chekhov was connected with anguish, with some kind of, it’s not that someone loves him or doesn’t love him, let’s tell our interlocutors that rayfield, the author of a biography of chekhov, who argue a lot, yes, they argue a lot, this is such a 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 an inconsistency, not invited, i feel like when i’m sitting next to you, so you understand? when a person spent so much time with documents and 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, how he was brought up, family, relationships with brothers, sister, mother, yes, in there like that, then everything , everything about chekhov is so documented, suddenly, i couldn’t understand why he writes comedies.

and the main complaint is not mine, that here , well, there seems to be no balance between the artist and the person, that is, there is a lot of too much human, a lot of attention is paid to how he lived, how he entered into tolerance, for example, this occupies a very important place there, and so on and so forth, his illness, hence all personal, including sexual relationships, but well, the artist chekhov.

well, how did it all start with chekhov in a strange way? of course, i also started with stories, but to a much greater extent with plays, i’ll tell you, and very early, i was probably 7-8-9 years old when i...

many of his significant stories and short stories, and there is chekhov’s housemate, so i knew this volume, say, by the age of ten, and dramaturgy he knew everywhere, he also knew who was whom by the age of ten, but this is important so that it does not look like tailing, but indeed, we then lived in an old apartment on mayakovsky square, a famous literary wife came to us. the then still

living boris viktorovich tomashevsky, the wonderful pushkinist irina nikolaevna medvedeva tomashevskaya. she came to our house and dad said: “this is irina nikolaevna.” this is what my parents told me, i said like arkadina, that is, i have a child in my head, she looked at me with some horror, because in general an eight-year-old child should not know the name of arkadina, that’s why, of course, through the plays, however, i must say that chekhov in my early childhood, or these were old and dying performances of the art theater, yeah. which, say , there was little left of the director danchenko, but there, well, marvelous scenery and so on, and individual acting works, mushrooms chabutykin, orlov, kulygin, everything else was already the same and burn it, such

a chronicle of diminishing fertility was, and so this it’s been going on for quite a long time, now this has happened to me for the last 10 years... 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 the 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’s not writing them yet, he’s still being kicked out of the gymnasium, now he’s already got his first poems and stories by bunin, and he went to sokhalin for checks, and so to speak, as far as i can get, that’s it. .. i’ll make it, but at the same time i have to re-read - and some works about chekhov and some of his stories that i haven’t read for a long time. this is again my next question: do you have a favorite non-dramatic thing? student, student, i can say this absolutely precisely, yes, a student, and this

is a story about how seminarian ivan velikopolsky returns in bad weather with alacrity, they see that everything around is terrible, and there is a phrase that... was heard a sound as if someone was blowing into an empty bottle somewhere, this is an absolutely brilliant thing, so chekhovian, and then suddenly it turns out that everyone is connected by one chain with those times where the apostle peter denies christ three times, and that bad weather does not interfere with this connection of times , and this is good friday for us, suddenly we understand this, but this is such a day, and he is not a student of the philology department,

but do you have any favorite things? you know, i can say that the jumping student, the gooseberry and many stories in general, it’s very difficult to choose a favorite, but yeah. last few years, whether you want to laugh at me, boris nikolaevich or not, but i want to sleep in the story, i defeated everyone that you, because that 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, yes, no, well, there, he has some kind of yearning and light and gentle and sublime. some kind of, how can i tell you, he’s some kind of person that he perceives a person as real, you get to know the person, you get to know the character, well, it’s so amazing, in the stories in the plays the characters are written, they can be in one direction or the other,

there are so many options , how many directors and so on, in what ways they didn’t make me i was shocked when the seagull once was that each character is in love with the next one, yes, yes, yes, it’s such a chain.

in chekhov there was some kind of sharpness, you know, but the perception of everything, and this is a disease, and this discrepancy in his love when leaving. i’m roughly paraphrasing, chekhov writes to his wife: well, it’s the same as if 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 is a tree , that is, we learn, as if yes, generalizing, but he says that a tree is a tree, a carrot is a carrot, a hand is a hand,

why didn’t you do at least some then a step? but wild garlic is garlic, and tararabumbia, i

’m sitting on tumbia, roasting in africa, somehow paradoxically it turns out that the most important phrases are empty, well, he also writes in letters, he has a serious score with the intelligentsia, guys, why you, yes, why do you just talk all the time, why don’t you do anything, at the same time, the church, the hospital, everything that is possible, an honest mother before her death, and he , so to speak, perceives it in this way , it is very, 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 to the heroes, this is a common place in criticism. they have an amazing relationship with rachmaninov, because it seems like they don’t exist, in fact they do, 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 him, that everyone rushed to chaliapin, surrounded him, rocked him , yes, only one, no one paid attention to the pianist, only one person approached rachmaninov and said, you have an amazing face, you... leaned so much, for him chekhov was, like bunin, somehow so huge, they even

look alike in some ways, there is this type of intelligentsia, they could actually be relatives, because, because the sister could marry, known, married as a nun for her brother and dedicated her whole life, well my dear guests, in the middle of the program, we do one of three things with you, either comment on a poem, or show an old book. or we 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 of chekhov’s stories, which in a twelve-volume set are included in... the fourth volume is usually, these are not the most famous things , but an interesting story, alexander pal chekhov, his beloved brother is overseeing the publication of this book then in 1887, it is generally commercial project, alexey sergeevich suvorin, playwright, publisher, chekhovo collected stories that

were mainly published in the newspaper novoye vremya, which he also published, and offered to publish them, look how anecdotal they are. history, chekhov sends a list of these sixteen stories and wants to dedicate them to grigorovich, and indeed there is a dedication to grigorovich, but he writes in his own spirit - a comic dedication to the holder of russian and foreign orders, he writes to his brother, his brother inserts this into the proof for the sake of a joke, and sends something, then he is horrified, well , imagine, a book comes out with this ironic dedication to grigorovich to the most venerable. to the 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 immediately appear, it is such a name, dual, as if on the one hand it is peace, when you can 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 many butterflies will fly at twilight, come up with a name for the railway, like the death of the executioner on the ashes of judas, or part of the aspen tree, on which judas is the belly of a coadu feet on the right and so on, that is, this is an endless comic exchange procedure, and reviews are offered here.

there are late things, this year i keep saying, guys, that you keep pushing me backwards, so to speak, including into the witch, i want to sleep, which means that it works not only for, let’s say, people who are already adults, but even today’s youth, something in these stories, specifically in the stories of the eighties, because we somehow neglect them a little, like as if, well , we’ll quickly read this, it’s before the checks are so-so then.

to sakhalin, he leaves his house on sadovaya kudrinskaya, from the komoda house, just where the museum is now, come, and then melikhova, this is, on the one hand, prosperity of some other level, on the other hand a tragic distance from moscow, from the theatre, then yalta to the south, finally to the south badenweiler, but no, there is still his house in gurzuf, an amazing season. this was what was happening, this little house, everything there is imbued with this spirit of communication, and you see how chekhov influences people, but tolstoy’s famous phrase that shakespeare, of course, is a barbarian, but your play is even worse, says, yes, but this is important, what is it lev

tolstoy says, tolstoy, three writers who were named, and tolstoy could not stand chekhov. annoying tolstoy because there is here it was not feigned, but perhaps the famous phrase, when lev nikolaevich says that he looked at uncle vanya, got angry , came and sat down to write a living trumpet, that ’s exactly what he hates, hates, not just doesn’t like, then he’s also there about his uncle vanya, what is it like, well, living in a village with a cricket is so, so wonderful, but if you pester your wife.

chekhov with wonderful interlocutors, with the people's artist of russia, actress of the evgeni vakhtangov theater, yulia ilyinishna rutberg, with boris nikolaevich lyubimov, theater critic, theater historian, rector of the higher theater school named after mikhail semenovich shchepkin. yulia lenishina , tell us about your work in chaika in 2000 on...

given to me by god, this is grisha kozlov, when we left for bulgaria and there in 24 days, for a second there were vanya latoshev, seryozha bekhterev on stage, well, that’s all something, sasha bargman and seryozha vlasov, my dream is to work with the dodintsy and katsmanovtsy, she, and especially with seryozha bekhtem, i’ll honestly tell you, what a year, what a year, oh, shaggy, 30 years ago, okay, and grisha kozlov and we... for a second, that means poyarkov, he wrote such an idea that all the climactic scenes from all the plays, i was one woman, and

the guys, everything that happened there in this performance, fantasies , i remember this as such a miracle, because at the beginning i came out as a first who was dying, there were four czechos, they were all dressed in different clothes, they were dissecting me, at some point, when they wanted to cut me, i threw myself off like...

what happened just now, why like this, he says, 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 ah, there were such amazing artists, and he offered us such a tempo , because there seemed to be all the schools there, mastering chekhov in different ways, there was myrholt, there was gratovsky, anton artaud. they promised that you would play like that, i’ve never seen theater artists play like that , what they promised you, it was somehow wonderful, in general i still have a... from

this is some kind of flight of ours, we were all like seagulls with side-nosed mosses, it was a half-clone, so we tried to find some other space, our performance won at this olympics, this was an attempt by treplev himself, zholdog himself, we need new forms, and we tried to fill these new forms, you can imagine, we all had two compositions. here tanechka drubich plays nina, she ’s on a high, high platform there, that’s her head and suddenly she throws off a rag in her head , it’s like a huge dress and people, lions, eagles, partridges, that day solovyov came, she was terribly worried, i played for me, natasha kolikanova, and you can imagine, i’m in the audience, suddenly the beautiful tanyunya, tanechka drubich, simply, she says, people, lions,

eagles, partridges. and even under the spotlight there we see how she turns white, and suddenly arkadina natasha kolikanova stands up, she says all her life, her mother continues the monologue, she says , i don’t know the play, it’s that she even knows her son’s monologue by heart, it was such a discovery , it’s crazy, it happened involuntarily god.

you know how to say, i dived into chekhov , you know, when chekhov’s text, i start to vibrate, either it’s me and i, or suddenly i start to vibrate, i really want to continue there, i know a lot of things, because chekhov became to loved ones and relatives not only with their eyes, but with their body, soul, gesture and most importantly the nervous system, so i would say this, read it to us, oh, well, now it’s going to be the unified state exam, yes, i don’t know, i can’t take it... however less, why do you say that you kissed the ground on which i walked, i need to be killed, i’m so tired, i should rest, i’m a seagull, no, that’s not it, i’m an actress, well, yes, and he’s here, 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.

here is 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 couldn’t control my voice, you don’t understand this state when you feel like you’re playing, terrible, 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, beat the plot for a little 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 i feel beautiful, and now while i’m living here, i i keep walking, i keep walking, and i think, i think and i feel how

my spiritual strength is growing every day, i now know, i understand, i understand, kostya, that in our business it’s all the same 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 by faith, i believe, and it’s not so for me. it hurts, when i think about my calling, i’m not afraid of life, great, today we talked about chekhov and...