For the first time, the actress auditioned for the role of Faina Ranevskaya ten years ago, but the project about the legendary actress did not come together. When she accepted the invitation to audition for the TV series Ranevskaya, she felt a mix of curiosity and a heavy sense of responsibility. She admits that the excitement was overwhelming. Each new round of tests brought a nervous laugh, a reflexive smile, because the project had been discussed for a decade, with different samples and directions. That long wait made her feel as if the opportunity might never materialize, and at times she wondered if there would ever be a real connection to the character.
During those ten years of trials, there was no belief that this was a destiny project. She does not live by mysticism or fatalism. The focus remained professional, with a practical approach to the craft and the work at hand.
In the early portrayal of a young Ranevskaya aiming to conquer Moscow, relatives expected tough auditions and the possibility of being outmatched by respected mentors. The casting process for the drama was challenging, and several moments from the actor’s career stood out. Ten years ago, during an audition for producer Galina Balan-Timkina, she felt reshaped by the experience, allowing her to shed personal complexes and gain a firmer sense of the character as a variation on Faina Georgievna’s life.
Among the most memorable experiences was a project under Khrzhanovsky called Dow. That experience was painful and cynical, more like a session than a traditional casting. The process did not prepare her for the format, and she found herself faced with an unexpected psycotherapy session that led to tears. It felt like being turned inside out and exposed, an experience she hopes others would avoid. Her stance is clear: if experimentation on a person is contemplated, it should involve asking the person first.
It is acknowledged that the Dow project left several on set with difficult memories, a sentiment she has heard echoed by others who faced similar moments during filming.
In preparing the role of Ranevskaya, she studied not only books about the actress but also sought personal insight from Elena Kamburova, a close friend of the real Faina Ranevskaya. Elena Antonovna offered encouragement and practical support, underscoring the importance of confidence while staying true to the character. A subsequent call after Kamburova’s premiere at the Mossovet Theater confirmed her positive impression of the performance, and that feedback from someone who knew Ranevskaya personally proved deeply meaningful and valuable.
Regarding the hardest aspects of the series, there was never a moment when she felt she had found a definitive key to the role. She speaks with honesty about the difficulty of judging her work from the outside and recognizing which elements succeed. The challenge lay in portraying Ranevskaya across different stages of life within a single day of shooting, a task that required constant energy to keep the production moving forward. Any moment of paralysis would slow the crew, so she avoided dwelling on it, instead saving reflections for later, often at home with a pillow for comfort and release.
When asked what new facts about Ranevskaya left a lasting impression, she notes the scarcity of reliable personal information. Much of what is known comes from Alexei Shcheglov’s book, a few documentaries, and Ranevskaya’s interview with theater critic Natalya Krymova. The lack of certainty about many aphorisms attributed to her prompted a process of daydreaming, finding common threads among her roles and the era in which she performed.
Humor is often seen as Ranevskaya’s armor, helping her cope with pain in a world of hardship. The actress believes that the real vulnerability lay in the ability to feel others’ pain, to resist hypocrisy, and to remain highly perceptive despite the outward wit. It was this sensitivity that underpinned her unique resilience, an intimate core that shaped the public image of a fearless artist who faced difficult times with a blend of sharp humor and empathy.
If Faina Georgievna were to start her artistic path today, it would be easy to imagine her becoming a social media sensation. Yet the actress notes that the power of her lines and aphorisms goes beyond mere quotes. They resonate when spoken within a broader performance, and she does not perceive them as isolated memes but as part of a living performance that speaks to the audience as a whole.
Concluding the conversation, the topic shifts to the mother, Lyubov Polishchuk, a legendary actress in her own right. A biographical project about her life has not been pursued, and the actress expresses a clear fear of such a project. The current landscape includes numerous biographies that she views as inaccurate or sensationalized. If any screenplay were to emerge based on those materials, it would be a nightmare. The emphasis remains on integrity and truth rather than sensational storytelling.
When asked about the possibility of playing a mother on screen, she responds with a light-hearted tone, suggesting that the idea would require a truly fitting script, director, and cast. If the project meets these criteria, she would support it because her mother was a celebrated figure with a life worth portraying, provided the portrayal remains respectful and avoids vulgar exaggeration.