he gives, but we have never done this before, but he says that he will only sing live, he also refuses to sing old hits, he wants to perform a new song, something from vertinsky, this is not his thing at all, well, in any case, phonograms. we have to record in advance , he says that he will only sing live with minus, well, we can at least watch the rehearsal, no, he generally understands that if he fails, then it’s the end for him, he says that in any case we don’t lose anything, he’ll sing about odinsk beautifully, he won’t sing, the failure of a former star on air is also a very bright event, only he is at risk, and we... get a spectacle, the dude really wants

to come back, hello, you woke up a long time ago, no, you just got up, oh, get up, now i’ll go and prepare something , yes? come in, please, valery vladimirovich, well, here is our battlefield, be careful, wires, this is where everything will happen, here are the spectators, your favorite audience, there are not many places, but in my opinion , it’s very intimate, don’t you think, everything is very good, you just need to think about the suit, and what about a suit in my opinion? everything is very beautiful

, larisochka, the thing is that i’m different , the time is different, yes, we need to look at something in the selection, don’t worry, i’ll adjust it to suit myself later, but oh well, you’re generally a very smart person to take a risk, yes, yes, thank you, valerie, maybe this is it, no, this is it, look, anya, now, well... bye, hold it, like this, like this, yeah, this is it, yes, maybe it’s a suit after all , valer, girls, i will perform in exactly this, take it, bye, well, valiver...

for staying true to yourself, who has been for so many years made us happy, a man whose life continues to delight and surprise us all. well, the most important moment of our program is coming, we invite valery abadinsky to the studio. good evening! dear

friends, before i start singing, i would like to thank the person thanks to whom i am actually here, this is anna yesenina, annechka, i know that you hear me, thank you very much for your perseverance and... your love, i i love you, it ’s calling, it’s ringing, calling, it’s singing, the road, it’s still tormenting, it’s still intoxicating, it’s spring, but life is left like this a little. the gray hair on the scales goes and runs.

cares are rushing by, the years are flowing into the foggy distance, and so persistently and tenderly, someone is taking us away from life forever, only the heart knows... dreams and waits, forever calling us somewhere, to where it flies away and sadness melts away, where

the almond trees bloom. valery vladimirovich, are you ready? time for the stage?

hello, this is a podcast of witnesses from einstein, where we, film historians natalya ryabchikova and stanislav dyadinsky, talk about why you need to watch soviet cinema now, how to get even more from it pleasure, how to discover its secrets, we are talking about classic, forgotten, little-known, well-known soviet films. today our issue is dedicated to the centenary

of the great director, artist, soviet director and artist sergei parajanov. we will talk about his work with a researcher of this very thing. creativity and life of parajanov, journalist gagik karapetyan, author of the book apple and pomegranate tanya nagura and sergey parajanov, hello, hello, i would like to start with the fact that... we know parajanov since the sixties, well, parajanov is already such a world-famous director, but before that he didn’t work so little in cinema, what did he do before that time? classmate of grigory chukhrai, and paradzhanov seems to be, when we look at creativity today, a person of a different generation, sometimes it seems that he came to cinema quite late, that he began working almost later than torkovsky, although in fact he, in general, was much older with...

song, song, to some extent it’s like that in tushko row, soviet storytellers, but on the other hand hand, yes, if you look closely, squint, then in this film, which he did not make alone, which he did as a co-director, as was then expected for young directors, that means...

a general framework, and accordingly, he realized that he needed to do this , what he likes to do and it seems to me that he came out of it like what he wants to do, and what he has inside, if you look closely at his films, this is all his drama, everything...

and walked along it, this is the most important thing, that in all these films he did not betray himself, this first, second, for some reason it seems to me that he, like andrei arenyevich, torkovsky, yes, they all...

and so on, that is, every film for him was some kind of composition, all films for me are parables , this is the first, second, he had a friend, a wonderful friend, a very famous architect in bilis, who built a wedding palace, so he said that he i he was afraid when he karajanov came to his house, because he changed all the time all the furniture, he not only did not allow this furniture to be used at least one the day remained the same, it seems to me, the same thing... happened in his films, in life he was simply an actor, all the people who came to his house, it was a theater, this theater was parajanov, we would have called it before salon, but it was a theater, and accordingly , all the people who were present were actors, even the court that was in tbilis in the year eighty-two, he turned into

a theater, he asked the people's judges, who were sitting there, somehow differently ,

just as he cannot be considered a soviet film director, he made a film, as it were, which you can watch without knowing where it is happening, geographical reference , national connection and so on, so it seems to me that this is a universal cinema, a universal film language, film painting, which in general, on the one hand, does not seem to be for everyone, but everyone is interested in this paradox. we can watch a fragment from the finale of the shadows of forgotten ancestors, just to see how it could have looked then, in the mid-sixties, not only in the soviet union, but, for example, in france.

suddenly it's the mid-sixties movie comes out abroad, the film is shown at various festivals, and isn’t it from there, isn’t it from this time that interest is already growing, let’s say. it all really started with him with parajanov’s arrests, the first arrest was in kiev, which took place, the second was already in tbilisi, with all these liberations, that

’s how guera was involved in this movement for the liberation of the partisans, but guera, of course, to him... him moscow apartment, here i was, when i was talking with him, in this furniture there is always the image of an apple, just as the image of a pomegranate accompanies, which means the parajanovs, this is now

it has already become, well, i don’t know, a byword and yes, a cliché - this is the real thing, as they say, these people, they felt each other in the sense that they felt like, well, half a word with half a gesture, because they are artists and they enriched each other, i personally think. by the way, few people know that tanin aguera wrote an entire novel dedicated to parajanov. parajanov is depicted there, it turns out it was impossible, then, in italy to name the names of soviet citizens, agadzhanyan, he was there. tanina guera, he admired the fact that pazhanov preserved himself, despite these camp terms there, as an artist, he preserved himself, and he was creatively charged until the end of his days. everything is so easy for you, not the first time, the third time, and what, every time you just take it and give it away, but this is business, listen, marin,

i can congratulate you, you are a mother, congratulations on becoming a father, i’ll bring you a child alexandra’s testimony as a gift, i’m afraid that in the event of a divorce you will not get anything, but somehow, you are a serious statesman with us, you were, i’m ready to give testimony against him. you, why are you bargaining for your daughter, you don’t want to return her, three lemmas, no less, and you need the money in 2 hours. i remind you that this is a podcast

of lenshtein's witnesses, you are the host, i am a film historian, stanislav didinsky, and, a film historian, my colleague natalya ryabchikova. today we are talking about the centenary of the director and artist sergei parajanov. why were you interested in the figure in general? and in general, how did you get to the point where you wrote a separate book, not only about him, but also about guera? the idea is that i am in my profession i have no direct connection with cinema, i am exclusively a newspaper journalist, and what interested me most was his 15 years of silence, in fact these 15 years were creative years, i can even tell you that in one of the camps... a film was even shot at the request of the ministry of internal affairs of ukraine, the film was simply a documentary , the script was written by parajanov, few people know about this, but

the director of this film is alive and well, gave me an interview, and accordingly he talked about the experiences of parajanov, who naturally had no right to appear on camera , exactly camera, and felt that the person was bored and... so there is really one frame that you can see sergei iosich, as if he were there in the corner, but this suggests that even while in the camps, he remained creative man , to show this how it happened, i even found people who took his collages out of the camps, there are people whom he taught to draw collages in these camps, there are people who later became... artists, in general, this is very interesting topic, 15 years of silence, which in fact were not silence, but there were years of creativity, for the soviet

audience, for the kists, of course, the name of tanin goer is associated with the name of fedorik felini, first of all, yes, and for the generation of parajano , the generation immediately after him, neorealism, where igura and felini began - this is well one from such impulses for thaw cinema, and then... it is clear that fellini’s cinema went far beyond the boundaries, far beyond the limits of neorealism, this phantasmogoria, guera and fellini, it seems to me, is very close to parajanov, and fellini also recognized this, as if , yes, and this is the story famous that when felline’s letters reached parajanov, and already in the zone, they asked him who it was, and he, it seems to me, is very characteristic of parajanov, of his humor, of his kind of fantasy. “and this is my brother, fedya, our grandmother was an italian communist, so we were separated, some kind of indian story, but

somehow very true in psychological terms, or what?” sense, really absolutely, and it seems to me that this is no coincidence, brother filini, parajanov, you know, this is very interesting, because she once again told us proves that they all seemed to be playing on the same field, well, as if they were creating on the same field, i would still add andrei arsenich, igura was friends with him, and parajanov, and there is simply an intertwining of destinies, starting with the cinematic ones general works about...

extremely poetic, extremely metaphorical, but it’s unclear, i don’t know whether parajanov was talking about this film or another, that viewers don’t always understand his films, and i myself don’t understand everything in them, amazing, amazing confession , an artist, and at the same time this is probably, well, it seems to me, at least, parajanov’s most autobiographical film, yes, absolutely, because it directly talks about childhood, the world of childhood, that’s what got me drunk. yes, as a creator, that ’s where it all comes from, there’s the beginning, well, it’s really incredibly memorable, but how, let’s say, in armenia, how the beli armenians accepted this film, how this figure in her parajanov performance, we must clarify that everything -there were several films, yes, there are different versions of this film, there is actually a film, as they say, the original version of sayat

nava, which was released. this is the original version, which, well , outside of yutkevich, let’s say, the version that yutkevich made is one film, the one that, accordingly, is native, parajanovsky, thanks to levon grigoryan it was preserved, and for some reason it seems to me that regarding the reaction to this film, it seems to me that in terms of enthusiasm, well, it seems to me that it competes with the shadows, yes, it seems to me

why, because... that it was already close, as they say, close to armenia, close to the same georgia , that’s why this film turned out to be, well, no less, let’s say, popular, like teni, and he won about the same number of awards there, it was one of those final successes of parajanov, unfortunately, as you know, he was already in such a state of death... armenia, i myself brought parajanov received proofs of this script, but he only managed to shoot 200,200 m, you know.

this is where it all ended, and such, you know, such an understatement, this is what you said regarding what, what parajanov left, and now we can fantasize. to this figure, but i know a real person who brought out these 800 works, and these 800 works can be partially seen, respectively , in this museum, why am i saying this, he always said that i have never been as free

as in these camps, this is a paradox, everyone is talking about 15 years of silence, in fact he created, all these 15 years he created, and from there he brought out a huge number of scenarios, he... i remind you that with you is a podcast of witnesses from einstein, i natalia ryavchikova, film historian, i am stanislav dizdinsky, and today we are talking about the films of sergei parajanov, whose birthday marks 100 years. and you said

about the acting and in general the genre of the film sayat nava - these are animated frescoes, and this is how they sometimes describe how this film fits into soviet cinema, how it fits into world cinema. how did parajanov switch to such an absolutely unconventional aesthetic for soviet culture? it seems to me that this film is the most vivid reflection of the collage, kind of thinking of sergei iosich, yes, it’s not for nothing that he always talked about that his collages, in my opinion, he said, collages are compressed films, when you watch the same thing, the same movie, for some reason it seems to me that it’s simple.

ashi kirip, the legend of the surami fortress, how did he even look for stories after leaving the camp? you probably know, yes, that he once even wrote a letter to kosygin, he wrote, who was the prime minister

of the soviet union, he wrote a letter about being allowed to move to live in iran. now, it’s interesting that iran in this sense, when you watch parajanov’s films, they're kicking this one with something. east , the man was simply eastern, well, in the broad sense of the word, and he was born, by the way, when he wrote this letter, he naturally wanted not to live there, to make a film, he wanted there, accordingly, in this sense there were no boundaries for him , the man was outside the borders, so he was very worried about the tragedies that happened later in the transcaucasus, and it seems to me that with this tragedy he left, here he is... he essentially left on the eve of the collapse of our huge country, so it seems to me that the east attracted him not exclusively by ideology, precisely by his beauty, his beauties and

his content, this is what he tried to reflect in his films, one of parajanov’s unrealized projects is a demon, viktor shklovsky participated in writing the script, but this film was never produced and in general in general, if we talk about baradzhanov’s films, among the ideas, among his plans, perhaps there were almost less, and maybe even more, unrealized than he managed.

accordingly, well, to be honest, i’m returning to confession again, it seems to me that confession - it would be some kind of world masterpiece, it seems to me so, but if we talk about rip mistakes or about the legend of the sarama fortress - is this a step forward, or is it some kind of jump on the spot, if? goes further, he seems to be developing, so

it seems to me that all the films that he finally brought to the end, relatively speaking, to the silver screen, they reached it, they are all parajaniad, that’s why there is such a concept of parajaniad, but how is a director in general , who with such a tragic biography, with so many problems with the law as his formulated, written in the soviet union, with restrictions, did not become anti-soviet. and he didn’t get carried away, for example, by most social cinema, like many of his colleagues, especially in the eighties, on the eve of the extension during the construction years, you know what’s the matter, it personally seems to me that he didn’t become an anti-soviet in the sense that we generally assume, why, because he understood that it was more important for him to remain an artist, in fact, he remains in our memory even now, this is what we are celebrating a century, an artist with a capital letter, and his if everyone was interested in politics or ideology

, let’s say, or politics from the point of view of art only, in general, he quickly began to forget all these camps, prisons, he wanted to work quickly, the only thing for me is the question, why he himself, himself began to make films about his experiences, and gave this film the script to yuri ilyenko, yes, but... it seems to me that he did the right thing, because he could have ended his life earlier, relived what he experienced in the camps, this is true it was impossible, but i wanted i should also add that for him, in general , he was interested in being in the spotlight, so the fact that he appeared among, let’s say, human rights activists, politicians, and so on, he was only interested in being there... the first one would sign some kind of letter

, at the same time, you know what to say, that there are young directors who studied with him and who consider themselves students of parajanov, well, although he does not openly admit it, he studied with parajanov, roman gurgenovich balayan, who, well, it seems to me that right now he’s the only one like that, as it were, a memory keeper. let's say, sergei iosich, not counting those people who we now have in armenia and georgia, yes, but roman grigorievich is the closest, how to say, the closest person to sergei iosich. if parajanov had remained alive, he would have been filming for another 20, or even 30 years. what language would he film in? yes, you know, there was once an episode when they arrived in yerevan, from georgia, they arrived in yerevan, he was received at...

in the center of yerevan and i remember well that literally 15-20 minutes later, well, approximately half of the auditorium. left, it seems to me that those people who now , after decades have passed, i think that those people who left, it seems to me that over time they began to, well, rewatch, returned, figuratively speaking, to the cinema and began to watch parajanov, not because

, it’s very interesting that parajanov is not because he is fashionable, he has never been fashionable, well, how can i say, if a person loves cinema, he must... tell the viewer how we can prepare the audience if we will talk about what this movie is not for everyone, on the one hand , it seems to be correct, on the other hand, these films, it seems to me, should be watched, it seems to me, parajanov, he makes any viewer, regardless of age, regardless of education, he makes

a person think , think in an artistic direction, so it seems to me that you just need to absorb, this is how you eat a pomegranate, it’s in... delicious, you absorb it, you get pleasure, this is the kind of pleasure, it seems to me that you should watch parajanov’s films, and this was a podcast of witnesses from einstein, where we, film historians, natalya ryabchikova, stanislav dyadinsky and gaga karapetyan, researcher, journalist, author of the book, apple and pomegranate, tanina gurara and sergei parajanov, talked today about the centenary of the soviet director and artist sergei parajanov. thank you very much, goodbye, goodbye. i don’t know about you, in general everyone has

new year’s signs, for example, i can’t celebrate the new year if i don’t have a christmas tree until december 19th, because... i’ve gotten used to birthdays since childhood, so we definitely need a new toy for the christmas tree, that’s our tradition, probably not only me, well, in general, in short, over the years i have already collected a suitcase of these christmas tree decorations, and if you consider that i inherited some more before the revolutionary ones, then i don’t know, two suitcases, but i every time i struggle with what to hang? what will be left? the choice is huge: my santa claus is only 1 year younger than me, can you imagine? i don’t have such variety, although new year is also a holiday, of course, a family holiday, in our country it is probably the most beloved, the most popular holiday, but strangely enough, it was like that

not always, the new year is a holiday for russia, in general, quite young, today we will try to figure out how this happened, since probably now... our viewers will have questions about how this is a young holiday, it seems that the new year was always. hello, this is a historical podcast, russia-west on the swing of history. pyotr romanov and sergey solovyov are with you, today we will talk about the traditions of celebrating the new year in russia and in other countries. in principle, of course, this is how it is here , everyone seems to celebrate the new year on the night of december 31st to january 1st. but in general, of course, if we talk specifically about... the new year, yes, there is quite a bit of inconsistency here, because the orthodox have their own new year, the so -called slavic new year, it’s september 14, here’s the jew. and they celebrate somewhere in september or october, it falls , so to speak, on the new moon, muslims are also very quiet, it is also connected with the moon and so on,

that is, well, everyone celebrates at their own discretion, but at the same time, of course, there is a new year, the generally accepted new year, such a new year's marathon, because it begins all christmas, we manage to celebrate both catholic christmas and the new year, the old new year, that is, in general it goes on for quite a long time, such a new year’s marathon turns out, yes, to which our people are already accustomed, sometimes attempts are made to shorten it, such initiatives arose, in general , it is clearly met without approval, in our country, even by the number of traffic jams, one can judge that until january 13 , people certainly continue to rest, only after that they gradually return to working order, and it’s debatable whose calendar, in general about chronology, but the matter... in my opinion, is completely hopeless, if we say, take the buddhist calendar, yes, it turns out that

in thailand the year is 2566, because they count from the moment when buddha went to nirvana, in china 4720, because they count from the beginning of the reign of huangdi - this is the legendary founder of da'athism and the first emperor. and the chinese for them, this is ancient rome, let’s go , they just laugh, mock, and the maya and the aztecs just laugh at this chronology,

ancient rome, but this is really for them this is the most correct thing, that is, not even chronology, but the idea of ​​time in general, perhaps the ancient vikings had it, because they, they did not imagine time at all as a linear process, there was no beginning, there was no...

if we are talking about the calendar, then the question arises, why did the romans first begin to celebrate january 1, in general, in 153 bc, since from this day the roman consuls took office, that is, this is just from ancient rome, in 46 year bc , guy julius caesar finally approved this date, using various... was celebrated in march, then ivan ii ordered to celebrate, so to speak, from september 1, because so...