she can’t leave today, she ’s changing, today murakami is a global success, you know, but, still, these roots will be there, and it’s interesting how prorajenov felt it then, because the time when he starts, here the shadow of forgotten ancestors begins, the year sixty-four, for me this is the heyday of the thaw, at this moment everyone is thinking about the future, the present, of course he knows fillini, of course he knows bregel’s blind men, because he will often have a rear view of them, he really likes the procession hi phyllina, sweet wife, amarkor, of course, he is the poet of the steamers, he said, even stupidity does not grow in a vacuum, paradzhanogo.

not as bad as you think, he is an artist who works through the means of cinema at that moment, or he is a director who is focused on a completely new aesthetics, groping for some new paths that no one has ever seen before... found you saved, this is a good question, i think it’s both , first of all he is an artist, just like for me esenstein is an artist, and if we take early illustrations, children’s drawings from einstein, which we showed, they are absolutely figurative, for us it’s just each character, so he draws a long line, such a long drawing, small characters, but each one is written, the expression in the eyes, everything for everyone, you understand that this is a cinematographer.

the characters are interesting to him, yeah, the characters don’t play a role for parajanov, he chose the types, now we see this in andrish, in fact, zenshtein, who also takes extras, sitters, types, yes, but he changes them, but parajanov doesn’t, parajanov i found them somewhere from the depths of ancient books, he found them from the early revival, from the early, not the late, so they will flow from him. it doesn’t matter if they are children, then they grow up, then they get old, these types, they are all in the ancient falliants, they are in the paintings of the early renaissance, and he doesn’t change them much, he has his favorite landscapes, yes, he has these sheep , lord, what he’s doing with the sheep, it ’s impossible to convey, it’s clear that an aries is a symbol, after all, it’s a symbol of christian culture. well, what does he do with the sheep, how

do they run, how do they fold into absolutely modernistic compositions , it gives him pleasure to see these compositions, but you understand that he never plays what modern, so to speak, digital artists play, they take programs, these programs endlessly give them different colors, different compositional solutions with a collidoscope, no. with him, everything is absolutely outlined in exactly the same way that children cannot draw a black square, they don’t think in black squares, you see, and malevich painted exactly as many suprematist works as were in his consciousness of suprematist elements in order to express a certain picture of the world, and parajanov expresses a certain...

picture of the world with rather meager means and those not forgotten ancestors for me are preparation for the color of pomegranates, because as the director of the museum, i just think that this is, well, well, these are all the museums of the world, this is absolute visual culture, this is how to teach a person the ability to see, and not look, this is to take the color of a pomegranate, look at it 15 times, then look at the surami fortress, then add: well, add the color of a pomegranate, because that hello to impressionism, we have somehow already begun to perceive it, we have learned to perceive it. i remind you that this is a podcast of esenstein's witnesses, dedicated to the centenary of the great soviet artist and director sergei porodzhanov, and our guest is olga sviblova. shukirip is an expression of love, including for parojanov’s literary idols. including klermontov

, but it is known that parajanov wanted to make a demon film based on shklovsky’s script, i was recently leafing through this script in the musfilm archive. in studying history experimental and creative association of chukhrai, this is where all this comes from from the porajans, yes, what, what is the peculiarity of his later works, the same asha kirib, he develops those ideas that were laid down in the sixties era of the thaw, or is he still he’s already working on the technique that he’s already found, whether there’s any development, he hasn’t removed it. yes, of course, but he wanted, he wanted, the demon is a romantic hero, lermontov had him in, of course, he was sick with it, it’s hard to imagine that he lives in moscow and doesn’t go yes, he goes to the tretkov gallery or doesn’t go to the hermitage, let’s not, we went to

the hermitage for the first time at school, i think he did too, so he still knows what he’s talking about visually, but it’s romance. and for a long , long, long time with me, i’m afraid that these are generations , but it’s hard for me to say, because i’m still a generation later than parajanov, after all , this is a romantic time, when he becomes parajanov, he wakes up and becomes and is formed during the khrushchev thaw, he has plasticity, that’s it, he’s infected, he’s he genetic and carries a certain aesthetics , it is visible in the year fifty-eight, in this first guy, you have to understand that in the fifty-seventh year the first festival already happened, well, this all-union festival of youth students, when all the foreigners came to russia, yeah, what’s that about? we say

, lelya brik knows the sixties , well, of course he knows elsa trualya, you know, this is culture, these are albums, i was there, i didn’t catch it, i caught katanyan, but still...

he still can’t do it any other way shoot and do, here are the mistakes rip and the legend of surami fortresses, what is this, how should we understand it, because i think other directors turned to other themes, you know, probably in the sixties, it coincides with some kind

of flow, which may not have been expressed in cinema, perhaps has not degenerated in the visual arts , probably expressed in the literature, this is a must watch. but he was generally born an epic, and he has this epic quality, this sublimation, he gradually moves towards it, because the epic is still not a drama, and those not forgotten ancestors are between drama and epic, but the color of a pomegranate and the surami the fortress is pure epic, this is pure epic, the fact that it returns to lermontovo in ashirib. i think, firstly, this is an understatement, you understand that the unfinished action has a huge impact on us, i think that your kerebi, and we don’t know the confession, it was never realized, it’s kind of - after all to myself, this is zhenya the artist, who was very

difficult, who never lied , there was no cunning in him, but here it’s like... a clash of power and strength and the artist, and music, art, this drama, yes, like ... it is difficult to find understanding with his drawings , his touching collages, he

eventually found friends, he eventually found a language with those with whom it would seem completely impossible, yes, we still grow in different ways and we live differently, so i think that this is not, that this is to some extent personal, then he has a motive for the power of violence... and rightness, actually moral rightness as an artist, moral rightness as an artist, he had it, and he stood on it, he carried it through his whole life, in his own way, expressing it in films, and in your opinion, why are you, as the head of a museum, looking, studying what is appearing all over the world, what trends are happening in culture, why the influence of parajanov... the last decades have been so diffused in visual culture, we we see music videos, we see films

in which there are references to parajan, what choreography, god, it’s divine, we ’ll find it here, whatever, we’re here from grigorovich, with whom he’s friends, let’s go , you know, and these new genres are fashionable, you know, in my childhood it was so beautiful book. popularizer of science kuhn, and he wrote , it was called a paradigm in science, well, he explained it on his fingers, like galileo, who are the myths of ancient greece, and he said that galileo seemed to discover that the earth revolves around the sun and not vice versa, and this contradicts the ideas of the time, at this moment it is impossible to prove, everyone shouts as if yes, atu atu to the fire, and then just another generation comes. and for them this becomes obvious, they do not need to prove

that the earth revolves around the sun, and not on the contrary, and so it happens, the paradigms of our worldview change from generation to generation, but a great artist is not the one who spoke simply against the background of time, the one who looked into the future, when i say that i love art, including contemporary, for me... absolutely modern, it is much closer to me today than when i first saw it, i just perceive it through a different level of observation, when it resonates with you already huge, much larger, you look, you just like child look, i watched it for the first time as a child, there was shock therapy, it enters into you, everything, and then you look and you see, and here it was, and here it was, and... real art is always a telescope aimed at the future, and parajans, firstly, is relevant

for its problematics, the search for roots , a glimpse into how world culture grows, of which our culture is a part, how christian myths are connected, how pagan myths are connected, how it is connected with antiquity, and how it is connected from the eternal... history, the plot is eternal, you see, apopeis and workers, well, well , there are poor, there are rich, there is power, there are , as it were, those who are powerless, what happens between them, in the end, all this is love, this is from birth to love, which is appafem and , which can pass through the whole life, as it does, through the whole life of his heroes, because ivanka, for example, in the shadow of the caring meetings of her ancestors, already meets a ghost, right? at his love, which he never changed, when his wife set traps: now they are seducing you, now you

will have a house, now you will have a life, but not it turns out that love lives, so bam, it fixates on a little girl, remember the words there that the death of his father made less of an impression on little ivanka than meeting the girl, for him love is stronger than death, and this is in the shadow of forgotten ancestors. it’s so simple, you understand that the most complex things really live in some very simple visual embodiments in some very simple ones?

they will simply discover the history of world art, contemporary art as well, it will simply be easier for them, i generally i think that these are films that children should watch, yeah, just like the boy is lying there, and the pages are rustling, you know, something comes into us, it’s important

that we don’t read bad books, don’t watch bad movies, and the main thing, well, you have to... watch movies with pleasure, it seems to me that this is happiness, this is just a piece of pure beauty, and you can’t help but cross the whole world to see these divine landscapes , these hills, these mountains, i don’t know , i probably learned to love nature when i watched parojanov’s film, thank you great that they came to us, and i remind you that this was a podcast of lisenstein's witnesses. dedicated to the centenary of the outstanding soviet film director, artist sergei parajanov, our guest was olga sviblova, art critic, director of the multimedia art museum, film director. all episodes of the podcast lenshtein's witness can be viewed on the website 1tv.ru.

hello, this is a podcast of precious stories and i am the host, director of the all-russian museum of alexander sergeevich pushkin, sergey nikrasov. today we will talk about the tsarsko-selo lyceum. quite recently, most high level, support for ideas for the revival of an educational institution in tsarskoe selo was confirmed. to train civil servants, we, of course, will not talk about what kind of educational institution it will be, what its programs will be, but we will focus on the history of the lyceum on how this educational institution differed from many others. the lyceum arose at the very beginning of the 19th

century, when in 1801,

and i could not resist the temptation to take from the auxiliary fund of our museum a copy of this charter, which we will now leaf through, but since this is, after all, an auxiliary, but a museum fund, you must first of all put on gloves and only then turn to this charter, the charter is a wonderful work.

these subjects, first of all the moral sciences. the original foundation of the law of god and moral philosophy, the original foundation of logic. there are mathematical and physical sciences, arithmetic, geometry, algebra, and historical sciences. russian history, foreign history, geography, chronology, there are initial the basics of grace.

these years of study, they tried to pretend all this in their teaching practice. the first director of the lyceum was vasily fetrovich malinovsky, a wonderful

person, an outstanding figure of russian education, the author of the then famous, and even somewhat sensational work at that time, treatise on eternal peace. and everything was already ready for the very day when the lyceum was supposed to open. true, first it was necessary to determine the composition of the students, so at the beginning, in january 1811, an announcement appeared in moscow and st. petersburg newspapers about the creation of a new educational institution for representatives of the young russian nobility and young men aged 11-12 were invited to take exams. who would like to study at the lyceum, it turns out that the minister of public education, who was involved in all the details of the creation of the lyceum, organized...

these tests directly at home, at that time count alexei kirillovich razumovsky had a beautiful palace and park ensemble on the banks of the fontanka . this is literally opposite the current building of the great drama theater from fontanka to suburban avenue. it was a luxurious building, where applicants for... this high rank of lyceum student began to gather, the exams were really serious, a good half of these tests did not pass, but still 30 people were selected for the first year, for the first graduation, and received notification that they had been accepted for education , these boys, accompanied by their...

fathers or grandfathers, began to gather in the royal village. in tsarskoe selo, they were first of all brought to the house of the lyceum director, and the lyceum director’s house was literally opposite tsarskoye selo lyceum, it was what they would call today a service living space. at first vasily fetrovich malinovsky lived there, then another director began to live there, yegor antonovich angelgard, the director of the lyceum, lived there,

those boys who came to study at the lyceum. and finally, on the nineteenth of october 1811, the solemn ceremony began. of course, first of all there was a divine service, and then all the guests gathered in the large hall of the imperial tsarsko-selo lyceum. and in this hall, which we now see, behind table the most honored guests were present, emperor alexander entered this hall , a solemn ceremony began , future lyceum students began to be introduced to him, and for the first time here, under the arches of this hall , the name alexander pushkin was heard, there were many speeches, there were speeches, at first. quite

official, official, and then the floor was given to adjunct professor kunitsin, who threw away all sorts of papers, addressing the students, made a speech where he never mentioned, unlike others , the name of the emperor, but where is he, addressing them, he said, let love of glory and the fatherland be your leaders. emperor alexander liked this speech so much that, unexpectedly for everyone, he immediately awarded one professor kunitsin with the order of vladimir. what else am i, or a brotherhood of stern men, revolutionaries based on love and devotion to whom my soul could finally rest. either i'm looking for a religious sect that preaches love, people's love for each other,

love at all costs. edechka loved himself very much, it was even sometimes simply charming, because that crossed all boundaries, i have a broader outlook than any soviet writer, and this made me wiser and greater, for example, a patriot of my own country, as a writer, he is a writer of his own beloved, in your seemingly autobiographical things, what is the percentage fact and what is the percentage of literary fiction, everything is true and at the same time and... limonov is bored walking with everyone else. limonov is a bit of a boy on the contrary. matador eduard savenko is looking for love on friday on the first. if i lived in shanghai, i would probably feel myself as the heroine of some reality show. cameras make our lives comfortable. we are not afraid for

our bicycles and scooters. on the street, look at the material, at the perfect seams, this is the original, why is it cheaper? well, you don’t buy them on the champs-elysees, the locals love to show off and wear, albeit... strong, but branded things, if you are late with delivery by a minute, then you will have some problems or yes, that’s it and there is, so the guys sometimes beg clients to forgive them, sometimes they even fall to their knees, and you unique man, manicurist , there’s a lot here, you like going to a man for a manicure, i love it, i recommend it to everyone, here this phrase, ice cream for children, flowers for women doesn’t work, because ice cream with vodka, it’s a bestseller for us, all around... just ice cream with lemon. the lives of others. premiere on sunday on the first. our story about the tsarskoye selo lyceum continues.

sergey nekrasov is with you. lyceum life began. it was unexpected in many respects for the lyceum students, because they were told that the lyceum was a closed educational institution. here various types of travel outside the lyceum are prohibited, that there are limited opportunities to meet with relatives who may come to visit you, at first this caused dissatisfaction, ivan ivanovich pushchin writes that they were upset to tears by such a strict order, although further in the next sentence , as he wrote... he is already in his declining years, he writes that well, this was precisely one of the reasons for the friendship of that lyceum brotherhood, that unity that arose between the lyceum students of the first graduating class,

everyday life began, which involved training, very dense training, if we talk about the schedule, it is calculated from 7:00 in the morning to 7:00 in the evening, this... does not mean at all that lyceum students had to sit and listen to lectures or answer for 12 hours continuously this and that lesson, no, everything was done very wisely, because general lectures alternated with general walks in the park in any weather, they had physical games, of course, mainly in the so-called fence, now here we see this rare one of a kind watercolor,

on the fourth floor, it was in this apartment that his students sometimes gathered, quite a few hours were allocated in the curriculum for drawing, but since every evening from 7 to 10 there was free time in the evening, sergei gavrilovich chirikov, the art teacher, the senior tutor, gathered lyceum students told various stories, and he gave them pencils. paper almost every evening they added drawing exercises and really drew absolutely delightfully, here in front of us is one of these drawings of the apostle, whom he depicted

ivan malinovsky, and another drawing, the head of an athenian warrior, belongs to a student of lomanosov, the question immediately arises, what about the cannon? we know his drawings, later drawings, here is his early drawing, drawn by alexander pushkin, a dog with a bird, this drawing on a given topic was executed by alexander sergeevich. it must be said that others were added to the number of compulsory subjects. why? because, in fact, speaking in modern language, the lyceum was a very successful innovative project in the field of pedagogy. to discern in a student his inclinations , his early 19th century, the most important thing was abilities, and to do everything as much as possible to ensure that these abilities were developed,

therefore, those who wished to become military and dreamed of military service, special teachers, officers from st. petersburg came for them , who were additionally very seriously involved in the military.

poets delvik, poet kichelbecker, and of course, the brilliant poet pushkin. pushkin did not need to learn poetry, but he did need to learn many other things. and most importantly, don't was to be distracted by something that was useless to him. in his memoirs , ivan ivanovich pushchin writes about how professor kartsev once called him to the blackboard, and pushkin had to solve an equation, he puffed for a long time, could not express anything, when the professor asked him, well, what does x equal, pushkin with a smile he answered zero, well, pushkin, in my class everything ends in zero, the professor said, sit down and write poetry. pushchin, by the way, recalls that thanks to professor katsev.

constantly gather together until death and

celebrate this day. pushkin, when he was in st. petersburg, he was always with his comrades on this day, october 19, and not only was he, he always kept minutes of this meeting, minutes that sometimes ended with humorous words, well, for example, once when he had to go already in the tver province, after the celebration of october 19. pushkin filled out the protocol completely, added four lines at the end, fervently prayed to god, shouted hurray at the lyceum, goodbye, brothers, i’m on my way, it’s time for you to go to bed. pushkin’s biography developed in such a way that, of course, sometimes he was forced to be absent from these gatherings for very valid reasons. this was the case, for example,

with french champagne, and most importantly , the manuscript of griboyedov’s comedy woe from the mind, ivan ivanovich really sweetened the exile, a sad day, in his memories. pushin wrote about this in detail, and of course, we cannot help but remember this friendship, since in the person, which, as we have already said, was a closed educational institution, the dormitory was located on the top fourth floor, it was there that pushkin’s room and the room pushchina was separated only by a thin partition,

so talking in the evenings or in the very morning, they discussed some important things for them, and ivan ivanovich pushchin was not only the closest friend of alexander sergeevich pushkin, he was an amazing authority for all the lyceum students, they treated him with great respect, and pushkin, of course, too, and pushchin amazingly appreciated his lyceum friend, so it had to happen that when after december 14, 180025 after.

and friends, we are destined for different paths strict, entering life, we quickly separated, but not by chance, we met on a country road and embraced brotherly, of course, neither one nor the other knew that it was his holiness prince alexander mikhailovich

gorchakov who was destined to become the last lyceum student who... celebrated day of the lyceum, exclusively alone, who outlived all his friends. in this poem, pushkin also remembers anton delvig, his closest friend, also a poet. he was the author of the texts of famous romances, on his poems, on delvig's poems, as well as pushkin's poems, were written by their neighbor on... the dormitory on the fourth floor was mikhail lukyanovich yakovlev, yakovlev, in whose apartment lyceum students gathered in recent years. pushkin adored delvig when the wrath of fate befell me, a stranger to everyone, like a homeless orphan, under the storm i bowed my head languidly and waited for you, prophet

of the permer maidens.