in beijing, in a team tournament, the performances of foreign colleagues are spoken of with ridicule. i read the joke this morning, but didn’t understand anything: 199-19. what would that mean? for comparison, at the russian championship mishina. 244.85 points, their principal rivals alexandra baykova and dmitry kozlovsky 236.32 points, the difference is an abyss, experts write about the drop in the level of international competitions, four-time puliser prize nominee philip herc calculated the worst scores at tournaments in the last five seasons. over the past two seasons, there have been only four attempts without russians solo quads over 12 grand prix stages. the jumping revolution in women's skating that began with alexandra trusova in 2018 is left behind. you asked me correctly

about how this tournament looks in the context of world figure skating? well, i can answer you, you know, from the point of view of world figure skating, they had not yet reached such an idea before us. the broadcast of last year's jumping championship was watched by professionals and spectators from all over the world, and many could not help but comment. fantastic exciting competition, i really felt like i was watching sports, great job russia, congratulations to everyone. figure skaters , bravo to those who fell, thanks to all participants for a good performance, you gave emotions, hello figure skaters, the best skaters in russia, that means the best in the world, tomorrow on air the first concentrate of beauty and risk on ice, yana padeban, alexey labushkin, roman mikhalenko and yulia khodorova, channel one. so, the russian jumping championship is live on channel one this weekend. on saturday at 17:00, on sunday at 15:10, our figure skating stars take a new one.

don't miss the height. one of the most popular projects on our channel, which invariably attracts the attention of millions of viewers. on the first through twelfth season of the show, the voice. changes in the composition of mentors, new bright faces. who will excite vladimir presnyakov so much that he will start singing together with an unknown performer in a blind audition. because of whom , the two beauties, gagarina and ziverd, will begin to sort things out within so-and-so. in general, it could still be interesting. did not have, maybe it was, but in any case, a new season, new passions, lively emotions and most importantly , impressive voices. kristina levieva has already heard, let's join her. lake of hope, the night is floating and we are behind it, you are ready to enjoy, be surprised, worry and root for the best voices.

your cherished message, miraculous message, here ’s the intrigue, two star mentors at once, will polina gagarina and yulia sievert be able to divide the participants between themselves, and why did you come here, you’re a cruel, cunning woman, polina, i feel it very strongly in my back, i’m like i’m a sponge absorbing energy, i’m just breaking through, i understand what a terrible excitement this is, i don’t even understand how they cope with it. but in order to get the mentors

to press the coveted button, the participants will have a hard time, because over the years we have already seen and heard everything or not, the voice breaks through without even seeing the artist, this is the magic of the voice itself, it works so much that people are interested in watching the twelfth season already try to predict the mentors’ reaction to this yourself. and you, our viewers, can also take part in the show. log in using your phone number during the broadcast, answer questions, accumulate points, and of course, choose the best mentor of the season. the game is available on tvs with the hbb tv function. in the interactive player on the website of the first channel

or in the first application for mobile devices and smart tv. we will traditionally reward the best viewer in the final. the mission of the voice is to give the opportunity to show a large number. for all. kristina levieva, maria emelyanova, maria saushkina and nika vishnyakova. first channel.

hello, this is the einstein witness podcast, where we, film historians natalya ryabchikova and stanislav didinsky, talk about why you need to watch soviet cinema now, how to get even more pleasure from it, 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 porojanov. we will talk about his work with a researcher of this very work and life. parajanov, journalist gagik karapetyan, author of the book apple and pomegranate, tani nagura and sergei parajanov. hello, hello, i would like to start with the fact that we have known parajanov since the sixties, well, parajanov is already a world-famous director, but before that

he had worked quite a bit in cinema. what was he doing before this time? classmate of grigory chukhrai, and apparently paradzhans. when we look at the creativity today, a man of a different generation, sometimes it seems that he came to cinema quite late, that he almost no later than tarkovsky began to work, although in fact he was, in general, much older than his young colleagues who became famous during the cinema of the otebel era, it seems to me that we must definitely say that parajanov before filming the famous shadows of forgotten ancestors , accordingly, he made five documentaries, and all of them, well , firstly, few people remember them, few...

so he made andres, and it was his diploma work in avgika, he was based on the same plot, based on a moldavian fairy tale, repeated, in general there are quite his future there are elements, an artist, a creator, yes, music, a song that the drill is playing, some

magical flights on horses, the horses themselves, he is constantly in the frame, but then we can watch this fragment and try it out. imagine, yes, here he is, the future parajan. song, song, to some extent this is such

a vtushkarou, soviet storytellers, but on the other hand, yes, if you look closely, squint, then in this film, which he did not make alone, which he made as a co-director, as was then supposed to be for young directors, beginners, right? there might still be something does it shine through? it seems to me that after those films that we mentioned and which raise some strange question for us and so on. it seems to me that he came out of this , as it were, from the general framework, and accordingly realized that he needed to do what he liked to do and what he wanted to do and what was inside him. if you look closely at his films, this is all his drama, all his tragedies. that he lived through, that's why heaven and earth, those films

he made five before the shadows and after, yes, i i’ll say a paradoxical thing, just don’t scold me, this is not a movie, i personally don’t review this movie, i have the feeling that i’m watching four films - these are four separate halls of painting, just film painting and - for me , parajanov, oddly enough, is not a director absolutely, but the artist is not... not without reason, when he was already dying, and in his last days, he asked him not about the posthumous prizes that were given to him, but about the fact that maybe the union of artists of armenia would accept him as a member , just like vysotsky wanted to become a member of the writers' union, like this one happened sergei parajanov’s transition to a new aesthetics, well, it personally seems to me that the fact that he took some kind of his own path, and he walked. according to her, this is the most important thing, that in all these films he did not betray himself, this is the first, second,

for some reason it seems to me that he, like andrei arsenievich torkovsky, yes, they all went contrary to those patterns, those dogmas, which , accordingly, they were instilled in, it was they who tried to overcome them, it seems to me that parajanov’s luck lies in the fact that in overcoming it is that those same shadows, yes, you... you yourself know, you read about that the same the hutsuls themselves, they said, we don’t know all this at all, none, he composed everything, in general we had no such rules, no laws, and so on, that is, every film for him was some kind of composition, all films for these are parables for me, 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 was afraid. when he karadzhanov came to his house, because he was constantly changing all the furniture, he not only

did not allow this furniture, at least one the day remained the same, it seems to me that 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 was parajanov’s theater, we would have called it a salon before, but it was a theater, and accordingly , all the people who were present, they 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, to dress somehow differently, he gave them some roles and so on, and even the guards were offended that he did not give any role, that is, parajanov for me personally, he is just an actor, such a person, but you can still call him a soviet artist, yes, a man who acted in films.

because parajanov, he was a person in himself, well, international, he could not be determined by his passport, he cannot be considered a soviet person, just as he cannot be considered.

we can watch a fragment from the finale of the shadows of forgotten ancestors to just see how it might have looked then in the mid -sixties, not only in the soviet union, but let's say in france. suddenly, in the mid-sixties, the film 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, for example, the same tanin goer. understood that this is an artist who should not be behind bars, this was the main thing of which he convinced, accordingly, the leaders of our cinema, he convinced the leaders of the republics, in particular , he met with the same shivardnadze in the year eighty-two, and he, he convinced, paradoxical as it may be, yes, he helped out parajanov and, but they became close again,

they became close based on the fact that they were both artists, one seemed to be a famous screenwriter, the second was a director, yes, but they became close precisely as artists, that’s the same apple, why apple, because by the way tanina guera did furniture, here is the furniture that even stands in his moscow apartment, when i was talking with him, in this furniture there is always the image of an apple, just like the image of a pomegranate , which means parajanov, this has now become, well, i don’t know the meaning of the language and yes cliche - this is the real thing that these people are called. they felt each other in the sense that they felt like, well , half a word, half a gesture, because they are artists and they enriched each other, it seems to me personally, by the way, few people know that tanina guera 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, taninogura, he admired the fact that...

in one of the camps they even filmed a film based on commissioned by the ministry of internal affairs of ukraine, the film is 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 porajanov, who naturally did not have the right to appear in front of the camera, namely filming cameras, and felt that the person was bored. therefore, there is really one frame there that you can see, like it’s there in the corner, but it shows that even being...

this famous story, that when the letters fillini reached parajanov and already in

the zone, they asked him who it was, and he , it seems to me, is very characteristic of parajanov, for his humor, for such an uncontrollable fantasy of his, and this is my brother, fedya, we have a grandmother there was an italian communist and they separated us, some kind of indian story, but somehow very true. and general actors, even cameramen, and so on , and ending with their ending with the fact that they are in france, as if they spent their last days in the

same hospital, and prajana was even afraid to talk about this rumor, as they say, so i would also like to say that the memory of parajanov, it is somehow gradually perpetuated, finally i am glad that it is in my hometown of tbilisi. the street where parajanov lived has already begun to bear his name, and on january 9, 2024 , a cultural center will finally open in tbilis, well, this will be a kind of, let’s say, prelude, probably to the opening of a museum that functions remarkably well in yerevan, and where , in fact, all of parajanov’s works were transported during his lifetime and installed according to the plan that he himself parajanatha. this is a famous person who saved parajanovo for us, this is zaven sargsyan. viewers probably

first of all associate the name parajanov, in fact, with the film the color of pomegranate, pomegranate, pomegranate, in fact, the name, it was most likely invented for the distribution of this film in the soviet union, because its original name is sayat nava, nevertheless in the film the word pomegranate is heard, pomegranate appears, they say that the world is a pomegranate, that’s it. i got drunk, yes, as a creator, that’s where everything comes from, that’s where the beginning is, well, it really is memorable, incredible, but how , for example, in armenia, how the belis armenians

accepted this film, how this figure in her parajanov performance, it must be clarified that after all there were several films, yes, there are different versions of this film, there is actually film, as they write the original version of sayat nava. what remained was, as it were, the original version, which, well, is outside of yutkevich, let’s say, the version that yutkevich made is one film, the one that is, accordingly, native.

parajanovsky thanks to levon grigoryan it has been 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 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,

it was the most brilliant, the script was published, i myself this script, it was published in a magazine literary armenia, i myself brought proofs of this script to parajanov, but he only managed, you know, to film i just managed to film 200, 200 m, that ’s it, that’s all over, and this, you know , such an understatement, that’s what you said regarding what parajanov left, and now... we can fantasize, yes, knowing the script , what kind of film could parajanov make from this confession, and many actors, they are now beginning to tell their versions who participated in this film, as they say, i also wanted to say that it’s paradoxical, but parajanov’s paintings are the same in the zones he was in, he managed to do 800 many people who know also carried out the work.

parajana, they don’t believe in this figure, but i know a real person who brought out these 800 works, and these 800 works, they can be partially seen 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 says 15 years of silence, in fact he created, he created all these 15 years, and he took away a huge amount from there quantity. scenarios, he had a dacha near bilisi, which he supposedly suitcase brought these scripts to everyone, told everyone that these were 10 nobel prizes, one of the scripts, you know, he gave to yuri ilyenko, he shot the film swan lake, the zone, yes, he believes, parojanov believes that these scripts were stolen from him, oh well , 30-odd years have passed, but they are still like these people who, let’s say, stole, but it seems to me that this is

just another fantasy. i remind you that this is a podcast of witnesses from einstein, i am natalya ryavchikova, a film historian, i am stanislav dzinsky, and today we are talking about the films of sergei parajanov, from whose birthday turns 100 years old, you said about the acting work, and in general the genre of the film sayat nava is animated frescoes, and this is how it is sometimes described, how this film fits into soviet cinema, how it...

so many 30 years have passed since his death yes, and we are celebrating the centenary, but for some reason his collages, the number of collages is increasing and increasing. i even find and see collages in very famous moscow houses, which were clearly not painted by parajanov, but they were bought at auctions, according to the name parajanov, maybe this is also a symptom of this popularity, when so many fakes appear, and accordingly this artist with a capital “a” is not forgotten, why do you think parajanov so often turns to works...

more than he managed to make, film, three times more, three times more, and which of them seems to you the most significant and remarkable, you know that we somehow went around, it seems to me that

there was an intermetsa, that was it, in my opinion, there were two parts removed, if i'm not mistaken, they were stopped it’s just that somehow the davzhenko studio did this by order, apparently they felt that somehow the artist... went in the wrong direction, it seemed to them that he would take pictures like a flower on a stone and so on, as he had done before, well , personally, for some reason it seems to me that this is an intermecia, accordingly, well, to be honest, i’m returning to confession again, it seems to me that confession would be some kind of world masterpiece, it seems to me so, but if we talk about mistakes or legends saramsky fortress, is this a step forward, or is it a certain one?

he repeats himself, but 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 parojan’s, that’s why there is such a concept of porajaniada , but what about a director in general, who with such a tragic biography, with so many problems with the law, as it was formulated, written in the soviet union, with restrictions. became an anti-soviet and was not fond of, say, most social cinema, like many of his colleagues, especially in the eighties, on the eve of the extension, during the years of the extension , you know what’s the matter, it seems to me personally that he did not 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 remained in our memory and now, this is what we are celebrating a century, an artist with a capital letter. and he was most interested in politics or ideology, let’s say, or politics from the point of view of art alone, but in general he quickly began to forget all these camps, prisons, he i wanted to work quickly, the only question for me is why he himself didn’t start making films about his experience, 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, it was really impossible, but i also wanted to add that for him in general he,

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 further, he was interested in... considered to be parajanov's students, well, although he does not openly admit it, he studied with parajanov roman gurgenovich balayan, who, well, he seems to me that now he is the only one, how to say, a keeper of memory , let's say, sergei iosich, not counting those people who we now have in armenia, in georgia, yes, but roman grigornovich is the closest, how to say, the closest person to... if parajanov had remained

alive, shot in the next 20, or even 30 years, what language would he shoot in? yes you you know, there was once an episode when they came to yerevan, from georgia, they came to yerevan, he was received at the highest level in armenia, one of the intellectuals of such , let’s say, the first rank offered parajanov, they said aramakh chaturyan, no, that means , sarayan is no longer there, the place is free, that is, he was offered to be the patriarch of armenian art in general, verevan, and so on , when he heard this, and he was then on a trip with georgy shangelaya, a film director, he said: “that’s it, we’re leaving here,” and he returned to tbilisi, it seems to me that he i would continue to make films until the end, make films, well, also in georgian...

yes, you said that parojanov’s films are such films still not for everyone, yes, but that’s how it was in the soviet union, yes, who were the spectators of films about jannupa, you yourself went to the screenings of his films in the cinema, went, moreover, i even remember well that i watched the same sayat nava in the center of yerevan and i remember well that literally after 15-20 minutes, well, about half. she left the auditorium, it seems to me that

those people who are now already decades later, i think that those people who left, it seems to me, over time they began to, well, reconsider, returned, figuratively speaking, to the cinema and began to watch parajanov, not because, it’s very interesting that parajanov not because that he is fashionable, he has never been fashionable, well, how can i say, if a person loves cinema, he definitely had to touch, watch at least one film, and after watching one film, it seems to me that this is some kind of chain reaction, you there is some interest because these are the four films that you listed, they still, it seems to me, show the style of one artist, we see this style, we see his language, we feel it, it’s impossible not to feel it, but what should we do now?

it’s delicious, you absorb it , you get pleasure, this is the kind of pleasure , it seems to me, you should watch parojanov’s films, and this was a podcast witness from einstein, where we, film historians, natalya ryabchikova , stanislav dyadinsky and gaga karapetyan, research journalist, author of the book apple and pomegranate, tanina guera and sergei pradjanov. today we talked about the centenary of the soviet director and artist sergei parajanov. thank you very much, goodbye, goodbye.