[000:00:00;00] with my mother in military uniform, even then i didn’t change into civilian clothes, but of course i didn’t recognize him, because all 5 years of the war my mother and i received letters where my dad drew me, that is, he imagined what you were like, yes, yes this very touching, just sentimental letters, they survived, they survived, they survived, how is it? my little sister, galochka, she made a whole book out of it, yeah, so, in a word , dad showed up, and dad brought a bunch of gifts from germany, these were toys, and dad brought poetry from the front, like that until his death, until

his 97 years old, he knew many poems from pushkin to pleshcheev, from mike....what poems he loved, you remember, well , at least something from maykovsky, pushkin, lermontov, bryusov, kozma prutkov, well, that’s enough, well bryusov is not so banal, yes, this is still such an original thing, for the new time, yes, but for tsvetaeva, for example, of course, of course, well, there is bryusov’s house in moscow and it is part of our museum. of course , there is no doubt about it, as it seems to you, that’s when you start reading poetry around, well, not on the stage, but somewhere at home, at the table, when people find out that you remember, i also remember, a lot of poems, even though god forbid i’m not an actor, people perceive it with surprise, or as something else, dima, when the taganka theater was born, and i was born with it , i have run out of doubts about

whether i am an actor? or i will go into literature, it was taganka and it was a poetic genre that my beloved and i discovered. but maybe, before moving on to the toyganka, well, let’s just tell you about this time again, the last few years have been very intense attention is focused on this decade or fifteen years, yes, between 56 and 68, approximately how it looked from the inside, we know a set of well, too, such cliches, not cliches, well, such common opinions, yes, the spirit of freedom, as it was seen, felt a fresh wind of hope, a fresh wind of hope, yes, yes, i was already an independent adult, a guy, i had already canceled my dreams of teaching russian language and

literature, i followed... the heart of my inner voice, or how else can i say the inner demon of whose existence do you know how a wonderful teacher at the theater institute, we all followed the lead of some devil, well, socrates was put to death for this , because he spoke with some kind of deinion, remember, with some kind of demon, that is, not only us, but quite a long time ago already, well, this is a good damn thing. this is, of course, who was, for example, my older friend, an amazing actor, oleg pavlovich tabakov, a clown, a clown with a capital c, the clownery tormented me, pulled me, insomnia made me my tamil, as mozart says, yes, but here

it’s most likely not clowning, maybe ironic. yes, probably so, not quite, after all, it’s the act of acting - the one, the one who knows how to pretend, yeah, this is a word with a double meaning, of course, with a negative and a positive one, to pretend to be, to act with one’s face, yes, that is, to not be oneself , pretense, imitate life, or reincarnate, but we’ll go aside, well, it’s time to ataganki, senior tova, so i entered the then best theater institute, the chyukin school, to the young master vladimir etush, so, and then i can already remind those viewers who at the same time my readers, and he described it many times

, how it was after the first year: he suggested that i go into mathematics, get away from acting, that is, not even into writing, into mathematics, he didn’t believe it, but why in mathematics, well, that this is rounded off with the word mathematics. the concept is too smart, i think, well, it’s impossible, an actor shouldn’t be, i’m convinced that this is so , an actor, the head seems to outweigh sometimes, yes, that is, he should be all skin, gesture, again we go into technology, dim, it means yes, indeed, being a stupid person and an actor is not the most interesting combination for me, but the actor is smart, well, my favorite. these are super actors, because there are wonderful actors, and there are super

actors, there was some case when marlon brondo in london asked laurence olivier, these are two giants, but young brondo, who went through the stanislavsky school in new york. to the question, how do you do all this, he answered ser lorrens olivier, a genius of all times, i am a representative of the school of experience of konstantin stanislavsky, so, well answered laurence olivier, and i don’t really know how swear words sound in english, well, it’s roughly clear, it doesn’t matter, well, yes, but when...’ brondo asked him, how do you manage everything, he said, you have to do well be able to pretend, that’s all, look, because the popular opinion is a cliché, not mine, that

taganka is not very stanislavsky, even , perhaps, quite the opposite, yes or whatever, after all, this is what kind of theater it was then, then petrovich, you always find yourself in a difficult topic, which makes you tempted to go aside and only talk about it, well a little bit, but it’s still important to open this up, if someone dares to say, there is a contrast, the theater of experience and the theater of presentation, this is the theater of experience, this is stanislavsky’s theater, the actor must penetrate inside the image, must shelter himself, feel himself by this person, there inside... and the performance theater turned out to be stronger in modern times, yeah, and if only

because one way or another, but in its best manifestations, it is a connection, an experience and a performance, therefore brecht, therefore mayakovsky, therefore external yeah go from internal to external, this is stanislavsky, going from external to internal, this is vakhtangov, stanislavskaya’s favorite student , that’s how they branched off from him, from the brilliant stanislavsky, vakhtangov towards fantastic realism, we will quote dostoevsky, yes, and mirholt, that’s what- then the side of the theater of constructivism, theatre, avant-garde, maybe, yes , the place, the word, yeah, well, in general, an amazing time, again we won’t go away, but let’s indicate that it’s not the person who is the theater, there is gaidebur, tairov, vakhtangov, stanislavsky, miirhold , well, this is all very

close, and komissarzhevskaya, this is not too long ago, compared to how well you know history, what are you saying, i ’m a spectator, i’m a teacher at the school of studios, nothing more, but this is an amazing time, it was taganka that didn’t continue nothing literally an amateur’s judgment, but i synthesized it all, twisted it so much, tied it up so much that it hit, as my students say, they say, it hit me, that it hit millions of people, respecting the mode of the podcast lab, i shorten it and answer, i didn't succeed at the very beginning, i graduated with honors, i at first - for the second year i was, as they call it, not a volunteer student, a volunteer student, but in the middle of the second year it demanded that i return, and i and sasha zbruev, my classmate, who

was also deprived of certificates after the first year, were also too smart, yes, probably not, something else, everyone, well, actually everyone was too smart, and you and i, here it ends, the shukin school. i choose not only according to my taste, but according to the taste of that new russian literature, prose, which i endlessly love. opening of youth magazine, the appearance of anatoly gladilin, aksenov, and i voraciously read new prose , they said young prose then, but young prose in my opinion, and there, one way or another, i heard a call to leave moscow, because moscow is not russia, it is the capital. and go to where the real one breathes, that is, russia, all russian

literature between two calls, get out of moscow or to moscow moscow, i just came up with this, but in my opinion, this is not bad, this is very good, yes, we continue, and i remind you that our guest today is a theater and film actor and writer, veniamin borisovich smekhov, venian borysovich, maybe you still read something, now i’ll finish what i started, which means i left, of my own free will i went to the volga in kuibysh in samara, it lasted me for a year, in a year, i went through a gigantic school of experience, nine performances in which i participated, three main roles, at the same time television , radio, a skit, something else, in a year there was, damn, what a heap in my destiny, new, and was nearby , without him it wouldn’t

have happened, nothing happy, nikolai zasukhin, a great artist, a great actor, and i saw how this man works, he is a front-line soldier, he came from the war, a wonderful young man, a miracle actor, in general, he was my first real teacher after etush, and then i returned to moscow, due to nostalgia for my hometown, ate me up. on this occasion, i wrote a story on the way to moscow, the story was given by my teacher, whom you probably knew, yuri borisovich borev , of course, gave his youth to a magazine, they wanted to publish my youth story, a story about a young man who went to the volga, and from there

returns to moscow, that’s all, and there, of course, sukhin is one of the main characters, this story was not published, thank god, but the romance with the magazine youth continued, a little later, at the same time i entered the drama and comedy theater, because you have to earn a living and somehow live, then, which later became the taganka theater, a year later yuri lyubimov came to this theater, with him eight main characters. the man from xizuan, the brilliant graduation performance of the shukin school and lyubimov’s first director’s masterpiece, described in all theatrical anthologies of mirabniks, of course, of course, well, well, i didn’t know my fate , but i was already working in drama and comedy and was planning to leave there too, to go into literature, firmly all the time like... some kind of

fork in yours then into literature, all the time into literature, well, this is the norm for an artist, for a normal person, to doubt, but at such distances, pasternak’s refusal of music, refusal of philosophy, and without drawing parallels, but somehow i all the time you no longer the first time you say, he didn’t part with the word, he didn’t part with the word parted, but the music beckoned him, scrabbled , remember, everything, of course, we remember this, scriabin, where can i escape from the steps of my deity? here, well, amazingly, everything appeared around you, lyubimov, around you, vysotsky, filata, laughter, at first there was no one, at first there was a kind man from sizuan, and lyubimov, reorganized the theater, what remained of the old theater was not the same there are many actors in whom he believed, including

three young ones, yura smirnov, all volot sobolev, here i am, and some other group actors, we connected with him with his heroes , a kind man, and gave birth to this performance of a kind man and sizuana, already on the stage of the theater opposite the taganskaya metro station, the theater was called: very stupid, drama and comedy, we called it trauma and comedy, of course, everything was wonderful, theater was born and was born. life 24 is now 7:24, yes, yes, around the clock, that means this is how life began, this is how life began, this is how life began, it was necessary, after this gigantic success, to play a play every day, it was impossible, but they played,

let’s say , 2 days later on the third, remained some two performances from the previous repertoire, especially. the performance, it was, was the debut of pyotr naumovich fomenko, a microdistrict, a microdistrict, and fomenko himself, a man of extraordinary attractiveness, a brilliant man of theatrical art, became my god in the theater, this is the most beloved creature in culture, if we needed somewhere with my beloved wife... your friend, galina aksenova, i had to go somewhere , i called fomenko, i say, bless, he says, bless, let's expand the vessels and narrow them at once, long live the muses, yes the mind will disappear, wonderful, wonderful, well, our interlocutors remember, of course,

pushkin’s original, there are no vessels there, and the mind there , on the contrary, does not hide, but appears, but so. my soul remained, my brains, i don’t know, my stupidity, still kept the name closest to my heart, this is vladimir mayakovsky, and i’m very glad that i came to visit you, dmitry petrovich, because uh, my life, let’s say so, the last performance. mayakovsky's memory began before your eyes. yes, absolutely right, in rome, it was, yes, it was, well, some kind of an amazing family, a grandiose artist who is in love, an italian who is in love with maykovsky, and came up with the book bug, illustrations for all the scenes, klop

maykovsky, and his wife, larisa, ballerina from the astrakhan theater, who... wanted to arrange a grand presentation of her husband’s book , but so that the russian word must be heard, that’s it, they found my voice, galina gennadievna, she said, well, of course , we can come, and venya will read maykovsky, you can wake him up, he can always read maykovsky, but, but he’ll come up with something better performance, and i came up with a performance for three, here you go, masha matveeva, dima vysotsky. in rome, after the presentation of a wonderful book, bug, we are playing the flute-spine glass for the first time, aksionova is actually the director of the play, she

is absolutely merciless in theaters, these are the theaters with , well, how can i say this at the start, this is zero directing, and the theaters are already in full swing , definitely a director, this will be your mo, today, this is a formula to which i - attach very great importance, well, this is known, well - here the performance is going on, they are sitting in the hall - russian emigrants, soviets, well then, yes, already russians, yes, russian journalists, guests. there are a lot of russian-hearing, russian-speaking italians in love with mayakovsky, the credits are in italian and so on, you were, you were one of the dear guests, this, this was very dear to me, these are evenings,

so i include my first words from this performance, for all of you who liked or like, with icons near the soul in the cave, like a cup of wine in a table toast, i raise a skull filled with poetry, more and more often i think, not is it better to put a bullet point at the end, today, just in case, i’m giving a farewell concert, this is the beginning of the performance, and my favorite verses from mayakovsky’s favorite poem are also heard there , there were no signs burning in the sky of my bethlehem, no one was stopping me from sleeping with graves to the curly-headed wise men, the day of my descent to you was absolutely the same as everyone else, and no one guessed

to hint to the narrow-minded and indelicate star, the star supposedly is too lazy to shine in vain, if not the day of human birth, then the devil’s star then still to celebrate, and so on, and maikovsky for life, maikovsky is my admission to the theater institute, i read in the 140th dream the sunset: the mkhat studios was burning in the school to my eldest son veniamin zakharovich rodomyslensky, the rector of the studio school and the immortal adored father vienna, how everyone called him papa vene, from tabakov to botalov, and he entered the studio school with boris evgenievich zahavi, the rector , vakhtangov’s favorite, graduated and preferred the vakhtangov theater of performances. we continue and i remind you that we have today our guest is theater and film actor and

writer veniamin borisovich smekhov. it seems to me that you have finally come to literature, new new books, not only memoirs, but also books of different genres, yes, that’s what it is for you, and what seems most important to you, memoirs or your original works, i will now combine. two names, fomenko and lyubimov, fomenko and lyubimov, the theater, that is, the workshop of pyotr fomenko, and the taganka of yuri petrovich lyubimy, differ from all other theaters in many ways, but most of all, of course, in their devotion to the word, for their beloved prose stage, that was very important jean poetry stage the theater of words, theater of verse

is very important, yes, that’s the whole point, probably my favorite theaters, glasha aksyonova will argue, because it’s impossible to call the taganka only a theater, the taganka theater of a loved one is a theater set, this is the theater of the great crossroads, lyubimov, as if he pointed out to those who... did not know that the theater is a crossroads, a crossroads of arts, this is a word, this is sound, this is music, this is painting, this is a gesture, this is graphics, yeah, and lyubimov turned out to be a genius as a collector, yes, yes, that’s it a schemer, he put everything together himself, so it was funny when the brilliant composers

of our time. schnittko, denisov, gubaidulina, shestakovich, dmitry dmitrievich, became regular guests and friends of the theater, here they are world figures, it is difficult to even give such an example, yes, where at such a level they would coexist with each other, mayakovsky brech on the one hand, on the other sides, gubaidulina, schnittky, edison denisov , shastakovich, yes, well, that’s the word, after all, the word is music, that’s another thing, parsnips. called voznesensky, and then repeated it mezherov alexander petrovich, poetry is first of all sound, yeah, it’s the sound in the heart or soul of this combination, yeah, music, gesture, painting and so on, akhmalina still probably says the opposite, i really love her lines, where it’s like if we were talking about the opposite situation, maybe i’m wrong, music comes first, but speech, to speak on music, after all, or there is no contradiction here, probably not, it was like that at taganka, at pyotr fomenko’s in

the theater, his school, his students , these are people devoted to sound, to words, it began with mayakovsky, mayakovsky is sent to me from friendship with his friends, with his muses, with lilia yurievna brik, with vasily katanyan , we... this is admission, as i said, to the institutes, and listen to the play that lyubimov staged, and the uncultured authorities of culture banned it, but failed, too good people stood up for us, why didn’t mayakovsky please, it seems that he is like, how can i put it, officially recognized, although vulnerable, honest, direct, now i ’ll tell you your choice, just a phrase that sounded in our performance : we turned history around, always send the old man away,

a communist and a person cannot... be bloodthirsty, this is mayakovsky’s response to what was done to the family of nicholas ii. and this is a performance that was unbearable for the bolshevik cultural leaders. every year a loved one received a proposal to remove him from the repertoire. clearly, he lived a great , happy life. and i'm twice as happy. i wrote this script and was the co-author of my beloved, too, literature is also literature , but this is not only a game, but this is a word, no, this is a word, this is literature, and my friends stood next to me, there were five mayakovskys, sherbakovs,

khmelnitsky, zolotukhin, vysotsky and me, well, next to me are my friends of the early taganka, vysotsky zolotukhin, a brilliant russian poet , that’s all, well, it was all nearby, close, they didn’t drop a word, they didn’t mutter words, there was a responsibility to the word , then we were all drowning in new book releases, here yuri trifonov, the great, great prose writer , stands next to him for me, these were all people whom tvordovsky in the new world, well, took care of, you know, i’m so sorry that they practically not in the reading circle, now it’s very scary sounds, i adore yuri valentinovich, of course, and dendrkovov too, but i communicate with students, strangely enough, for some reason, well , a house on the embankment, maybe, but there are other wonderful things, yes, there is a time and

a place , there is impatience, there is an old man, this is the job of the educators. dima, well, i’m trying, but most likely not yet, parents , i had a friend whom i included in all my memoirs, andrei egorov, the favorite of the great mathematician andrei nikolaevich kolmagov, a great genius, yes, we read books during the races, this competition, i think, is the norm for teenagers, in our time too, i’m lucky, i’ve seen a lot of young people who prefer paper literature, so to speak, it’s just a blessing for my soul on our podcast, it’s just on the topic , let me tell you about today it’s about time zhenya mironov invited me to the play koakkola, this is a play by anna kozlova , a very successful author of tv series, and

a wonderful play in terms of drama, which is called the last summer. okola is a finnish word, the name of this village near leningrad near st. petersburg is called repino, and this is very close to me, because mayakovsky very often boasted about the seven-year week, he came to kuokkola without a penny of money, he was fed one day by chukovsky repen, and this is now called the last summer, the past of the premieres. to my joy, all my doubts were dispelled, i doubted, as i doubt, and this is normal, before each new performance, well, lucky, i play a twelve-year-old boy, a hero who, after so many years have passed, i remember my childhood, i am convinced that

each of our viewers has moments when... they turn on the film archive of memory, undoubtedly, and from there some specific days emerge, of summer, there is autumn, spring, winter, that’s what this play is, i play with wonderful actors, my mom and dad are yulia peresilt and misha troynik, misha troynik is my student, so this is wonderful, and vanya dobronravov plays a wonderful role there. well, lena nikolaeva, my second mother, and so on, the performance begins, the poem, the departure of our beloved desik samoilov, i remember, dad is still young, i remember the departure, some training camp, and the driver, dashing, curled,

a horse, a carriage, a whip and springs, i remember, my mother is still young, smiling at our neighbors and somewhere we... are going, where, and somewhere, for some reason we are going, a forged horse clicks loudly, and a cobblestone in some... then as we pass, the fire goes out on the domes, father is young and mother is young, the horse is hot and the carriage is winged, and we are going we don’t know where, we are all going and going somewhere, and inside i am reading yesenin’s favorite poem, it is the penultimate one, from the twenty-fifth year, the wind is whistling, a silver wind, in silk and noise, for the first time i noticed in myself, so i still i never thought, even if it’s rotten damp outside the window, i don’t regret it, and

i’m not sad, i still fell in love with this life, i fell in love with it as if in the beginning, if a woman looks with a quiet smile, i’m already excited, what shoulders, troika will rush by on an unsteady road, i’m already in it, i’ll look far away, happiness, oh my happiness and all the good luck, human happiness, loved by the earth, the one who cries at least once on earth means that luck has rushed past, life needs to be easier, life needs to be simpler, accepting everything that is in the world, that’s why, stunned over the grove, the wind whistles, silver wind, this is yesenin, i sincerely thank you for today’s conversation , thank you very much, see you again, we will see you here, well, as always, i joyfully say the same phrase to our interlocutors, today we listened to poetry, but it doesn’t bother

read them more often, as well as prose, drama and much more, read with pleasure, dear friends. hello, my name is alexey varlamov, i am a writer and rector of a literary institute. today we will have a podcast dedicated to alexey nikolaevich tolstoy. ah, alexey tolstoy is one of the most amazing, fascinating, paradoxical figures in the history of russian literature. there is a joke about him that is somewhere at the end. in the early thirties, his house in tsarskoye selo, in the children's village, it was called, a footman comes and says: your excellency, it's time for a party meeting. in fact

, there is something wrong with this anecdote: alexei tolstoy was never a communist, no matter what party meetings he attended. but nevertheless, the dizzying fate of this man, who immediately after the revolution was the harshest critic bolsheviks, who, according to bunin. he proposed to gouge out their eyes with a rusty bayonet, and a few years later he made such a dizzying feast and became one of the most faithful soviet writers, the pillars of socialist realism. this biography still causes controversy, and the most important question is: is he really the tolstoy count, and is he really fat? was a person with such a surname and such a title capable of such treachery? i must say that when the young guard publishing house offered me to write a biography of alexei tolstoy, i had a very negative attitude towards this idea, i was extremely unsympathetic to this character, but then

i decided for myself that my job was to fulfill what was offered to me, then i felt like a professional writer for the first time, here is a hero, write everything about him, whatever you want, i was sure that it would be such a satirical pamphlet, that it would be such a session of exposure, i even had all the time... so these were the lines of boris chichebabin, a wonderful poet who wrote like this, i’m burning with melancholy, i’m sorry scoundrels like alexei tolstoy and valentin kotaev, such a scoundrel alexei tolstoy, then there is an excellent one, for those who haven’t read it, i highly recommend reading the memoir of ivan alekseevich bunin, which is called the third tolstoy, my hero is also shown in it, well, very impartial. bunin with the same topic: was he a fat count? but he never talked about his father, for bunin it was very strange, how can

a count, how can a russian aristocrat not be proud of his pedigree and not talk about his ancestors, because well, this is such an obligatory part of the biography of everyone’s history russian nobleman. in fact, the story of the origin of alexei tolstoy... the appearance of his light, it is worthy of a separate novel , which means that his father, whose name was nikolai alexandrovich tolstoy, was really a count, i must say that everyone is fat... all the countes are all relatives, he was a military man, but very passionate, of such hooligan behavior, who for all his tricks was expelled from the guard, forbidden to live in st. petersburg, and he went to his homeland, that is, to the volga, to his hometown of samara, and there in samara this violent landowner i met a girl whose last name was turgeneva, she was not in any kindred relationship with ivan sergeevich turgeev, but nevertheless, tolstoy and turgenev, they

connected, it was an explosive mixture, she was like that, not even a turgenev girl, but such super russian idealist who married this rowdy brawler because she wanted to fix him, such a marriage, a noble, generous act, such a sacrifice on her part, none of this worked out, because the count continued to lead themselves in the same scandalous way, but nevertheless they lived together, they had... children, and then the countess's literary talent awoke. she began to write poetry, she began to write prose, her husband treated this arrogantly, mockingly, she did not meet any understanding in the family. and then she had a dear friend, whose name was alexei apollonovich bastrom, he was from the russified swedes, and he was not even a nobleman, he was such a landowner , a palace owner, in today's language a farmer,

he had a small farm in bolzhie, but periodically he came to samara, somewhere at some literary meeting , literary seminar , which were there then, he met this young writing woman, they first had a spiritual romance, they both loved literature and could talk for hours about poetry and prose , then this novel turned into such a more serious relationship, at some point alexander aleontievna, she was such an impetuous, brave, desperate girl, she simply left her husband, left. in this situation, count nikolai alexandrovich tolstoy, her husband’s father her children, behaved unexpectedly nobly, he took all the blame for what happened on himself , that somewhere he was such a stormy person, he only caused her suffering, he began to beg her to come back, the children were crying, he was sad without her, and he promised her two things, the first that he promised her... that he would publish

her novel the restless heart for his money, the second that she would return home only as the mother of her children, but not as the wife of her husband, she agreed with this and returned, and then it turned out that the first part of his promise was completed, the novel was published and reviled by the criticism department of the journal otechestvennye zapiski, and as for the second part, the count could not complete it, he very much... killed his wife, and what happened next, if you remember, the novel the saga of the forsytes in golsooers, there is a similar situation, there is such a not very nice character named soames, he has a young beautiful wife, whose name is irene, irene also has a romance, a lover, then at some point, somsk, as said, uguse orsay entered his wife's bedroom and restored ownership rights to it, something similar happened in samara in 1800... in

the year eighty-two, and so the future soviet classic was conceived, that is, the future writer was born, if you call a spade a spade as a result of spousal rape. after this, the countess left the house, left the house and discovered that she was pregnant. and she wrote to bostrom that - take me to you, if you accept me, we will live together happily, if not, i will understand you. and nobility competed with nobility, he accepted it, they began to live, get along, be good to make money on his farm in the volga region, where alexey nikolaevich was actually born. and the most interesting thing, in the story of his childhood, his growing up, his youth, is that until the age of 13-14 he knew nothing about it, that is , he simply grew up on this farm with the peasant boys, and later spoke with the peasant girls and he quite

rightly said that if none of this had happened, he would not have turned out to be the writer he became, and this is the absolute truth. we continue, this is alexey tolstoy’s podcast, with you the writer and rector of the literary institute, alexey varlamov. it must be said that alexei tolstovo’s attitude towards the february revolution, like that of most russian intellectuals, was, well, quite calm. it must be said that he did not like the last russian tsar, and he believed that the tsar was weak, that the tsar was to blame for the fact that russia was being haunted by military failures, therefore, when the february revolution took place, with his original democratic popular ferment, he reacted to this is quite favorable, the only thing is that he had such a sign, he lived in moscow, the sign on his apartment was count tolstoy, which could be understood in two ways, either count tolstoy, or citizen tolstoy, this dexterity also, of course,

reflected his character, but then the october revolution took place, which in moscow took place much more severely bloodier than in petrograd, there was one here. civil war, it must be said that tolstoy at that moment was most likely experiencing confusion, he initially did not have a negative, such a sharply categorical negative attitude towards the bolsheviks, he rather, in the bolsheviks i saw such a pack of tit wolves, which is called upon to destroy in russia everything that is relaxed , everything unnecessary, everything sick, everything superfluous. the forests that will play their role will go away, and then a strong, mighty russia will develop and move forward, therefore i say, when the revolution happened, at first he took such a wait-and-see position, unlike his friend ivan bunin, they were really very friendly and were neighbors in moscow, if bunin

took such a categorical position of rejection soviet power, bolshevism, damned days, then tolstoy’s conflict with the bolsheviks begins in february 1918. for the sake of saving the revolution and for the sake of saving his own skin, lenin concludes an obscene, as he himself called, brez peace with the germans, this is the point of no return for tolstoy, this is what he cannot forgive the bolsheviks, because in his eyes this is a betrayal of the national interests of russia and this is a very important thing for him, returning to bunin’s memoirs, bunin portrays tolstoy as a person absolutely... this is the definition of fyodor salagub, and bunin in general absolutely agrees with him, this sanguine person, this epicurean, this person for whom the main thing in life is to have fun, has no ideas from bunin’s point of view maybe this is not so, alexei

tolstoy certainly had ideas, and his main idea is really a patriotic idea, this is really a state idea, that’s why he didn’t like nicholas. believing that he does not meet the role he should play russian sovereign, that’s why he hated lenin, when he saw this with the stroke of a pen, they gave up hundreds of thousands, there are tens of thousands of square kilometers of russian territory, which was watered with blood, for which millions of russian soldiers gave their lives during the first world war, just like that take and give, he could not forgive the bolsheviks for this, from that moment his sharp, ideological spirit began. conflict with the bolshevik authorities, in fact, this is the reason that in 1918, together with his family, he leaves, leaves the soviet

russia, ends up first in ukraine, first in kharkov, then in odessa, then one of the first russian emigrants, from odessa, he goes to constantinople and then ends up in paris, and in fact, why this story is still very important, because he... writes in one of his works, in tolstoy’s diaries in his memoirs there is this path of russian emigrants who go from odessa to constantinople, a bitter path, russian migrants, exiles, losers of their country, losers of history, go into exile, they cry, they pray, they drink, they suffer, they play cards, what does alexey tolstoy do, he works, he sits on... and writes, this, by the way, also reflected his most powerful, mighty character, you know, he sometimes reminds me of scarlett o hahara from the novel by margaret mitchell, gone with the wind and by the way, the parallel is not without meaning, because of course, what happened in russia in 1977 is partly similar to

what happened then in america, yes , this is the death, the destruction of the old world, the birth of a new civilization and a strong man, as you remember, scarly tokha says: my family will never starve, for alexei tolstoy this is very important, no matter what, my family will not starve, and he always had a big family, he had children , he had one wife, then another wife, but he really was a very good, very faithful family man and the interests of the family were very important to him, so he first finds himself in constantinople, then he finds himself in marseilles, then in paris, and in fact, alexey tolstoy is one of the first representatives of the first wave of russian emigration and he creates, in fact, the first major work of this famous future literature of the russian emigration, and

what will happen is bunin aldanovskybokov , this very conflict begins, as a result of which he spat with the russian emigration and moved from paris to berlin, why to berlin, because berlin, germany, which, as we know, means in 1918 after the defeat of the world war. its own revolution took place, the kaiser was overthrown, and so germany became the first country that in 1921, when in general it became clear to everyone that soviet power had survived and strengthened, germany had first entered into trade, then diplomatic relations with the soviet union and germany, berlin became a city where both white and red russians met, because entire districts of berlin, emigrants lived there. and at the same time, soviet writers, soviet writers, yesenin and

mayakovsky, andrei bely, and many others, they came to berlin, and berlin became such a bridge between emigration and the metropolis, that’s where alexey went tolstoy, it was there that he began publishing the famous newspaper the day before. this means that the newspaper the day before was such a brilliant, cunning project, which was to conduct propaganda into migration, very romantically, very idealistically, the russians in exile created the greatest masterpieces of literature, culture, science, technology, it’s all true, but this is not the whole truth, and the first, especially the first years of emigration were painfully difficult, when people were brilliant.

albeit not as prostitutes, but as servants, when officers had to become lackeys waiters, we remember all this, there in bulgakov, for example, in the bek play, they had a difficult situation, and the soviet government had its own task, because the civil war, emigration knocked out qualified personnel, knocked out specialists, doctors, teachers, there was power. .. is interested in returning them, so the newspaper the day before was just conceived by the kremlin, as a seemingly independent newspaper, but which showed, here are the successes, achievements, at least, the absence of war and terror on the territory of soviet russia and she had a literary application, which was headed by alexei tolstoy, and he saw his task as publishing both those writers who were in exile in paris or somewhere else, and those who were in soviet russia. that is, he really wanted to unite them, this has always been characteristic

of him, to unite, to try on the most different sides, so when he begins to publish this newspaper, then at that moment the immigration rebelled against him, because everyone was not fools, everyone understood perfectly well, what was directed against and what, it was clear to everyone that he was, as it were, corrupting the russian emigration, and other people could follow his path, so it was the emigrants who told him, exactly... let’s say, it was they who said whoever was published in this newspaper would be cursed, so in the end, in general , nothing really came of this project, but so he returns to the soviet union, immigration perceives this as a betrayal, they say that he sold out to the bolsheviks, in fact, this is all nonsense, he returned to soviet russia, like in a cage with a tiger, because who was he in the eyes of the bolsheviks? in the eyes of the bolsheviks he