the masterminds of this kind of crime, i don’t think they have any reason to sleep peacefully. it was a great game, we'll see you on the air tomorrow. i am a mother of two children with diabetes mellitus, i am grateful to our country that we have begun to produce our own insulins, that we have continuous monitoring systems and are becoming available to all children, so that everything is fine with us and even better, i have huge impressions, a huge feeling of gratitude for my country and that i live here, in all centuries. sons of the homeland who will defend,

when troubles come, i want to wish everyone that they find their home, find their happiness, their love, russia is great, we are its future, i will not let it down. hello, my name is dmitry bak, i am the host of a literary podcast called let them not speak, let them read, our first guest today is no less than anton pavlovich chekhov, we will talk about him today and we will talk with wonderful guests, this people's artist of russia, theater actress evgenia.

hello, yulia ilinishna, and boris nikolaevich lyubimov, theater historian, literary critic, rector of the higher theater school named after mikhail semenovich shchepkin. hello, boris nikolaevich, let's start with this historical question. so it is believed that out of the entire 19th century , only three russian writers are relevant to the whole world. leo tolstoy, fyodor dostoevsky and anton pavlovich chekhov. so how do you feel about this? very positive, only from my point of view there are not three of them, but much more, it’s just that the whole world, as if for itself, decided this way for the end of the 9th and the entire 20th century and i transferred this to 21, who still knows how to read, that in russia there are, perhaps, directions so bright and so different, because dostoevsky is tolstoy. this is not dramaturgy, but chekhov -

in addition to stories, this is a great dramaturgy, on which russian theater was largely brought up? well, i would probably, even speaking from someone who knows who in the west, i would still include ivan sergeevich turgenev, of course, maybe at first they knew him even more than dostoevsky and leo tolstoy, well, let’s say , in the sixties, 70s years, now i think that maybe not anymore, on the other hand.

began with dostoevsky, this is understandable , his special courses were banned in venice, well, that’s how it turned out, not to turgenev’s lunch, that after all, from an external point of view, his meaning described some kind of trajectory, from our point of view no, he doesn’t know anything , it seems to me that in this sense chekhov simply turned out to be less vulnerable from the point of view of time, he is some kind of amazing writer and playwright, because what... he wrote

then, today, when art is said 21st century, it touches on such eternal themes, it is so subtle in its point of view.

in my life there was such an amazing meeting with ratfield, i know that many people don’t like him, but the point is not that someone loves him or doesn’t love him, let’s tell our interlocutors that rayfield is the author of a biography of chekhov, about which there is a lot they argue, yes , they argue a lot, this is the kind of book in which he immediately aroused my respect, yes, as it seems to you, boris nikolaevich, in general, the fact that i’m sitting next to you, i feel like a little uninvited. went to all points, starting from taganrog everywhere starting from childhood in schools, in the choir school, when he was a singer, what kind of house, how he was brought up,

family, relationships with brothers, sister, mother, yes, in there like that, then everything, everything that about chekhov, it’s so documentary and ... suddenly, i couldn’t understand why he writes comedies, so we start rehearsing, why with comedy, you understand, in fact, as we grow up, we understand that you can’t communicate with great writers if you’re playing them , like a bandicoot who stands near the monument, i don’t i’m talking about omikashonism, god forbid, you should follow it, but find some juices and furs that hook you into it?

including sexual relationships, well , the artist chekhov, in my opinion, here i ’m speaking on my own behalf, is still pushed somewhere into the distance, i don’t really understand, even, dear mr. donald rayfield, whether chekhov feels like we do, like you? that is, well, not everything is so indisputable, but the fact that he once got into

you made you, he got into a lot of people from the point of view of precisely these details that you are talking about speak to the negative for us artists, but you said that so much has been written about the artist chekhov, and how about our god, and then a lot, and he in no way begs his dignity and you can yes, but the fact that he gave the raw material for understanding chekhov, what kind of character he had, for me it was undoubtedly priceless, nikolayevich said, but for you, how it all started with chekhov, in a strange way, for me, well, of course, also from stories, but much more mostly from the plays, yeah, i'll tell you. nine, when i started reading his plays, the thing is that it’s clear father, adored the art theater, the shelves of books are not only writers there, but also everything that was about the art theater was written

and published there in the nine hundred, ten, twenties, one second, nikolai mikhailovich lyubimov, a great translator, yes, but just in case, i emphasize this. and ivanov also read many of his significant novels and short stories before he did, and there’s chekhov’s housemate, so i knew that much, let’s say. by the age of ten, and i knew drama everywhere, and also knew who was who, by the age of ten, yes, this is important, by the age of ten, i

i can, you know, so that it doesn’t look like tailoring, but really, we were then living in an old apartment on mayakovsky square, and the wife of the then-living boris viktorovich tomashevsky, a wonderful pushkin scholar, irina nikolaevna medvedeva tomashevskaya, came to us, a well-known literary figure. she came to our house and dad said: this is irina nikolaevna, this is what my parents told me, i said how arkadina, that is, i have a child, she looked at me with some horror, because in general an eight-year-old child is not should know the name of arkan, that’s why, of course, through plays, though i must say that chekhov in my early childhood or...

it turned out that for the last 10 years i ’ve been reading at the nikita mikhalkov academy that such a strange special course on the history of russian culture from the times of chekhov and bunin . this is a free, so to speak, author's course, i start this story there, here is chekhov's childhood, here is bunin catching up with him , they are 10 years apart, this one is already writing his first stories, he is not writing them here yet, he is also being kicked out of the gymnasium, now first poems and bunin’s stories, and the checker has already... gone to sokalin, and so to speak, as far as i can run , i’ll run there, but at the same time i have to

re-read again some works about chekhov and some of his stories that have long been no longer i read, this is again my next question: is there a favorite non-dramatic thing, i can say this with absolute certainty, yes, a student, and this is a story about how seminarian ivan velikopolsky returns in bad weather.

there is contact. results of the year with vladimir putin. december 14, at 12:00 moscow time time. rum. castro, a product of stellor group. do you have any favorite things? you know, i can say that the jumper, the student,

the gooseberry and many stories in general, it is very difficult to choose a favorite, but for the last few years, whether you want to laugh at me, boris nikolaevich or not, but the story “i want to sleep” has won everyone , what are you, because i so often want to sleep to such an extent that, in chekhovian style, yes, when they ask me, well, now what, i say, now i want to sleep. no, well, he has some kind of aching and light and gentle and sublime and somehow... i can tell you, he is somehow so that a person is perceived by him as real, you recognize the person, you recognize the character, he has such an amazing, characters are written in the stories in the plays, they can be in that on the other hand, how many options , how many directors and so on, in whatever ways they didn’t do it, i was shocked when once

a seagull, that each character is in love with the next one, yes, yes, yes, it’s such a chain, a chain, a chain is unreal.

such acuteness, you know, of the perception of everything, and this is a disease, and this is a discrepancy, in his love the bookkeeper leaving all the time, this is happiness , which, strictly speaking, does not exist at all, and in general, yes, he understood that he was leaving, he understood that he was dying, this is champagne, you know, this has become a household word, here i am i think that this is their shterbe, as if it wasn’t necessary. uh-huh, well, i want to sleep too, there are other phrases, well , for example, the famous phrase from a letter to olga leonardovna about carrots, yes, you ask what life is, he writes, i’m roughly retelling it, chekhov writes to his wife, well, it’s all the same to you asked what a carrot is a carrot, it is a carrot, he says , you can’t say more precisely, yes, but what follows

is the most important thing, and no one knows anything else, well, that is, we are used to thinking that a hand... is a limb, a sofa is furniture, a christmas tree - this is a tree, that is, we know this way , as if yes, generalizing, but he says that a tree is a tree, a carrot is a carrot, a hand is a hand, there is no need to put anything under anything, but - in my opinion, after all, there is a paradox here, yulia ilinishnoy, maybe you will not agree, but the light breaks through very great pessimism, yes, yes, this is its value, because petya trofimov says that we... they are very close to moscow, here is an endless train to moscow, to moscow and work, so sit on train, you know, at some point,

when i watched a play by pyotr naumich, which was different, there were wonderful acting works. but in general i wanted to tell me, galya, ksyusha, kudepova, yes there, polina, yes, get on the train, i heard this in the reading by viktor rozhakov, the reading was like that, well, the first one with a corpse there, and it’s very i quickly, quickly read the familiar text, well, just to get used to it, and i thought the same thing, what was stopping me, what obstacles, despite all the beauty, sublimity, tragedy of masha and... this very verkhinina, yes, at the same time the orchestra sounds, it goes away, yes , and yet it still feels like, wait, girls, it’s all like this, why didn’t you take at least some step, but wild garlic is tararabumbia garlic, i’m sitting on tumbia, it’s hot in africa, that’s how it is it’s paradoxical that it turns out that the most important phrases are empty, well, he’s in

he also writes letters, he has a serious relationship with the intelligentsia, boy. in it, after all, well, it’s amazing when the russian-japanese war began, and it’s already clear that he will soon tell their staff, after all, he’s a doctor, he says: i’ll go to war as a military doctor, mother honest before my death, and he too it is, so to speak, perceived in this way. it is very important that this is also a response to endless criticism, there is creativity out of nothing, the absence of an ideal, the lack of sympathy for the heroes, this is a common place, the maninovs, because they are like no, in fact, i don’t, because i just made a program for the 150th anniversary of sergei vasilyevich and it’s amazing that when one of

the first tours was with chaliapin, it means with rachmaninov, who accompanied, that everyone rushed to chaliapin, you surrounded , rocked, yes, only one, no one paid attention to the pianist, only one person approached rachmaninov and said, you have an amazing face, you will be a great man. and rachmaninov wrote that when i die, i will remember this with great joy, and then, when he was already in emigration and got used to america everywhere, there is tsuriya khvena, he wrote that now i’m reading chekhov’s four-volume work, i’ve already read two volumes, what a horror, when i read the rest, my conversation and contact with him will end with horror, because he relied so much . for him, the czechs, like bunin , were so huge, they even look similar in some ways, this type, there could be relatives, because, because the sister

could get married, yes, but she married as a nun to her brother, dedicated my whole life, well, here are my dear guests in the middle program, we do one of three things with you, either comment on a poem, or show an old book, or quote: classics, prose, in this case an old book, it’s not very old, it ’s the eighties, it’s a book in the twilight, it’s a collection chekhov's stories, which in the twelve-volume edition fall into the fourth volume , are usually not the most famous things, but a curious story alexander chekhov, his beloved brother, is overseeing the publication of this book, then in 1887, this is generally a commercial project, alexey sergeevich suvorin, playwright. chekhov's publisher collected stories that were mainly published in the newspaper novoye vremya, which he also published , and offered to publish them, look, what

an anecdotal story, chekhov sends a list of these sixteen stories, and wants to dedicate them to grigorovich, and indeed the dedication to grigorovich is here there is, but in his own spirit he writes a comic dedication to the holder of russian and foreign orders, he writes to his brother. and my brother , as a joke, inserts this into the proof and sends it to the czech, then he is horrified, well can you imagine, a book comes out with this ironic dedication to grigorovich to the most respected author, alexander pavlovich dissuades him, but no, i was joking, in a word, there are many wonderful stories here, by the way, such a dialogue arises between them, in the twilight, the name did not appear right away , this is such a dual title, as if on the one hand it is peace, when we... think about something, on the other hand, it is some kind of darkness or twilight, yes, this anticipates the next, one of his next collections,

which is clearly called gloomy people, alexander chekhov writes, well, twilight , a bad name, not very many butterflies will fly at twilight, come up with a name like the railway, like the death of the executioner on the ashes of judas, or part of... an aspen tree, with judas’s belly on it to hell with feet on the right and so on, that is, this is an endless comic exchange procedure, and here reviews are offered for all the stories, here is agafya, here are the enemies, here is such a beautiful witch , a wonderful story, a wonderful story, you know, also about this i thought if i wanted to sleep and witches, every year the students of the academy are different and... every time they analyze different stories, i always think, this is what will be taken, say, at one time - stories were selected, just from the nineties, this is

what we love, there, late things, this year i keep saying, guys, that you keep pushing me backwards, so to speak, including the witch, i want to sleep, which means that this works not only, let’s say, for, i must say, people already adults, but even today’s youth, something in these... correspondences, great, we talked about this book, well, what else can i add, that after this book a completely new stage begins, and the milestone is a trip to sakhalin, he

is leaving... leaving his house on sadovaya kudrinskaya, from the komoda house, just where the museum is now, come, and then it’s melikhova, on the one hand there is prosperity of some other level, on the other hand there is a tragic distance from moscow, from the theater, then yalta to the south, to the south finally badenweiler, that place is not there, there is also his house in gurzuf, amazing, well yes, this is a dacha, yalta gurzuf.

well, not feigned, but rather annoying tolstoy, because there is a famous phrase when lev nikolayevich says that he watched uncle vanya, uh-huh, he got furious, he came and sat down to write a play of living trumpets, that’s why he hated it, well, they hate it too much, they don’t just don’t like it. hurt, touch, of course, if later he’s there about uncle vanya, well , what is it, well, living in a village with a cricket is so, so wonderful, but if a professor pesters his wife, that’s terrible, that’s why there’s something in the village tanka and manka, and so to speak, with consciousness, but the professor’s wife is not trembled, not troche, and of course, such a person cannot dine with a flaubert and a mapasan, live in paris, this is our organic russian genius

that we talked about. with vladimir mlech and svekla tolstaya. let's talk more than once. i remind you that today we are talking about anton pavlyvich chekhov, with wonderful interlocutors, with the people's artist of russia , actress of the yevgeny vakhtangov theater, yulia ilyinishna rutberg, with boris nikolaevich lyubimov, theater critic, theater historian, rector of the higher theater school and... . a new century, a new millennium , the olympic games were organized, so some incredible person appeared, zholdok tubilevich, the fourth, which means someone of such a huge size, with such a nose,

osiledi. here, yes, well, this is something insane, i have to tell you that before that i had an amazing meeting with chekhov, very difficult, but fantastic given to me by the lord god, this is grisha kozlov, when we left for bulgaria and there for 24 day, for a second there were vanya latashev on stage, well, this is actually something, sasha bargman and my dream.

well, nothing happens, and we are waiting for vlasov, who plays brothers and sisters, and vanya and i are hammering out the text, suddenly he says: well, let’s do it for the last time, i say yes, my deceased walked up these stairs to love. mom , vanka closes the book and says: “where your late mother went to love,” you tell someone else, and we start to laugh, just excuse me for this word, because it’s not laughing, it’s just laughing, the next day on rehearsals, we get behind this stage, and i'm talking around this room, only you’re right, i have such crazy eyes, a smile, i say, my late mother loved to go, it’s just, suddenly grisha says: stop, what happened just now, why like this? he says, it’s so wonderful , that’s how it was to remember now, yes, you know, there are some things that are very difficult to explain with zholdok, it was such a tarantino performance, but there were such amazing

artists, and he offered us such a tempo , because there seemed to be all the schools, mastering chekhov in different ways, there was mirholt, gratovsky was there, anton artaud, it wasn’t my theater, how... i’ve never seen theater artists play like that, what they promised you, it was somehow wonderful, in general, i still have some kind of memory from it the flight of ours, so we were all like seagulls from the sides, it

was a half-clown, so we tried to find some other space, our performance won at this olympics, this was the attempt of the most talkative. and the zholdog himself needs new forms, and we tried to fill these new forms, you can imagine we were all in two casts and tanechka drubich plays nina, she’s on a high, high platform there, just like that her head suddenly she throws off a rag, it’s like a huge dress on her head and people, lions, eagles and partridges, came that day solovyov, she was terribly worried, it was not me who played, natasha kolikanova. and you can imagine, i’m in the hall, suddenly tanyunya, beautiful, tanechka drubich, simply, she says, people, lions, eagles and partridges, and even under the spotlight up there, we see how she turns white, she’s got everything,

suddenly stands up arkadina, natasha kolikanova, says, all lives, mom continues the monologue , she says, i don’t know, what is it, it was chekhov, it was chekhov, because this love, hatred of the mother and him, it was me just standing in the hall, because something divine happened, there arkadina makes all sorts of remarks, of course, suddenly she reads for, she knows this monologue, it was divine direction and i am eternally grateful. and grishenka kozlov, and my divine st. petersburg boys, and bargman, and latashev, and vlasov, the kingdom of heaven bekhterev for this performance, you know how to say, i dived into chekhov, you know, when chekhov’s text, i

start to vibrate, either it’s yes, and i, or suddenly i start to vibrate, i really want to continue there, i know a lot, i ’ve learned a lot, because chekhov has become close and dear not only with my eyes, ah... “well, yes, nothing, yes, he didn’t believe in the theater , he kept laughing at my dreams, and little by little i also stopped believing and lost heart, there was the care of love, jealousy, constant fear for the little one, i became petty, insignificant,

i played senselessly, i didn’t know what to do with my hands, i didn’t know how to stand on stage, i didn’t know how to in a voice, you don’t understand this state when you feel that you are playing, clearly, i’m a seagull, no, that’s not it, remember, you shot a seagull, a man came by chance, saw it, and, having nothing to do, ruined it, the plot... for a short story , this is not what i’m talking about, but i’m talking about the stage, now i’m not like that, i’m already a real actress, i play with pleasure, with delight, i get drunk on the stage and feel wonderful, and now while i’m living here, i’m still walking on foot, i keep walking and thinking, thinking and feeling how my mental strength is growing every day. "i now i know, i understand, i understand, kostya, that

in our business, whether we play on stage or write, the main thing is not fame, not brilliance, not what i dreamed of, but the ability to endure, know how to bear your cross and believe, i believe , and it doesn't hurt me so much. when i think about my calling , i am not afraid of life, great, today we talked about chekhov, and the prose writer and playwrights, and the man, thank you very much, dear friends, this was a podcast, let them not talk, let them read, hosted by dmitry bak.

hello, this is a podcast of witnesses from einstein, where we, film historians natalya ryabchikova and stanislav didinsky, we talk about who and how created famous, little-known, cult, forgotten soviet films. today our program is dedicated to a film that is known under two names: zastava ilyich and i am 20 years old. it was filmed by marlen khuttseev. why does this film have two titles, how did it happen that it was filmed around... 5 years, and there are two versions of this film, which is what we will talk about today. so, what happened before the film zastava ilic, we need to start with this, who is marlen khutsiev? well i'd say that there were two authors who worked in tandem, these were marlen khutsiev and felix mironer, they had one coat between them, because benost was such among the students that they, as their friends recalled, went to vgik to study ... this it was in the late forties, yes

, actually post-war moscow, here are two students who live in one room, in a dorm, have only one coat between them, so they go to lectures in shifts because of the cold weather, but it is precisely this friendship that begins in those years, becomes for them, the basis of their working relationship, first they have their own joint directorial proposal, their own joint thesis work, then they have the joint work of a city planner. and finally, their finest hour, the film “spring on trans-rechnaya street”. well, firstly, this is one of the most famous thaw films, a symbol of thaw cinema, the thaw before and that era of the sixties - this is the time of summer rains, spring rains, this trend is set in many ways, of course, by the film "spring on the street" , with which the well-known biography begins khutseev, as a director, after which he wakes up famous, then their paths diverge, but not quite, they shoot almost... temporarily in odessa marlena

martinovich khutseev shoots the film two fedors, where he makes a star, then still a student of the directing department, a student mikhail romm, vasily shukshin and on these sets he becomes a mentor to another future famous director, andrei torkovsky, in general, their paths with mironer seem to diverge on the one hand, they have their own projects, on the other hand they want to work together submit a new application. which is called lich's outpost. and this happens somewhere at the very, very end of the fifties. already gorky's studios in moscow. what's in this application? four friends, young muscovites, all workers, work at the same factory. one of them has just returned from the army. and so he goes to the factory and joins back into this peaceful moscow life. his friends, one of them...

this is a man, gennady shpalikov, he is the star of his course, they talk about him on every corner, he is still a student, he starts working in cinema, but absolutely everyone already knows him, so fame about shpalikov reaches khutsiev and he decides to involve him absolutely, it would seem, a screenwriter with zero filmography, nothing

really has been filmed yet, but nevertheless shpalikov is truly a singer of the thaw era, and it is logical. firstly, the number of heroes is reduced, four friends is a little too much, they remove one, the youngest, and remove this older friend from the factory. which should represent the older wise soviet worker, this is the stamp from which the kenographers themselves began everything, but at the same time one conflict remains , which is written in the script: the main character sergei meets a girl who, as it is written, is from a good, decent family,

and she has a slightly different company, not working boys, she has a prosperous family , an arranged life according to... she also has a fiancé, in the film he turns out to be an ex -husband, it seems to me that it was also palikov who brought some more modern moscow relationships at that time, and sergei the hero at some point from -for this girl, because this other environment begins to move away from friends, the application left the ending open, they all get together again, but what will happen to them is unknown, but this is absolutely the story of reflection. generation about how to live further, in general, this question in the film was ultimately voiced openly, but what else did shalikov bring there, he brought there, he brought there physically, his company, his friends, geeks, future celebrities, in the film a company of golden youth appears,

this term is used, of course, in in a negative sense, then those who discuss this film appear there: two of his friends are played by stanislav lyubshin and nikolai gubenko, so popov’s hero ends up at a party where they joke about something extremely dear to him, according to the script, we see shortly before this the scene when his mother remembers the military.