there was some kind of miserable archaic bad taste poses of singers who with a hypertrophied ego, which comes out they are, of course, i’m not saying that this is bad, pay attention, in this, in this there is also some kind of cultification of this art, such is , what it is, i want to explain what, in what world mortye vaiwai came.

that he wanted to break the bones of this german-language theater to martius, he persuaded him, he says: yes, this is not their fleddermausch, but they should see it, today for the first time a unique spectacle awaits us, his name is obrek, i i said that i would bring the best fighter, volodya ignatiev, an afghan, a sapper, that’s such a guy, that’s it, that’s it. this is my money too, and i want to fight for it. reed, what are you doing? i don’t know, it’s some kind of premonition. girls, i deceived you, there will be no concert. you promised us 40 dollars. these are our girls. i 'll put everyone here now. he will kill you. huntsman, she's for you. no one, why did you get involved in this, it’s him

, the one who saved me, you’re no one to each other, this is chechnya, we can’t do this, well, tell me, sper, whose path you crossed, i can’t live without he was doomed, the premiere of a multi-part film, on sunday on the first, yes, go home, whatever i want with him, let me do it, go away, let me buy it from you. what i want to tell you is that from what i experienced, it deserves attention, among the many joys and pleasures that accompany youth, i, having become a writer, experienced incomparable happiness, in the crumbling village of mala, i lived with a blacksmith, helping him in the forge forge horseshoes with long tongs, i held a red-hot iron in my hands, and he hit it with his... hammer, i ask

myself, who i am, what force brought me out of my moscow apartment, forced me to cross my native threshold and threw at... concepts, well, perhaps one of its key concepts, it was a director's theater, it was a theater based on a director's concept, in dramaturgy, because he, like a hacker , hacked into the conservative opera system and introduced the director into the production group as

one of the equal members and authors of the performance, along with the conductor, and thus he created conceptual works. carefully selects members production group, for him it was extremely important, as far as i understand, who would work, these people had to have chemistry, they had to understand each other, feel each other and share each other’s views, so the performances that were created on the initiative of gerard martier, they always caused a colossal resonance in society, from admiration to categorical and rather harsh assessments and...

and peter and i made yolando and persifona together in the theater for real and we were there even after the success of this production mortier said to peter: go visit theador, i live in plaza oriente there and... and talk about the future, you have carte blanche to do whatever you want to the theater, and peter sellars came and said: “theodore, what about

you dream, we thought, what the hell is this, big , i say, in fact, i dream, you know, there is such an opera, indian queen" -

what he did, he opened these borders and made it possible to see a work of art in another territory, they removed from this narrow museum, which was the opera, and he

staged the opera in another space, well, you in the theater you did the same thing, but you also changed not only the theater, you also changed the audience, yes, but you did it...

in art, in the art world, this is a museum, why? because - when all artists create a work of art, they create it under certain conditions, for example, a rebrant paints with i don’t know, ten candles, yeah, and here it’s natural, his painting looks a certain way, with warmth. his work is in early daylight, and

in his garden, naturally, with cold light it looks just right, but imagine, now he will collect all these masterpieces, he will collect one museum and puts some kind of general cold light on all the paintings, and there he displays pieces number one, number two, number three, and there are a lot of people walking and watching, they are walking. criticize how to perceive music differently , not through habit, but through this, we all watch

programs either on our phones or at this, you do it differently, and it’s a pity that you didn’t take the phone away from this person, this is it, now if you go to rock - the concert, it’s simply impossible to watch, because they all don’t look at the concert, they’re all filming, yeah, concerts, and they’re disturbing naturally with this light of everyone else, and this is simply impossible. and in operas too, these are people, instead of immersing themselves and getting what they need, they simply film on their phones. tell me, here are the concerts that you hold in st. petersburg, in particular, in the smolny cathedral in churches, you give concerts between the columns, you place musicians in the most unexpected places, of course, accordingly, selecting the repertoire.

almost 10 years since gerard passed away, looking back, tell me, this uncompromisingness of martier, his principled the position that opera is not a caramel name day for the heart, or as you once said, it is not plastic art, because in some cases this plastic

art is necessary, probably, the mainstream should be in order to... something the author's art was different, feel the difference, and as prokofiev said, best of all , there is music for the mas, and there is music for us, you know, you yourself say, in one of your interviews, i read that music does not depend on performer, music depends on the listener, on the viewer into the future what we... for the viewer, so that he understands more, because even from seemingly primitive art people do not catch everything, in

principle, this race of the mainstream - what is it? make sure that they understand everything, they feel that they are smart, and what will happen later, what kind of evolution, this is no one’s business, there are people who choose to live today and get the maximum, as much as possible today, and what will happen later, what will happen is not very interesting, but then there wouldn’t be shakespeare, there wouldn’t be. dostoevsky, if there were no pushkin, there would be no one if they we just wanted to do something today. tell me, here is your experience in perm, i think that this is a unique experience in russia for sure, because you reformatted this theater, you remade it, you rebuilt it, you restarted it, you did something that no one else has managed to do, you transformed

did you feel the pain of this very new art of opera? audience resistance, did you suffer from this? no, i just think that the perm viewer is the most sensitive in this point of view, because we educated him, we created laboratories for the modern viewer, we met with this, analysis, that is , the program is very rich, and what we are doing now at the radio house in st. petersburg, i started back in novosibirsk, then it seemed to be more powerfully approved. well, that is, you are following the path that, in a sense, martya showed you, he is my hero, whether you like it or not, he influenced me very much, he was like a father to me. we continue the theater podcast, our guest today is the legendary theodor kurendes. as you know, i attend your

concerts. the last episode i remember was when you stopped the concert? waited until the audience finally found their seats, sat down on them, and you started again, despite the fact that you turned into the hall and looked so ironically at those people who were fussily trying to succeed, completely unironic, just like starting the evening, this is very important , this is the concentration that she needs. and, of course , there are some noises, this is a living process, but when you see that 50 people have not yet sat down, you get out, because it is not the others’ fault that they come on time, but they also want to, there are moscow traffic jams, you know what, what happens, they try to sit and says, the entire introduction to the pianism will be sacrificial

to the sitting of these people, it’s better to wait, and i say, nothing, i’ll wait until you sit down. i’m in the hall for some wonderful concert and my phone is ringing, i don’t know how to turn it off, it’s like a nightmare, some kind of spanish shame, i... when i go to a concert, i either don’t take my phone with me at all, or i’m not not airfashion, but i completely turn off the atom of the battle, that

you never know something happened, to be sure, because this is some kind of sacred action, i know what it’s worth for these people, performers come out and put their hearts on the table, you have to respect that, one day i went to one famous person,

my basically ideas about music, how about education, about music, about creation, yeah, about this topic,

and if you have faith, and you go for it, and you don’t look to the left, to the right, at some point it will come, it’s like a success and a harbour, but it’s a success that allows me to at least do things which i want to do. this is not like that, you can’t imagine any kind of success, what can i say fashionable are rich people who can’t pony want, i’m not like that, no, i didn’t mean that you’re like that, i meant that the perception, well, in particular in moscow, is exactly like that, your concerts are not get in, tickets sell out instantly, it is considered prestigious to come to the concert of theodor kurendis with the music of eterno, i have not yet, if... until i have achieved that these people came to open their hearts to music and be ready in this kind of intimate creation in

the name of the soul, of music, but not just as a social event, then i really haven’t gotten it yet, i far from your goals, is there any recipe on how to prepare? go to a more experimental theater, and this creates some kind of context, a context

that helps you understand more, it is important to know poetry, it is important to know literature, it is important to know who, who lives on your world, you expand only when you go into the territories of ignorance , therefore... and art, modern art, i can’t say that i love everything, modern art, but i’m happy if i go to some kind of performance that is completely unfamiliar to me and not like it, but i'm happy that i was, because i expanded, i saw something that works inside me, but this is an important experience, of course, art is not like or dislike, this is not... that situation,

what you have today, eterno music , the house of radio, world fame, you are one of the most sought-after conductors in the world, you feel stable now as a conductor, as a musician, i personally will not be lost, of course, but i have to be responsible for 200 people in the choir orchestra who sold their houses for me, i'm happy because there is a radio house, and there is this dream place.

hallela, command date! poveretta, sì, perdonate, don'era conosce. osserva pieno il giorno sotore la magdi

ludi. il signore di tranquil.

cuanta bondad. pensasse me per tempo, sì, come vi sentite, soffre il mio corpo, ma tranquilla, rivo un so por ser un dio.

medici concessa addio a più tardi non mi scorpate come va signore la disisi non le'.

or fate cor un giorno devo tutta parigi in pazza al carnevale so. quanti felici soffron, qual somma va in quella se epoigi,

mi sarò bastanti. teneste la promessa, la disfida ebbe el luogo, il barone fu ferito però migliora, alfredo e instrumento. il mio suono, il

vostro sacrifizio io stesso gli ho svelato, egli a voi tornerà per il suo perdono, io corverò, curatemi, mertate un avvenirmi migliore. passar por me sorno conta il morto

ogni speranza. a te adre.

la tomba è mortale di tutto e così.

hello everyone, tatyana gevarkyan is with you and i’m not a fool. today we are talking about the relationship between cinema and fashion. let's remember the most iconic images of film stars from soviet films. with me in

studio costume designer, natalya konevskaya. soviet cinema is a treasure trove of cult images. and people associated with the theater from the cinema, and of course , every time i entered the elevator with one of them, i already knew that i was already a beginner... i scanned the costume designer’s gaze every time , i was amazed, amazed, since childhood, i had such an incredible opportunity watch them. who did you like best in your everyday look, so to speak? well, anastasia vertinskaya has always been absolutely incredible. anastasia

vertinskaya, they called her the soviet audrey hebborn, graceful, sophisticated aristocratic appearance. she did not broadcast beautiful images. only on the screen, but in everyday life, i was then amazed that she wore flat soles, which we all love so much now, with long skirts, men's boots, always some interesting headdresses, hats, caps, berets, and one more it was an amazing moment, she was already wearing one long earring, oh how, yes, she was an absolute trainee, she outdid the fashion, wore these huge jackets with broad shoulders. a long, floor-length coat that came into fashion in moscow, it seems to me, by the end of the nineties, if not in the two thousandths. when i was on my way to filming today, i was talking on the phone with my mother, she asked me what the filming would be about, i said, it would be... discussing soviet film stars, my dad worked in the field of cinema and we lived in other countries, he represented the russian film there

cinematograph, soviet delegations with film actors often came, and my mother said to me: well, you remember lyudmila gurchenko came a couple of times, i said: no, mom, you you know, very vaguely, i remember that she came, but for some reason the images did not stick in my head, she says: well, because we, when she came to visit us, we took your children to another room, because she was very spicy. into the language and spoke a lot of words incomprehensible to children, that’s how much brightness was reflected in the clothes of our film stars, it was noticeable that they were brighter, more provocative, there are, as it were , two images, there is an everyday image, there is an image of a star, very often they get tired of popularity, on the contrary, they want to hide from recognition, alla demidova was different in that... i didn’t recognize her every time, also as a little girl, when she entered the elevator, i thought, who is this neighbor? and this is aldimido, that is, she knew how to somehow

hide her stardom, while if you look at her photographs, look at some chronicles from festivals, of course she is incredibly stylish, stellar, with amazing posture, but one of the film stars’ ability to transform in life look like ordinary women so that they they didn’t recognize when they didn’t want to, well, by the way, today yes, today... all famous actresses, they try to hide either behind dark glasses, or dress modestly enough in everyday life so that no one recognizes them, then it was the same , of course, i didn’t know everyone and didn’t see them, but what i saw, it seems to me that it was the same, it’s one thing to go somewhere in the morning to a rehearsal in the theater without makeup, also wearing dark glasses, hiding behind some kind of then this headdress, but it’s another thing to go to the premiere in the evening, somewhere where everyone should know about your image...

it was she who popularized the famous christian dior new look silhouette among soviet fashionistas. after the release of the film station for two, women began buying piles of magazines with patterns, sewing a dress and curling their hair. like the heroine of the picture, but what do you think, these outfits of a carnival night, after all , the costume designers were inspired by the house

of dior, definitely, i don’t remember, i think it was 1956, yes, that is, it’s already almost 10 years has passed since christian duor proposed this wasteful new look with a huge amount of fabric that was spent on a dress after the war, changed the entire female silhouette and even somehow returned it. women wear corsets , which they took off with such difficulty and with such pleasure at the beginning of the century, suddenly again in the fifties everyone is being pulled into a corset, this is a wasp waist, it also came to the soviet union a little later, but this is such an understandable desire of women after the war to look beautiful, feminine, well, this is a very popular silhouette today, i have a dress that i inherited from my grandmother, i even have a photo of her at a reception at the soviet embassy. the dress is just in the style of dior pritallin , i still have it hanging in my wardrobe, i blow the dust off it, and i even

wore it somewhere a couple of times, well, somehow the christian dior brand itself doesn’t promote these silhouettes of its own, they practically do not change from season to season, the length changes, the texture of the fabric changes, but this look is always present in their collections, now everything is very they often look at soviet cinema of the seventies,

for example, she is considered the first soviet diva, yes, but try to remember some of her images. lyubov arlova, diva of the cinema of the thirties and fifties, golden locks with a cold wave, emphasis on the lips and graceful high eyebrows. she created her image together with her husband and director grigory alexandrov, inspired by actress marlene dittrich and the dream factory. fur coats, shiny evening dresses, and of course, elegant hats. but lyubov orlova is often compared to...

fashionable and independent, well, that is , as if at some point, probably somewhere in the mid-seventies, probably after the thaw, as if a woman was allowed to be beautiful and stylish, and at the same time , as if as if clothes have nothing to do with character, so the way a woman looks no longer 100% shows

how she will behave in a movie, that is , there may be some surprises, then there was another move, like...

this is a film with an unnamed star with anastasia vertinskaya, who, by the way, being a diva and modern heroine has never played such a role model for many , but if you list how she started almost from childhood, scarlet and sails, amphibious man, war and peace, and anna karenina, she is everywhere, or here is a heroine from the past, or in general, they are so non-russian, like ophelia, all her heroines, they are all kind of shakespearean, so historical, but at the same time there is an untitled film. star, where she appears again in white, in this dress of fashionable loafers, some furs, well, everything that a soviet woman cannot wear, the same these curly light fibers, that is, it seems like a historical heroine, but the fashion seems to be modern, call me, call me,

well, what do i look like, lord, in the morning, very charming and attractive, sit down, i’m glad to see you, i didn’t look like an artist, of course, but now i look very much like her. “the company serves, the payment is made through the company , i’m special, i’m an artist, i’m not in a bad mood, it rarely happens, and then i’ll say, i’m in a bad mood, i’m already starting to cheer myself up, for irina muravyova’s anniversary, the cuckoo bought a hood, put on a cuckoo hood, how in the hood he has a fly, a carnival"! that's the kind of girl i am, tomorrow on the first day, fire and ice, two elements at the junction of which real

great art is born, emotions are off the charts, the atmosphere is tense to the limit, but for victory it is important to maintain icy calm. splashes of ice from under the skates, like sparks of hot metal, and the ice melts like steel. hot ice, spartakiad of the strongest, live broadcasts from magnitogorsk on february 17 and 18, on the first. my advice: do not sit close to the screens, it may be too hot, see you in the steel capital of russia. this is not a tidbit; today, together with costume designer natalya konevskaya, we are analyzing the wardrobes of movie characters from the most iconic soviet films. in general, in recent years, we have been looking at our old films with a completely different

look, that is, then we really followed the plot, the ideology, we remembered the songs, but somehow the images were not stored in our heads, now, first of all, everyone pays attention to the images of our film stars. ah... well, probably, yes, we have already accustomed us to modern cinema, and the fact that cinema is always collaborates with fashion houses, with designers , and the fact that any new film that comes out, if it is somehow connected with fashion and stylish heroines, is always discussed, who made the costumes, what brands dressed them, then of course this did not happen, so if we go back to lyudmila gurchenko, then this dress was in the new look style, christian dior, it was rather the other way around, that is... such a dress appeared, such a bright heroine appeared, all the women around tried to repeat this image, because there were no fashion brands , deficit, little

stores, and the only thing you can look up to is these films that are shown all over the country, in all cinemas, and of course, all the women try after that to repeat the styles of these outfits, what other ones can you remember? things from the movies that have become popular in modern life, like, for example, natalya varley’s haircut, in the caucasian captive, when everyone started doing this bobcare, or svetlana svetlichnaya’s white headband, then this svetlichnaya robe, also legendary, it seems to me , that's with the light hand of artists in the costumes of the film the diamond hand , the color white has become associated with some kind of forbidden rich foreign life , some cool foreign things, and after that we see a lot

of these negative but very attractive sexy beautiful heroines in white in the movies the same thing in the film ivan vasilyevich changes his profession, there are two heroines, there is the main character who is always so red and white, and there is a girlfriend who is the director. in general, she wears not just white, but unheard of white - a top with feathers that generally you can easily wear them today and no one will notice that these are things from the early seventies. the images of natalia selezneva in the film ivan vasilyevich changes his profession created a real sensation among soviet fashionistas, and not surprisingly, selezneva’s outfits in this film were designed by fashion designer vyacheslav zaitsev. now, if we talk about how fashion is connected to cinema, then there weren’t many moteliers. but vyacheslav zaitsev worked on this film, and here you can also see that these are silhouettes from ivsanlar and silhouettes from pierre cardin, everything a little later, in general, such soviet fashion, it was always

a little late, but still, but it looks just expensive, beautiful, impressive, yes, who else among the famous designers of that time collaborated with cinema, there was a fashion house in which these models, in general, were developed by vyacheslav zaitsev, i think this is the most famous name, of course, there were many fashion designers, many designers, but somehow fashion and cinema at that time were separated, and costume designers came either from the theater or there were art directors and costume designers, in the same carnival night, so interesting , there is a production designer, i think his name was konstantin efimov, he was also a costume designer in the film volga-volga and in some other films with lyubov orlova, that is, these are the same people who could make costumes and scenery, and worked workshops, a whole workshop worked...

to work on historical projects, because it’s a whole hunt, hunting through vintage shops, searching for some authentic things, sometimes one thing can create the image of a whole heroine, as if from some found one suit, you can start and come up with a whole life, in an office novel this brown suit is said to have been found by alisa friendlich herself, they climbed through all sorts of costume rooms of musfilm, not musfilm, they were looking for something so terrible...

secondly , this is some of the most terrible soviet fabric, that is, this is the kind of thing that no actress would want to put on you, you just dress a little gloomily. yes , the beauty, hmm, i didn’t notice, but there was an actor who put it on himself, do you remember this story 2 years ago, when brad pitt came out in lyudmila prokofievna's suit, no, this is for the red carpet, i know that this is always compared to all sorts of prada outings and brown suits, but i think that if you put them side by side, it will be just heaven and earth. natasha, how would you dress business ladies today? if they were filming a remake

of an office romance, probably in hoodie, jeans in hoodie, hoodie, well, this is a businesswoman working remotely, remotely and after remotely, it seems to me that people now already allow themselves not to comply with the dress code, well, we don’t now let's come up with this plot, but it seems to me it’s great to first show a person in something like that - shapeless, huge, we were once talking about... movie images in the studio and they told me a story that it turns out that we have female actresses who are forbidden to bring things from the mass market, then yes, it must be expensive brands, have you encountered this in your work, no, i think it’s more the work of stylists, not costume designers, because in the movies, well, you can’t dress everyone in couture clothes, because let’s start since the heroines different if this girl always plays...