i actually recommend doing this; a few years ago a new translation by evgeny anegin into english was published, and stephen fry read it. even if you don’t speak english, but you know the russian text, listening to how stephen fry reads, evgeny anegina, it’s just another recommendation to you, an incredible amazing pleasure and he, unlike most people who read anegina, understands very well what alexander sergeevich pushkin writes about. because just for fry this is a love story in the traditions of english, but most of all , but this is also something that find filmed in his version, both in poetry and in poetry, he filmed such a russian, russian pride and prejudice, when i watched it, i thought, lord, and negen is like russian pride and prejudice, to me i really liked the idea that you would understand even a foreign language, i remember in bulgarian a poem such as this is customary and maybe quickly love, but nekadnes...

created more than anegin many times over, regarding translations, i can tell you quite a bit funny story, it’s really not connected with alexander sergeevich, rather with translations of english literature into russian, i was friends with one person there in the nineties, he’s english, he studied in moscow, and he says: listen, lisa, i’ve always been amazed your love for english literature , well, i say, for example, he says, well , take stevenson, how mortal, well, it ’s impossible to read, i tell him: old man,

here stevenson wrote chukovsky marshak, well, in general, yes, you- then you read it in the original, but i i’m reading what chukovsky translated, when you just look at the black arrow treasure island of chukovsky’s translation, i still couldn’t understand why i was trying to get through everything else with such difficulty. by the way, i still can’t read dickins, but dickins has an absolutely amazing quality, if you throw out all these crazy plots of his, well, not counting the pickwitz club, it’s all just moralizing, you know, hogarth in prose , hogarth has several fashionable marriages there, for example, yes, or the fate of a milliner, here this is dickens, like hogarth in prose, i ’ll just write it down, hogarth in prose, but dickens has an absolutely incredible description of how he describes london, for example, yes, or someone’s estate, it is quite different from the description of the same jenosin, who writes very briefly, very clearly, well , it’s clear, it’s like pushkin.

a book, and we play honestly, i, as a museum worker, in no case ever bring museum objects here, of which there are many hundreds of thousands in the collection of our museum, but simply bring books here from my own library, no matter how they look, here i have a book by polon grigoriev, which has its own history, here is the cover, as we see, these are poems by apollon grigoriev, but there is an important note on the title - this is the cover, and i have the title.

the face disappeared after death, and then in the 18th century, at the end of the 14th century, because it did not fit into classicism, so the romantics discovered it again. apollo grigoriev, an absolutely brilliant person. not only a theater critic who explained why velikostrovsky, but a poet who seemed to be completely forgotten, suddenly a very great important poet completely rises from oblivion, one short poem, we parted, whether we will meet again and where and how we will meet again, then god knows, but i have lost the habit of knowing , and it has become unhealthy for me to dream, to know and not to know , whether already, not... it doesn’t matter, the future is inexorably strict, as usual, we parted a long time ago, and knowing that, i know too much, the belief is that knowledge is a misfortune comes true, we are growing old quickly in our fast century, so in the night from

the verdict the condemned sits, forever, here there is the mintage of shakfirov's sonnet, and here there is that very gypsyism that apollo grigoriev was famous for, in a word, this book meant the rebirth, almost from oblivion, of the wonderful russian poet apollo aleksandrovich grigoriev, since then his popularity has not waned, now a multi-volume collection of works is being published, maybe you too too, our dear interlocutors, pay attention to him. well, now again to lisa, to our wonderful conversation on the postponed topic of the museum, we will go straight to it. well, relatively recently you headed such museum of museums, yes , the pushkin museum of fine arts, and please tell me, this whole story, is it still being comprehended by you, or did you know it in advance, well, i mean maltsov, ivan vladimirovich tsvitaev,

those people who stood at the origins, this dream of museums of casts, which still exist; by the way, they are exhibited at the russian state university for humanities. universal culture, universal in the sense that any person, first of all a student, is still a university museum, tsvetaev is a university professor, of course, this means that it was important for him to understand, firstly, the first point that russia is part of european culture, and we have

exactly the same relationship to ancient greece as, say, france or germany, so he collected these casts all over the world , not only many became originals, because the originals died, well, as if they didn’t become originals, but you... no, they now perform the function of originals, moreover, some of them still serve as sources of restoration, which means the second is very important point that this was unexpected for him glyptothek, he did not build it as a glyptothek , because there is a very important point, glyptotheks are not something that tsvetaev invented, at the end of the second half of the 19th century, very many universities, european cities, european cities started with glyptotheks, that is, copies of famous sculptures, made for educational purposes. so tsvetaev makes a negleptotek, he goes to klein, they build a museum, the architecture of which in itself is an illustration of the history of art, not only do you enter through the greco-roman portico, you go up, it means you go into the egyptian lobby , which is made in the egyptian style

, you go to the pink staircase, you have a greek courtyard on your left side, an italian courtyard on your right side, this is the logic that on your left side is greek antiquity, and classicism, and ...

how the hertoteca, already at the stage of its opening , grows into the egyptian collection, which the king buys and transfers it to the museum of in-law arts, and he buys it from the beholder. then, unexpectedly, first one collection of already authentic monuments appears, not copies, not casts, then a painting collection appears when it is disbanded after tsvetaev’s death, the rumyantsov museum is disbanded, the western european collection comes and we want to make a big exhibition about it, which means then a collection appears between the hermitage and pushkin.

unexpectedly, the council of ministers decides to rename the museum of fine arts and give it the name of alexander sergeevich pushkin, but this is really the thirty -seventh year, moreover, on our portico on the left side, but not on...

so you can’t talk about texts that you haven’t held in your hands, only seen or heard , but we recognize books in conversation, and books that were published, well, this is the beginning of the 20th century, the very beginning, no, this is specifically the book about which i’m saying now, this is a book just published in 1937 for the centenary with just a lot , i also know what it is, here it is with an embossed profile portrait on the cover. i read small tragedies there, i read evgeniy negin there, i read gypsies there, the only thing i didn’t read was not there, i didn’t i read pushkin’s fairy tales there , yeah, pushkin’s fairy tales, well, probably before simply, i just read a lot before, yes, to lukomura the green oak, i learned it thanks to the efforts of my grandmother at the age of 5, and it was just the hit of the season, which means they put it on chair, i i read, well, it's quite a long poem.

bartoshevich, it means that there is an absolutely wonderful, well, sort of version that the count of igraland, elizabeth.

arts named after pushkin, of course, many of them were declared quite a long time ago ; the pushkin museum is generally famous for all sorts of parallel projects, there is a club for young art critics, for example, and many others, a museum of private collections and tdp, this is the house of text? what is this idea , is it marina devovna’s idea, we have a fairly large department of manuscripts, including texts about art, we have a fairly large volume of books, here i have a question, to what extent is the house of the text in the form in which it was conceived, the museum needs it, it seems to me that this idea is not thought out, not formulated, if you like, then we will calmly formulate it now

even, so we are now, in fact, with this engaged, is this an important aspect of our activities? returning to the first question about art critics, for most people art critics are people who, according to some unknown criteria, determine: this is good, this is bad, this artist is a genius, they look in the air and say, but this artist is not, but this not quite the same, just like literature, the veda does not determine what is good and what is bad, the quality of the text can be determined by reading it, i was interested in fan fiction for a while, i even wrote an article about this, by the way, quite a curious phenomenon, i i would like to discuss fanfiction with someone. this desire to continue well-known books , write parallel versions or rewrite them again, this is very wildly interesting, a terrible interesting thing, a fashionable topic, yes, well, returning to the home of the text, in the form in which it seems to me that it was intended , it needs to not even be corrected a little, but rethought, but it is possible, of course , well, this is terribly important, of course, because i

would like the manuscripts to be shown and perhaps not in the form in which it was originally invented. well, so that the text , first of all the art historical text, the text about art, it’s not always the same thing, yes, of course, of course, the texts about art are very good, you know, from goethe, from marx, oddly enough, from marx, yes , but goethe’s is simply wonderful, there is one brilliant quote, it goes like this, if you have ever been to italy, especially rome, you will never be able to be completely unhappy again, this is it.

when my daughter started learning, like any soviet child, for me the german language is this is the language of the enemy, after all, we were brought up on soviet films about the great patriotic war, and of course i was always interested in how poetry sounds in german, so i asked my daughter to learn german, i asked her to read schiller to me, i was always interested in hearing how it sounds in the original, it is an incredibly beautiful language, i did not expect, to be honest, a beautiful language, i must say that i did not expect it either, although i know and love and am friends with lizali. we had a wonderful guest, or rather a guest, me i sincerely thank the director of the state museum of fine arts named after alexander sergeevich pushkin,

elizaveta stanislovna likhacheva, for today ’s conversation, thank you, lisa, see you at... our dear interlocutors, i, as always, passionately and clearly pronounce my motto, read with with pleasure, dear friends, 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 classic, cult, beloved, little-known and forgotten soviet films, we reveal the secrets of film archives and tell you how to watch soviet cinema now, how to find new meanings in it and get even more pleasure. today we have an unusual release. we will talk about new year's films, new year's films and

cartoons, how this tradition developed and what it means to us. let's try to start from the very beginning, what happened at the beginning, when all this appeared. well, if we talk about russia, about the russian empire, all this appeared, of course, almost simultaneously with the advent of cinema. v russia, because the first cartoon, namely a cartoon, a three-dimensional puppet cartoon, was released in 1912, or rather at the end of 1912, they watched it for quite a long time in the russian empire, this is a cartoon by vladislav starevich, the father of russian animation, christmas, inhabitants of the forest. actually, the twelfth year, 1912, is considered the year of the birth of russian animation. which recently celebrated its 100th anniversary, we have a fragment from this cartoon, we can watch it.

of course, it’s hard to recognize santa claus here, yes, this is some old man, a doll of an old man with a beard in a caftan, but nevertheless it is him and... this cartoon continues the traditions of the christmas story, which were published every year in literary magazines, in the press, writers specially wrote in this genre of some kind work, and this film

, of course, this tradition, or rather not something that continues, it transfers it to cinema, but it should be noted that of course, this is not new year, this is christmas, this is father christmas, but he is already coming to us with some familiar attributes, where there is... christmas santa or grandfather frost , there is a christmas tree, there are toys, and there are some adventures, yes, there is a christmas of the inhabitants of the forest, which ends in the fact that santa claus gets off the tree at christmas and comes to the forest, then the dancing begins, with gifts, frogs, with insects and beetles , which were the main signature card of starevich, who was called the zhik trainer, because he so skillfully brought to life insect dolls on the screen that everyone thought he was real.

at least two films that have survived, about which we can definitely say that they are probably related - to the new year, more precisely to christmas, this is the night before christmas and the snow maiden, that is, in one we have some fantastic events, this is also an important part of the new year's film, an adaptation of gogol , in another we have the snow maiden, we have cold, winter and some kind of drama, there are also several - it seems to me that there are elements from which they are later put together.

future classic of soviet documentary, there is a connection between city and village, as critics of those years would say, that is red army soldiers and peasants form a tree from their own figures, on which remnants of former times dangle, that is , the tree is not revered, it is part of some kind of religious rituals, which are abandoned, instead, let's say october or some kind of komsomol celebrations. ultimately , by the mid-thirties , the need arises to somehow celebrate the end of last year and the beginning of the next one somehow officially in the thirty-sixth year itself.

this new year celebration is officially starting to be celebrated again, but the movie is first in it doesn't fit in, animation fits in again. in 1937 , the first cartoon by the wonderful director and animator olga khadotaeva, called father frost and the gray wolf, was released. the wolf, as the main antagonist, will be present in soviet animation for quite a long time, until finally there was a dog in the film, eduard nazarov will not rehabilitate it. this unfortunate character, and santa claus is only acquiring these features, firstly, he is, of course, still black and white, like all, well, the vast majority of animation, color is still an experiment for soviet cinema, and truly color cartoons will be released only after the great patriotic war in the late forties, in the fifties, then color, of course , will not go back anywhere, but santa claus , of course, still does not have those familiar features to us, and of course, of course he not red and white like...

in the foreign tradition, where he also acquires his canonical image of santa claus only with the advent of the popular carbonated drink. yes, in 1948 the first cartoon appeared, where santa claus was already in color in our usual form, starting from the late forties, a series of cartoons appeared, where one way or another the action takes place in winter, on new year’s eve, around new year, around. gifts around the tree, let's say, a fairy tale of 12 months, well, there is no santa claus, yes, but there is winter, there are brothers of the month, there are travels, there are adventures, there is some kind of problem that is being solved, and well, you're right said that indeed animation, when it appears only in the russian empire, is not yet intended for children; in general, nowhere in the world intended for children, this is just a new movie, in the soviet union in the late twenties

they realized that they probably needed animation. from the production of propaganda short videos or from advertising videos that are shown before the start of a film show, to use it for some kinder cause, that is, to start filming it, targeting it for children, to pull them out of the influence of foreign cinema, from the influence of gary pillia, doglas ferbings and other foreign screen stars and begin to instill in them a love of soviet animation, and so on gradually and to traditions, and the fairy tale is gradually returning to the screen in the 20s. for years it was expelled from literature, chukovsky was in apala, about which comrade nadezhda krupskaya was indignant, well, in general, animation is gradually becoming children's again, quite a lot of films for children are appearing to remind them that animation is something fabulous, something magical, always, of course , these basic elements, a miracle, hope for the best, in the new year, all this appears there, and of course, this is not television yet, yes, this

everything... of course, repertoire cinema, it is shown, as a rule, at special children's screenings, as it was before the revolution. filmmakers who deal with feature cinema, not animated, not drawn, not with puppetry, come to - perhaps, an awareness, a feeling that the audience would like to see something so fabulous, phantasmogorical and associated with the new year only by the mid-fifties, when our main one actually came out... classic, well, when it came out, it wasn’t classic, naturally, it was one of, in general , conceived as one of the passing films, review films, in which the plot would be very conventional, new year's songs would be added to it, and nothing more, no one expected that its director, a debutant, would become then a big deal in soviet directing , we don’t even call this film, it’s already clear what film we’re talking about, but 5 minutes, 5 minutes, of course, this is a carnival night, which became

, well, incredible - but simply a success and an extremely unexpected success, including number thanks here is this song, we have a fragment: i’ll sing you a song about 5 minutes, let them sing this song of mine, let it fly in the light, i give you a song, this song about 5 minutes, 5 minutes, 5 minutes, oh, an hour will soon become exhausted, 5 minutes, 5 minutes, have mercy on those who are in trouble , 5 minutes, 5 minutes, figure it out, strictly speaking, even in these 5 minutes you can do a lot, 5 minutes, 5 minutes, the sound of the clock will sound soon, make peace on those who are in trouble sorry, it’s 12 minutes to five, the new year is probably on its way,

it’s about to end for us... decorate clothes with flowers, overload them all sorts of details, this does not mean creating fashion, but making a dress based on just one line is already a real art, my fashion philosophy is to remain yourself, try not to follow trends, i never expect anything from anyone, most likely they are expecting something from me. the art of couturier is akin to the art of an artist, the future of my craft is connected with the spiritual side of things, people no longer want to serve as clothes hangers. is there a difference between a male fashion designer and a female fashion designer, only you

you can judge this. fashion is a game where anything can happen to anyone. high-fashion. at first, what do you think about the world of fashion, perhaps it is an even more magical world than mine, the greatest hits of the past decade, people, help my oceans breathe. my waterfalls, if necessary, i will fall into the water after him, you, you , you, only you, i know, i will not destroy the world where there

is eternal love, we will set the sound to everyone, and the neighbors, that’s what he said at a meeting of the artistic

council musfilm, what we always got for this genre, that we were already tired of the fact that we are being bombarded, that we are making films for one or two people, yes, who are watching this film on some kind. the entire soviet audience, which will be released on screens towards the end of the year, on new year's eve, and , of course, a very conventional theme was chosen, well, what happens on a carnival night, the boss goes on a business trip, someone is appointed instead, well, his deputy, who should just make sure that everything will be fine, that it’s new year. will be celebrated the way it was intended a good boss, and he, due to his diligence, to which he had become accustomed in previous decades, began to put this into practice quite literally, that is, to prohibit, suppress, zaberocratize all this,

of course, and the new generation of soviet people, this is a thaw movie , in fact, in fact, the era of the thaw in the soviet union opened with a carnival night, and not with a film from the ilic outpost there by marlen khutsyev, as it sometimes seems to us. this is a whole new attitude to life, yes initiative, let's do something something that has never happened, let’s not have us, like new year’s reports or some kind of strange quizzes, when in one of the first versions of the script for the carnival night, cucumbers offered a quiz, forfeits, political pans it was called, let’s pull it out from a saucepan, from a paper cap.

what is it, yes, but there was no new year, there was no new year, but there was a type, yes, there was a type, and from these cubes rezanov is a former documentary director, for whom this is the first work in feature cinema, assembles - a certain structure, and now we see, yes, this is a universal set, which will then appear everywhere in many films about the new year and which are shown, filmed in order to watch the new year, yes, this is the action that takes place in the last day of the old passing year, when you need to say goodbye to all the troubles of the year, when everyone is in a hurry, this suspense is always necessary, it is intensified, you need to be in time, in time, in time, it is in the animation in time to...

they wrote about it in the state cinema, that is, we we know that this is really a phenomenon of people 's love, but still, at the turn of the fifties and sixties, television appeared , which was quite widespread, blue lights appeared, so i wanted to say about this, that what we see in a carnival night, we see a typical benzene scene of any soviet blue light, a hall in which there are tables, between which a singer walks, a singer walks and performs some kind of song, well, that is, rather? new year's and other blue lights on

television - including turning to this film as a model, yes, there were no others. it’s interesting that the first new year’s light on television appeared in sixty -three, and it was made by a man who, a couple of years earlier, could have become our andrei torkovsky, it was a student, a former student in geekery, eduard obalov, who began the film ivanov’s childhood , but he was an excellent student, a graduate student, and very talented. he didn’t cope with this film, but he coped with the blue light, a constant begins , this and this already accustoming the viewer to the fact that on december 31, on the night of january 1, you have the opportunity to watch a concert, laugh, relax, see your favorite heroes, not only, of course, actors, singers, dancers, but also some great iconic figures of the soviet country, for example,

cosmonauts, yes, the new year's light is the time, this place when some unexpected characters, this is the moment when everything can turn upside down, when there is time for a parody, for example, yes, filmmakers are also starting to get involved in this creation of some special dash films. concerts, you can probably say that, i think, especially about a wonderful director, maybe even a brilliant director , it’s difficult for a historian to say such words, but it seems to me that larisa shipitko really deserved it, but her new year’s film at 13 o’clock in the morning, which she made in 1968, doesn’t fall into the genre, it seems all the elements are in what she does, and she makes it wonderful...

i would say hello in honor of the guest, stand up humble, say it so loudly that everyone can hear, so small and so. and what does he say? and the water one is replaced a little,

it’s a wigger in the role of baba yaga. yes you know quite hard and in general , of course, more like a thriller in terms of colors , but also like a horror film, also well, a merman, a lesh and other evil spirits of russian folk tales gather there and meet a certain distinguished guest, who turns out to be such a small gnome from overseas, after which there is a fragment from snow white and seven dwarfs. and there are songs about bambi, for example, who is sung by irmusakhadze, in general, such a very strange set of everything, everything, everything, in general, that they show on new year’s eve, these are the films that seem to us all the time repeating that yes, that’s the point, that in fact...

the new dish is interesting, which is served to the table, and of course we know the dish that today can be called medicinal fish, although this is a wonderful film, this is the irony of fate with light steam , but still, it wasn’t shown on television every year, because there were so many other options. the irony of fate first appeared on movie screens, and on january 1 , 2010, or rather on television screens, and i really love the moment in this film, when the new year is actually just around the corner. it might already be there an hour and half an hour remains, they pour champagne, drink champagne, on tv, they actually show a movie, and this movie, if you know soviet cinema and television, you recognize it very easily, this is a straw hat, where lyudmila gurchenko plays, where

andrei mironov plays, all our favorite actors, some of them and the actor ryazanov, but in our understanding, a straw hat is not at all...

because the scene is clearly tense between the characters, they are trying to pretend that nothing happened, that no one fell into their apartment , an unknown drunk man who mixed up the planes came straight from the bathhouse to leningrad, that everything is fine, that it will all remain in the past, in general, the straw hat seems to create this cheerful mood, and a vaudevillian mood, which our quite realistic ones lack heroes and...

because, for example, there are only two channels, yes, so there is no way to switch and there is no need to fill the central one, there are not 30 channels, as today in the mandatory basic set of digital tv, and not 50, if not 60, somehow they could be expanded, there are generally a few film programs at night, television, as a rule, does not broadcast, new year's eve, so i always remember as a child, yes, on new year's eve you can sit longer in front of the tv, because at night they show something else, but in general it’s usual.