This author's message is very nice to me.

- The second condition: you need to thoroughly immerse yourself in the material. I will give you a copy of the video archive of my roles tonight, including rehearsal ones.Do not rush to view it and, even more so, with reflection. Do not promise to start working on the project from tomorrow. You have only the second course. Learn, give yourself a quiet winter session. Before February-March, I don’t even want to discuss with you the specifics of the project.

- Well, and the third condition?

- From now on and while we are working on this media project, you should not have sexual contacts with me or with Victor. I do not like to mix personal and creative life. Here, as they say, cutlets separately and flies separately.

- Well, in my opinion, everything is very reasonable. And very interesting to me.

We were walking at this moment through the middle of the bridge. Inga took a coin out of her pocket, threw it slightly in her palm and threw it into the Neva with the words: “So that everything worked out for us!” Then she took my arm and we continued our way.

- In general, I must tell you that the actors are people dependent and therefore superstitious. For example, I always go to the dress rehearsal on foot, out of respect for my theater as a temple. On other days I can drive up to save time, but by the beginning of the dress rehearsal - only on foot.

- Then you and for the day of the premiere must have some ritual.

- I guess. Only about him, no one in the theater will never know. But I whisper in your ear: at the premiere in some scene or even in some one act, I play the actor's courage for the sake of taking off her panties under the dress.

- Wow!!

- Shh! This is a very big-big secret for a very small-small company ...