I was approached by the fact that the director is finally a woman! Interview with Rēzija Kalniņa / Article / LSM.lv

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Rēzija suggested to the film crew of the series to work on the characters of the series, using the eniagram method, with the help of Elita Moiseja, with whom she had a previous successful collaboration, working on productions and roles in the Daile Theater. Many colleagues in her series had never been acquainted with the principle of eniagrams before, but accepted the idea. Rēzija admitted that she and her heroine Laura represent different types of psychological people… During our conversation, Rēzija Kalniņa sincerely admitted that she could have been inspired to create this image from her own. recently deceased mammas actress Helgas Dancbergas.

Immediately after the completion of the series, Rēzija Kalniņa and her husband Ainārs Rubiķis have created a new art platform – a space “Oratory”, where several productions have already taken place, combining dramatic art and music. On October 30, OratoriO will host the premiere of Sean Grenan’s play “Now and Then” directed by Rēzija Kalniņa.

Yes, Rēzija works a lot both as an actress and as a director and reserves the privilege to choose which job to give up and which to refuse.

Daira Āboliņa. You are a free woman, a great actress and think about each role for a long time before saying “yes” or “no”. What was your motivation to participate in this series?

Rēzija Kalniņa. First of all, motivation is the director of the series Linda Olte.

You haven’t worked with him?

I hadn’t worked with him. I researched everything about him, I screwed up. She and producer Krista Sondore came home to me…

Two things are always important to me when choosing a material. The script, of course, and the people I work with. All in all, it means whether it will give me satisfaction, joy. Do I see any added value in my understanding of that work and the role as a whole? No matter how loud it sounds to me, does it change the world? Does it change the life of even one person? Does it change at least one family? And mutual relations. Does that make you think? We had one wonderful scene where my consultant suggested to Laura’s image that this scene should be such that the people watching, the couple, are trying to remember when they have done something together? Have you played badminton, played “Monopoly”, even walked along the sea for two? At what point do we stop seeing each other in the good sense of the stranger, with whom you and he have decided to share life, to share life? At what point do we stop seeing this unique person and start using and consuming them? And satisfy yourself and your desires.

What did you see in the script that addressed you?

What did I see in the script? About crises in families just during Covidwhen families have been forced to live in a small room together without the possibility of escape. And it’s such a big test for some families. And knowing by the statistics, you realize that maybe the family lives together because of habit, or you live, as we talked behind the scenes, because of the comfort zone. And this comfort zone is not always comfortable, but it is familiar. You live in a violent relationship, and you are afraid to go out, you are like a squirrel, you turn on that wheel, turn, turn … And then that wheel suddenly stops, the cage opens, but you do not go out because you are afraid. So this scenario appealed to me. I was approached by the fact that the director is finally a woman.

Laura, your husband. It is not easy to tell her the balance between the pros and cons when looking from the side. There is something in him that is not difficult to find in Latvian society. Is Laura sympathetic to you as a person to play?

Yes… I’m not far to look for Laura. My mother was a survivor, my mother was a fighter, my mother was very similar to Laura, who was forced to be strong, who had a very strong sense of honesty and justice, which went against, I do not say the norms of society, but she was not comfortable with others. And she defended herself very much. And I’m not just talking about family here. That’s the downside, or, if you can say, the task that such Lauras have – not to allow themselves to be weak, but to rely more on the fact that life is not a struggle. Life is not a battlefield, life is such a path.

We saw one episode where your daughter, played by Elīna Vaska, blames her mother: you weren’t already. Dad at least took us on a sled. You and your family, when your mother raised your three children alone, did you ever blame her as a teenager?

Maybe when I was a teenager, internally and externally I protested somehow, which was not the case, but… We are all children, my mother is also a child, we have all been children and we all carry some patterns and programs. I now with my vision and vision, Fijian back, I say – mom couldn’t have done otherwise. And we are solely responsible for ourselves.

What is the method you used to work here on the field?

We met Elite Moisey, the teacher of the engram. Working with this method in Hollywood has been around for a while. Eneagram: nine faces of souls, nine types of souls. It will be difficult to explain it briefly here scientifically, but if I did not know these types, I would play Laura in an attempt to integrate myself as in Rezia and I would find a lot unacceptable. Perhaps in my interpretation, Laura, without this knowledge of what Laura is all about, would be more of a cons than a pros. I do not understand the motivations for her actions. Maybe I would condemn her at some point or not understand and then look for some excuses, why is she one or the other? These are very precise types, and they are neither horoscopes nor what is there… I find it very interesting. I know who I’m about to type according to the eneagram, and we’ve found out who Laura is. I won’t say who I am, but Laura is the eighth type of eneagram. A redeemed “eighth” can save the world. The unreleased “eighth” can destroy the world, its own, its family, its people, and its universe.

How did you come to this knowledge? In order to bring it into a job, you must first understand that it will work.

This is not the first work I have worked with Elite Moise and Indra Sproģi. When I staged Sean Grenan’s Tin Woman at the Daile Theater, all the actors and I went through this typing of an engraph to understand how we differ from the image and how we can help ourselves. For me personally, it is extremely helpful, because in Dangerous Relations de Mertrey is also the eighth type, only the unsaved. When I read the play, she really is the embodiment of evil. And you understand the motivation of the image and the loss of childhood, you understand that type of sin, and it’s not a negative sign. Because sin means not hitting the target. And so that is the task. It’s hard for me to talk about it, so if you don’t know it, then it seems like it’s … not charlatanism, but what’s ou, ou, ou… No, it’s up to you. It has addressed me as an actress and show creator, and it is very helpful.

Does that mean you create a kind of protection against your image? With such a method, can you work without merging so much with your hero?

I will not say that this is protection. Although it can mean it. It is more of a work tool, so that instead of me as Resia, I am Eleonor’s “Lion in Winter”, then Mrs. “Servants”, then “Dangerous Communications” de Mertrey – Rhesia. There are nine completely different types of people, and each of these types has n levels, and then there are the so-called wings. This is extremely interesting. And knowing that Laura is the eighth type of engram, I can’t lie. Then the “eighth” and “eighth” who watch the series will recognize these very typical reactions and situations. Of course, there are nuances, but what is important to us is that the viewer can identify with situations, with relationships and see through them the truth. Not something feiku or theater, but the real situation we or my neighbor are in, and what are the options for getting out of it. How can we work with it.

Did other actors in the series get acquainted with this method?

Yes, our director Linda Olte invited Elite Moisei to work with us. Elita read the whole script and created a common typology for each of the characters. There was an opportunity to talk to Elite individually about each of these characters. This is very interesting.

On the one hand, it is such a mathematical task and, on the other hand, it is a little detective. You are in the examination of that image.

What is interesting is that when I find myself in a similar or identical situation, I imagine how I would react as Rezia and how my heroine Laura would react in this case. And then it’s very interesting that Laura lives with the ninth type of Aivars, and why do they live together, and what do they have to learn from it?

And your kids in the series have inherited your type?

No, no… I am extremely happy to work with Gati, who is my husband Aivars. And I’m very glad that really a god of theater and a god of cinema, and the director came to the point that Gatis will be my partner in the series. He has a fabulous sense of humor. He reminds me of such an English actor, with a very hidden sincerity and humor. And Madara Botmane, who plays neighbors and girlfriend Yogita, is wonderful. You know, as a movie man, that some movies or series are work you do, and when it ends, then: foo – it’s over. And then there are some teams that you merge with for a while as a family, and you miss that job. When the end comes closer, there is sadness. A real, common world is being formed. Even tangible in terms of sensitivity and emotion.

According to what principles are you currently planning your creative life?

After what makes me happy and what doesn’t make me happy. I have no ambition as an actress or as a show creator. But I have ambitions to reach the maximum, again only subjectively. So I need what I create and where I participate as an actress. I need to see the added value of the work. And secondly, the most important thing in my life… My mother told me that too: I am that sad optimist. Or a happy pessimist. It is very important for me to help myself with what I do as a professional so that I enjoy it. And nothing is mandatory. And I have a choice.

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