bazhov, and his neighbors in the area , his fellow countrymen, that after all, this is a semi-mysterious story, but it is transmitted within the corporation, i would say this is important, but are the investigators correct in saying that it is rather transmitted within the group as some kind of secret knowledge is called in other words, these can be legends, these can be traditions, and they have already been rewritten and recorded for a wide audience. they move, well, let’s say, to a slightly different rank, because this is also an absolutely correct action , and just this is the story, yes this as if deliberately emphasized, look, they are talking about it there, what they are talking about there, in fact, will not become available to anyone until you work there within this group, that is, we are trying to do a forbidden thing, we are trying to unravel the mystery, yes, then in fact, this cannot be repeated, why because pavel petrovich bazhov is not out of nowhere, all this...

the literary circle is already from such a local one, and again here is nature and culture and creativity and investment and economics, well, bazhov’s was really quite serious popularity already in quiet times, at the end of his life he gained such all-union popularity, here are several such illustrations we see of him among children, we talked about how this is a children's story. this is a drawing of gods for a meeting with readers , that is, it really has gained wide popularity, now, perhaps, in these times, which again force us to look for some kind of support, here i must say, about the connection, by the way, between ibazhov and peredelkin, i can’t not to say naturally, because yes, because permyak lived in peredelkino, who wrote a great novel dedicated to god, in general was his first chronicler, first interviewer and... of course

he was completely in love with here is another beautiful illustration, scary, yes, what nikita was talking about, well, let's go back to peredilkin, yes, yes, but there is such a large corpus of letters, in general bozhov left more... an incredible number of letters, which are also a separate completely literary work, very interesting, published just a few years ago, very absolutely critical articles and advice, and even on building a house, which it means he sent permika, he has a lot of addressees, a lot - this is really a gigantic body of a completely different god, and it’s interesting to read, well, we’ll just finish by mentioning that there is olga slavnikova with roman 2017. there is alexey ivanov, but olga slavnikova simply has hitters who mine these very stones in the nineties, in a word, this tradition lives on, and bazhov’s work goes back to the immemorial times of romanticism and further, further, further into the past, when they were formed

folklore stories and works, are at the same time next to us, literally next to us, all this continues, like literature, like... art, like life, i am very grateful to you for this conversation, i think it was useful to all of us, i thank darya beglova, the head of the creative house in the peredelkina writers' village, i sincerely thank nikita petrov, the head of the theoretical laboratory of folklore in ronkhix, thank you dasha, thank you nikita , see you, all the best to you, our respected interlocutors, i say . your usual phrase which i love very much, read with pleasure, dear friends!

hello, there is a theater podcast on the air , and i am its host anton getman, today we have a special episode in which we... talk about the legendary belgian intendant gerrard martier, how he managed to make opera the way we see it today, why he remains role model for theater managers around the world, how he influenced the fate of the brightest representatives of musical theater today, about this and more, we will talk with our guest, founder and artistic music director, eterno, outstanding conductor theador kurentes.

théodore, hello, hello, gérard martier, legendary figure. i think, played a huge role in your professional life, tell me, you are people of completely different generations, how did this meeting turn out, how did it all start, who found whom? it was in the early 2000s that we staged the play aida in novosibirsk. this is a very provocative performance of those times, there was a huge large-scale scenery and so on and so forth, we worked 24 hours a day with dimitri to create exactly this degree, which we wanted to take out the performance, and someone

handed over some videotapes to mortier and mortier, as he saw this in principle, he immediately came out with suggestions. and he invited me to support the parisian opera, yeah, and i went immediately a few months later , i did it after the invitation. don carlos then i did a co-production of macbeth, which we created together with chernyakov novosibirs co-production with the opera bastille. and this is the first time, i remember, when the french came to novosibirs, because they did decorate together, and there was minus 50°. and they walked like... in paris there was

prime minister anlo, he was so delighted that he became my mentor, a man who talked about me on every corner and opened me up, in fact, to the big shot in europe, he we were very... that martier re-assembled the opera, in principle, musical theater, at the end of the last century, with

some amazing, legal intuition, he actually determined the path of development of opera for 25 years ahead, in relation to martier quite often when you read his interview or some texts about him, you come across some kind of martial vocabulary, he fought, he fought, he for... dispassionately in the history of art of the 20th century we

will see what evolution happened in cinema, yes nemo and the cinema played with grimaces, they all seemed to be grimacing, then the cinema became some kind of author's i don’t know art anymore, the 60s were great, but the 50s were great. how the theater develops, and what in music,

in music after the advent of mahler and stravinsky, and debussy, and this is completely changing, the world and chard say, is changing, perfect, the world, and novi ezik, denounced, asto voper, opera has remained. sixties years of archaic art such as it was more or less in the 19th century, that is, we are interested in music and conventional theater, i put on some kind of costume, make some big gestures, go out onto the stage and simply support this ritual, so there was very little voices,

gods are archaic, of poor taste, and poses, singers who have an exaggerated ego, which they come out with, 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 as it is, i want to explain, what, in what world did mortier come to fight, with whom did he fight, he came and began to fight with this

great italian tanors, great stars and so on, he... he saw this internal resentment, the composer’s resentment in this space, and why don’t we deserve this evolution that the rest of the art world has, now it’s up to judge whether it’s good or bad, it’s not my business, my business is to say that it was that the person who he co... had a very big scandal on the opera stage , i asked him all the time, just tell me to me, what is the biggest scandal, which , it was fledermaus in salzburg, he smiled, because it was a weird question for him, he deeply appreciated the scandal, like tygileb, in fact, and mortier was interested

in evolution, yeah, art in life . we understand that at some point on the stage we will have to make some decision, yeah, do we want to please the public taste today, do we want to be accepted for what we are doing to feed the audience our desires, or do we want to do something which they may not understand now.

there's a theater podcast on the air, and today we're talking about gerard martier with theodor kurendis. martier has one of his concepts , well, perhaps one of his key concepts , it was a director's theater, it was a theater based on the director's concept, on dramaturgy, because he, like a hacker, hacked

into the conservative opera system and introduced it into the production group.

said to peter: go visit theodore, i lived on the plaza oriente there, and talk about the future. you have carte blanche to do whatever you want to the theater, and peter sellars came and

theodore says, what are you dreaming about, well, we were thinking about doing some kind of don carlo, something like a big opera, i say, in fact, i’m dreaming, you know there is such an opera - the indian queen sat down, she said, i’m off to shumka, she said, this, i’m just reading this now, and i want to do it, that is, it was some kind of amazing, amazing coincidence, which cannot be one in a billion, and we call gerard 5 minutes later and says, tell me, you invited gerard now, as i understand it, at this moment this is the understanding musical theater...

opened these borders and made it possible to see a work of art in another territory, they removed behind this narrow museum space that

the opera was located, and he staged the opera in another space, well, you did the same thing in prison, then, you also changed not only the theater, you also changed the audience, yes, but you did this when you were first appointed. i already worked with mortier before this a long time ago, i worked with mortier from novosibirsk, naturally he influenced me very much, this is the principle of how to look, how to breathe and how to open your boundaries create not answers, questions create new questions. art is for us to create new questions, and not for everyone to answer everything. are you very similar in this way, in that? what did you do with what martier came up with and did, these are the formats that you did in perm, i mean, in particular at the dyagelev festival,

these concerts in the early morning, concerts when the audience listens to music lying on mattresses, these are unusual the circumstances in which you place the musicians and the audience, what is the task, to bring the audience out of a state of comfort or on the contrary, he puts in i don’t know ten candles, yeah, it’s natural here, his painting looks a certain way with warm light, yeah

, yes, for example, cezanne, he created provence, his work in the daylight, and in his garden, naturally, with in cold light it looks as it should, but imagine, now all these masterpieces will be collected, collected in one museum and staged as... the organization of music, there is absolutely something in this, you are revealed, you are leaving this template, and you are revealed in a different way perceive. music is not

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

series and... in all the places that we can imagine it, and not just in concert halls. tell me, when you conduct in a church with your musicians, it’s a special feeling. naturally, this is a different feeling. it’s not possible to have a concert in a church, you can’t give a concert in a church, you are the minister at this moment, our ritual, we do it all the time like the entrance to the cross with the veches. we have byzantine choir, muzhiktarina byzantine and. and we do

ancient chant and modern music together, how do we combine it? christ valesti. almost 10 years since girard passed away, looking back, tell me, this is the uncompromisingness of martier, his principled position that opera is not a caramel name day for the heart, or as you once said, it is not a plastic

art.

people don’t catch everything, basically this is a race and the mainstream is what to do so that they understand everything, they feel that they are smart, and what will happen then, what kind of evolution, this is nobody does not concern, there are people who choose to live today and get the maximum, as much as possible today, but what will happen... later, what it will happen is not very interesting, but to be, then there would not be shakespeare, there would not be dostoevsky , there wouldn’t be pushkin, there wouldn’t be anyone if they 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, since you reformatted this theater, you remade it, you rebuilt it, you restarted it, you did what...

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 the fact that we are now in we are building a radio house in st. petersburg, i started it back in novosibirsk, then i seemed to establish it more powerfully, well, that is, you are following the path.

there are some noises, this is a living process, but when you see that 50 people have not yet sat down, you go out, because it is not the others’ fault that they come on time, but they also want to, there moscow traffic jams, you know what’s happening, they’re trying to sit and say:

the entire introduction to the pianism will be sacrificed to the sitting of these people, it’s better to wait, and i say: “nothing, i’ll wait until you sit down,” i start, i’m very quiet. on the other hand, it’s my mistake that i started, when i see that everyone hasn’t sat down yet, i should have waited, i say, visit later at night, what i don’t like is when - with phones - when they’re filming, when the phone rings, and in my nightmare - i...

go out and put my heart on the table, you i have to respect this, one day i went to a famous person and he started talking to me, well, theodore, hello, yes hello, well, he didn’t look, he spent 15 minutes talking to him, he wrote text messages, of course, maybe he pac-man was playing, i didn’t check, but he was playing, he was watching, yes, and that... they wanted to ask - something, which, i say, nothing, just hello, came to say, left, maybe this person is very busy, but i think that this is a very great disrespect in

any person, not that i set myself high, to talk to a person and not at all look him in the eyes not once, so it’s not respectful to sign up for a concert or... or i don’t know, to take off or i don’t know, it’s not good to even read the programs during the concert. theodore, tell me, do you understand that you are a fashionable conductor? i believe that i am not a fashionable conductor; on the contrary, i am a conductor who encounters colossal difficulties, colossal difficulties, and everywhere. and here and there from all sides, i have some kind of success due to the fact that i uncompromisingly believe in my ideas in principle about music, both about

education, about music, about creation, yeah, in this topic, and if you have faith and you go for it and you don’t look left, right, at some point this will come. kind of success and pestering, but it's success - which allows me to at least do the things that i want to do, it's not like that, you have no idea. some kind of success, what can i say , fashionable people are rich people who can’t fix what they want, i’m not like that, no, i didn’t mean that you are like that, i meant that perception, well, in particular moscow exactly this, it’s impossible to get to your concerts , tickets sell out instantly, it’s considered prestigious to come to a concert by teodor kurendis with the music of eterno, i have so far, if i haven’t achieved yet, that...

uh, go to a more experimental theater,

and this will create some kind of - context , 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, so art... modern art, i can’t say that i still love contemporary art, but i ’m happy if i go to some performance that is completely unfamiliar to me and i don’t like it, but i’m happy that i was there, because i expanded, i saw something that works inside me, but this is an important experience, of course, art is not liked or disliked, this is not about aesthetics, this is about our expansion...

and i have to be responsible for the 200 people in the choir orchestra who sold their houses after me, i’m happy, because there is a radio house, and there is this dream place, and i believe because i i’m watching all over the world what’s going on, i think that this is the most progressive place in the world of home radio now, and i’m happy because this is happening in our country. thank you, theodore, thank you very much , thank you very much, all episodes of podcast lab

can be viewed on the website of the first channel , hello, the podcast baden baden is on the air, i am its host, konstantin severinov, and today we will talk about

different approaches and different techniques, so exactly what is placed on the pedestal of common sense, it remains unchanged, but nevertheless, all sorts of different scientific approaches, they change, i cannot say that all science changes its view in 10 years, but at least 15-20% of

what we know today will be revised in 10-15 years they will tell us that everything works a little differently. and new generations of parents will religiously follow the recommendations of pediatricians, understanding that they are the opposite of what they did, we will change our views on some, let’s say, drugs, we will change our views on some approaches, but our main views will still remain unshakable, on the basis of which doctors , excuse me, are in the air, well , in fact, this applies more to pharmacology, this applies to genetics, this applies to those processes that are at this junction, that is, precisely due to the fact that we study more the processes that occur in the body, we have the opportunity to revise many of the views that are becoming outdated and replace them with others,

as for the fact that the child should be healthy, and we make every effort to ensure that to make it so, not to give it to take over diseases, this is a completely unshakable postulate of medicine, well then i understand that medicine exists here now, and this is correct, probably yes, but what happened before or what will happen later, well , we’ll see, we’re like scientists or doctors will say, well, you see, even, let’s say, back in medieval, and not even medieval, in victorian england, it was believed that , let’s say, and even in the twenties in russia, that a child should be... kept swaddled as much as possible in a swaddle so that he moves his arms and legs less, well, thank god, we have followed the path of common sense and are saying that it is possible to swaddle a child, but only for a certain amount of time, because in theory, swaddling

is actually an imitation of the child’s intrauterine stay, when he specifically feels the boundaries of his body due to soft pressure. walls of the uterus, when we swaddle a newborn, we actually remind him how good it was in the womb, in connection with this the child calms down, but all this is also good until a certain age, when he already begins to get out of the diapers, then of course we shouldn’t force him back ; then, from experience, you can’t force him back, that’s for sure, especially as he grows, he simply won’t fit there anymore, so let’s return to this triad then. so that the child is healthy, after all, this is probably the most important thing, but for the parents, and for the child, of course, too, are there any recommendations on what to do and what not to do, whether you need to use common sense, and are there any innovations in this whole matter now? a regarding common sense, of course , there is no blame, i urge mothers,

first of all, to skip any recommendations, because unfortunately, well, as you understand, skip recommendations. the internet, because now in the age of the internet, all mothers, when they put their children to bed, immediately start looking on the internet for information about why he doesn’t sleep, poops there, or vice versa doesn’t poop, well, in general, for a variety of reasons, unfortunately, we meet in on the internet like...