sacredness in art, sacredness is how - you connect with the viewer, how you create the whole ritual so that he is not a spectator, but an accomplice, let's say, music should live in all places that we can imagine it, and not just in concert halls, tell me, when do you conduct in the church?

față dăruindu le, hristos a nero banano, 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 of the heart, or as you once said, this is not plastic art, because in some cases, this plastic art is necessary, probably should...

for the viewer, so that he understands more, because even from seemingly primitive art people do not catch everything, in principle, this is a race

, trima is what to do so 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, otherwise what will happen next, what will be and is not very interested, but it will be, then there would be no shakspe. there wouldn’t 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 something that no one else has managed, you uh turned the feather into a meka of this very new opera... art, did you

feel the resistance of the audience? you suffered 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 meet with this analysis, that is , the program is very rich, and the fact that we are now in the house we are doing radio in st. petersburg, i started it back in novosibirsk, then it seemed to be more... powerfully established, well, that is, you are following the path that, in a sense, martey showed you, he is my hero, whether you like it or not, but he influenced me very much, he was like a father for me, we continue the theater podcast, our guest today is the legendary theodor kurendis, as you know, i attend your concerts, the last episode that i remember was when you stopped the concert

and waited until the audience finally found their seats and sat down in them , and you started again, while you turned into the hall. it’s not the others’ fault that they come on time, but they also want to, there are moscow traffic jams, you know what’s happening, they’re trying to sit, and he says: the entire introduction to the pianism will be sacrificed to the sitting of these people, it’s better wait, i say: nothing, i’ll wait until

you sit down, i’ll start, i’m playing very quietly, 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 but... what i don’t like is when there are phones, when they’re filming, when the phone rings, and in my worst dream, i’m in the hall for some wonderful concert and my phone rings, i don’t know how to turn it off , it’s like a nightmare, some kind of spanish.

a famous person was walking by, and he started talking to me, well, theodore, hello, yes, hello, well, he didn’t watch, he talked to him for 15 minutes, he wrote text messages, of course, maybe he was playing pac-man, i didn’t check, but he was playing, he was watching, yes, and what did you want to ask - what - what i say is nothing, just hello, i’m here.

theodore, tell me, now 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, here and there, on all sides, i have some kind of... then success is due to the fact that i... regarding 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

or right, at some point this will come, it’s like success and hope, but it is success that allows me to at least do. the things i want to do are not like that, can't you imagine some kind of success, what to say fashionable are rich people who can't fix what they want, i'm not like that, no, i didn't mean that you're like that , i meant that perception, well in particular in in moscow, that’s exactly the case, 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 not yet, if i have not yet achieved, that these people came to open their hearts to music, and to be ready for this, as if intimate creation in the name of the soul, music, and not just as a social

event, then i have not yet achieved this, i am far from my goals and... some kind of recipe for how the public prepares for those performances, for those concerts that are out of line generally accepted paradigm. this preparation is not only musical, it is preparation at all levels, you must prepare, watch a good movie, watch, go to some good exhibition, and listen to some good alternative music, uh, go to a more experimental theater, and this will form 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 territories ignorance, so art, contemporary art, i can’t say that i love everything , especially 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 because i expanded, i saw something that works inside me, but this is an important experience, of course, art is do n’t like it or don’t like it, it’s not about aesthetics, it’s about expanding our vision, insight, yeah, that’s why we become wiser, tell me, well..." that picture, that the situation, what you have today,

iterna 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 answer there are already 200 people in the choir orchestra who sold their houses after me, i am happy because there are.

hello everyone, tatyana gevorkyan is with you and we’re not out of the woods. today we are talking about the relationship between cinema and fashion, recalling the most iconic images, film difs from soviet films. with me in the studio costume designer, natalya konevskaya. soviet cinema is... with theater and cinema, and of course, every time i went in with someone from...

i was amazed then that she wore a flat not only on the screen, but in everyday life. soles, which we all love so much now, with long skirts, men's boots, always some interesting headdresses, hats, caps, berets, and there was another amazing moment, she already wore one earring, oh how, yes, she was an absolute trainer, she outdid the fashion for... the power these are huge jackets with wide shoulders, a long coat to the floor, something 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 talked on the phone with my mother , she asked me what the filming would be about, i said, we will discuss soviet film stars, my dad worked in the field of cinema and we lived in other countries, he represented russian cinema there and was very 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 know, very vaguely, i remember that she came, but for some reason the images didn’t stick in my head, she says, well, because when she came to visit us, we took your children away... another room, because she had a very sharp tongue, and spoke a lot of words that were incomprehensible to children, so how much was this brightness 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 , of recognition, on the contrary, although... hide, alla demidova , she was different in that i didn’t recognize her every time, also as a little girl, when she entered the elevator, i think who is the neighbor, and this is allamidova, that is, she knew how to somehow hide her stardom, and at the same time, 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 ability of film stars to transform in life is to look how ordinary women, so that they don’t get recognized when... you don’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 and didn’t see everyone, 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 headdress, and it’s another thing to go to the premiere in the evening somewhere where... they should recognize you , everyone should talk about your image, let ’s talk a little about film images, from your childhood, whose images do you remember the most, for example, from lyudmila gurchenko, what are the most memorable images for you. of course, everyone probably wants to talk about the carnival night, but my favorite movie with her is just the calmest one, probably the movie 5 evenings, it’s very interesting - transformation happens to her, she’s at the beginning, that’s how i i remember they appeared in some kind of robe in these in curlers with some kind of scarf on her head, so completely nondescript, and by the end of the film , by some very simple means, she simply looks 20 years younger. lyudmila gurchenko was a real trendsetter influencer of her time; it was she who popularized

christian dior’s famous new look silhouette among soviet fashionistas. after the release of the film station for two, women began stacking...magazines with patterns, sewing dresses, and curling their hair like the heroine of the picture. what do you think, these outfits of a carnival night, they are still in costume designers were inspired by the house of dior, definitely, i don’t remember, i think it was 1956, yes, that is , almost 10 years have passed since christian duor proposed this wasteful new look with a huge amount of fabric that i spent money on a dress after the military one, i changed it. in general, the entire female silhouette and even somehow returned to women the corsets that they took off with such difficulty and with such pleasure at the beginning of the century, suddenly here it is again in the fifties - everyone is being pulled into a corset, this is a wasp waist, and the soviet union also came a little later, but this is such an understandable desire of post-war women to look beautiful, feminine, as well, this is a very popular silhouette today,

i have a dress that i inherited from my grandmother, i even have a photo where she... at a reception at the soviet embassy in a dress 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 their silhouettes practically do not change from season to season, the length changes, the texture of the fabric changes, but this new look is always present in their collections, now everyone very often looks at... and they say that modern collections of famous world brands are very reminiscent of an office romance or a photo of lyudmila gurchenko in a suit, it’s just a missoni suit, where they found outfits for movies at that time, were they some famous brands or was it made to order, how did it all happen? well,

there weren’t really any well-known brands back then, naturally, it was all made by costume designers. who collected fabrics and found patterns. in fact, these are practically the first fashionable costumes, because if you watch movies of the twenties, thirties, even forties, here is lyubov orlova, for example, she is considered the first soviet diva, yes, but try to remember some of her images. lyubov orlova, 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 marlene dittrich in her image, in her image, yes, blonde curls, those thin eyebrows, red lips, the clothes in the movies at that time

were practically dirty, because uh, well , somehow ideology was probably more important, it was more important to show that the heroine, a real soviet woman, she thinks about the public, and not about some personal thing, and in general all the remnants of the philistine style. all this was more likely to occur in heroin negatives than in heroin positives. natasha, if we talk about actresses, about film stars, how sexuality was broadcast in cinema back then in soviet times, and how today negative heroines were sexy and fashionable and somehow so stylish, to say there that beauty is a terrible force could at best in the case of faina ranevskaya, yes, but not the heroine lyubov orlova, in what era does this become acceptable? for a positive heroine to be stylish, sexy, bright, apparently, these were some kind of waves, the war ends and , strangely enough, some kind of western

influence still comes to the soviet union, because trophy outfits appear, fabrics appear, some films appear, probably also the first image of a positive heroine, but at the same time fashionable, incredibly stylish - this is still the same lyudmila gurchenko in the film carnival night. there are beautiful, bright, quite fashionable and independent, well, that is, as if at some point, probably somewhere in the mid -seventies, probably this is already after

thaw, as if a woman is allowed to be beautiful and stylish, and at the same time, as if clothes have nothing to do with character, so the way a woman looks no longer shows 100% how she will behave in to make a movie, then... there may be some surprises, then there was another move, how to show fashionable, stylish, sexy characters, but these are historical films, oddly enough, censorship checks what is being filmed, fairy tales are being filmed, films are being made about the future and about the past, that’s all in this entire spectrum there are a lot of sexy heroines, this is naturally milady, margarita terikhova, in general one of the sexiest, by the way, a film director, here’s another name, and if you look at the way she’s dressed, and... there ’s nothing from the era there louis, and a lot of it comes from the fashion of the seventies, from some kind of fashion that could not be shown, i think, in soviet cinema, she is straight up a hippie, because

even such a boch style, she has badforts, tucked in tight trousers, this is a shock of loose blonde hair, fashionable arrows, well, that is, there are all three belts, yes they are they just made her a modern, sexy, very cool girl. being a diva and such a role model for many , she has never played modern heroines at all , so if you list how she started almost from childhood, oly and sails, amphibian man, war and peace and anna karenina, she is everywhere or is this a heroine from the past or in general, non-russians like ophelia, all her heroines, they are all some kind of shakespeare. so historical, but at the same time there is a film with an unnamed star, where she appears again in white in this fashionable dress slackers, some furs, well, everything that

a soviet woman cannot wear, those same curly light fibers, that is , it seems like a historical heroine, but the fashion seems to be modern, this is not tasty, today, together with costume designer natalya konevskaya we sort out the wardrobes. movie characters from the most iconic soviet films. the images of natalia selezneva in the film ivan vasilyevich changes his profession created a real sensation among soviet fashionistas. and it’s not surprising that selezneva’s outfits in this film were designed by a 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, too, it is clear that these are silhouettes from ivsonlan. and the silhouette was taken from pierre cardin, everything was a little later, in general such soviet fashion, it was always a little late, but still very, just expensive, beautiful, impressive, yes, who else

from the famous designers of that time collaborated with cinema, there was a house models in which these models were generally developed, here is 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, on the same carnival night, it’s so interesting there was a production designer, in my opinion, 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 to make costumes and scenery, and workshops worked, a whole sewing workshop worked on musfilm, they found these fabrics with difficulty, they found patterns for patterns somewhere.

these magazines somehow ended up in magazines from abroad and then were processed for many years, that is , it was all very difficult, painstaking work, because well, during the period of shortages , you couldn’t just go to the store and buy clothes, not even fabric. how much easier is it to work in cinema today? and it’s simpler and more difficult, well, let’s just say it’s very interesting to work on historical projects, because it’s a whole hunting, hunting through vintage shops, searching for some authentic things.

do you remember this story 2 years ago, when brad pitt came out dressed as lyudmila prokofievna, no, this is on the red carpet, i know that this is always compared to all sorts of prada appearances 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 a business lady today if they were filming a remake of an office romance, probably in thinner clothes, thinner jeans, thinner clothes, this is

a business lady. remotely, remotely and after remotely, it seems to me that people now allow themselves not to comply with the dress code, well, we won’t come up with this plot now, but it seems to me that it’s great to first show a person in something like that - shapeless, huge. we were once talking about images in films in the studio, and they told me a story that it turns out that we have female actresses who are forbidden to bring. mass market items, that is, they must be expensive brands, have you encountered this in your work? uh no, i think it's more likely the work of stylists, not costume designers, because in cinema, well, you can’t dress everyone in cultural clothes, because well, to begin with, the heroines are different, if this girl always plays the wives of oligarchs, then it’s possible, but then she very much limits the possibilities of roles, but i heard

that it was not... it was not dictated by the role, it was the personal role of the actress, some modest school teacher, it still had to be a prada suit, well, no, i’m with that, thank god i haven't come across this, i think it's a little crazy, you know, if we return to your question about working with the divas of soviet cinema, i came across them a little there at the beginning of my career, one of my first films was shot there by irina muravyova and irina kubchenko. for example, i was terribly worried about how i would collide with such superstars, and i haven’t met actresses who are lighter and more open to experimentation for a very long time, and in general this whole generation of soviet cinema stars, they are, perhaps, because they are not spoiled, maybe because they already have one huge life experience, they never look at labels, never look at, oh, i won’t wear this, this is some kind of

fabric, they... immediately try on clothes as if they were an image of a character, that is, they understand that it was not them, but the opportunity to reincarnate that brought them the opportunity, look, we have a lot of famous, talented... actresses with a lot of roles, really talented, but not everyone becomes a diva, which distinguishes a diva from a simply talented actress. diva is still about appearance, about image, or it's about talent, what is it about? i think that to become a diva, what can help is to meet your director, to get into the right role with this director, without unnecessary modesty, i will say, maybe meet the right costume designer, but i don’t know as examples. audrey hebborn and jvanshi, if there weren’t this little black dress because of breakfast at tiffany’s, there would be audrey hebburn, audrey hebburn, well, she would be a wonderful talented actress, but she would be such a super diva, which everyone still quotes this

the image with black glasses, a suit and a long dress, this is a combination, it seems to me that this is some kind of luck, and what other images are often used? marilyn monroe, of course... she became such a legend that it is probably more difficult to list the films in which she starred than to list some of her stage images, everyone knows the naked dress, the pink strapless dress, this one with long gloves, but men prefer blondes, well, naturally, a white dress that floats, that is, it’s like a woman who is immediately associated with with your bows, which contemporary actresses could you name? in a word , diva, tilde, definitely, yes, she, of course, is a diva, she somehow creates and carries this image, she transforms herself every time, it’s very cool, she also has an absolutely alien appearance, yes, but

it could be presented differently , she works very well with her. natalie portman, you can say that she is a diva, on the red carpet, yes, in life, look at photographs of paporation - this is an ordinary woman with children with... you need to cut yourself off from social networks and avoid paporations, i think yes, so that only professional filming, only cinema, then you are in people’s minds, you are a miracle, i think, well, how good is this, because

often some everyday images, they are even more charismatic, than these cold divas, you know, it seems to me that actresses don’t do this very much, especially actively working actresses with a lot of roles. theater with film roles, they don’t have time for these interesting everyday images, it’s more like some kind of blogger story, and modeling, and in general our time is already very commercial, because all the interesting images that we see were invented by, i don’t know, the hadit sisters or, uh, who else is the kardashian family, is it still all done in order to sell, what did soviet actresses wear? and how did this affect modern cinema? we discuss the images of soviet film stars with costume designer natalya konevskaya. it seems that before those actresses who were called divas, they played very different roles,

lyudmila gurchenko, vertinskaya, and well , almost all of our actresses, they had very different roles, they could be some kind of provocative beauties and village women. and today modern actresses, they more often become hostages of one image in cinema, why do we have so many actresses today, a wide range is not used, do you want me to now start criticizing the industry in which i work, no, of course, there are images change, no, i think that we changed elena yakovleva very much for the image of shpaklyak, in general we had such a wonderful, i don’t know, is it a joke allowed or not that... check when a large film crew sits and discusses that elena yakovleva will play shapoklyak, then because of the roles she is remembered for, you can understand how old people are, because someone remembers her like komenskaya, these are thirty-year-old people

, some remember her as an inter-girl, these are forty-year-old people, well, now a new generation is growing up, in the inter-girl there were also such quite unusual ones, i remember from childhood that wow, for soviet cinema it was so very provocative . very, by the way, one of very quotable images, these are all these heroines, there is such a famous photograph where the four of them are sitting at the beginning, and in almost every film about the eighties there is like... yes, it was all very, very relevant.

today, for some modern films, do you take inspiration from vintage images? i think so, especially because all my films are mixed, and i’m doing a historical project, then some modern project, when you look at these historical costumes and images from films, then suddenly you rethink, you think, this is the same thing, this is the same thing we wear now, so it came from... it came, that is, it is all the time such an endless process of understanding the origins of who was inspired by what, and new ones are born from this images. well, fashion is really very cyclical, the same office romance very much resonates with modern collections, for example miu-miu, but at the same time it is supplemented with some bright , provocative details, for example, on top it’s mymra’s suit, below it’s these panties embroidered with rhinestones, yes this is wonderful, this is absolutely interesting. how will this go to the people? you're wearing rhinestones, i'm looking forward to it, by

the way, what do you think of this trend? i, for example, really like it, i’m waiting for when, when it will be really possible, but there was also a story before, for example, my mother, when i was studying at the institute, she says that she has one thing, she was one of the first to have jeans , uh-huh, yes, then it was considered not very decent for a girl to wear jeans, it was just so daring, in general, well, since i’m now making a film about the olympics, it seems to me that this one is from the eighties.

these are also tracksuits with bomber jackets, leggings, short shorts, sneakers, sneakers, we had never worn sneakers before, but natalya varli was an ambassador of such a sporty style, yes, yes, but she still seemed to be on a hike in this moment, of course, this was also such a breakthrough for that time and it seems to me a special kind of sexuality, this plaid shirt, tight trousers, and these sneakers, anyway, here she is in a skirt, in a blouse, yes, i wonder what she has shoes there, definitely not sneakers, but what are there, what kind of shoes could there be?

shoes with heels, small heels or pumps without a heel, this is the maximum that they allowed themselves with skirts, sneakers - these were absolutely purely sports shoes for sports, and what other trends came to us with the eighties - high-waisted trousers pintucks, that is, bell-bottoms go away, gradually bananas appear, wide shoulders, after these... knitted things, on the one hand , every year it becomes more and more difficult, well, not even more difficult , but let’s say, more expensive, because when i i started - these are the clothes in the eighties, it was not valued at all and you could trade all these things for 100 to 200 rubles at any blash market, but now these men’s suits from the bolshevik factory

are considered fashionable unisex style, they are sold by bloggers and they are simply zero more expensive , but tell me what else is now really very expensive on the resale market, well, besides, say, bags of famous brands, yeah, vintage jewelry, probably yes, and you know, oddly enough, i was faced with the fact that everything is soviet symbolism, real soviet things are very expensive, t-shirts with an olympic bear, tracksuits, these olympic jerseys, real woolen ones with the inscription ussr, not fake, not altered , modern copies, exactly from that time, it’s very expensive, watch films , all kinds, especially series about some schoolchildren about young people, until the end of the eighties everyone walked around with these bags with the inscription olympics with an olympic bear, the film relatives, by the way, there, just in every image, olympic

symbols are somehow quoted, that is, this is the symbolism that became somehow very, very iconic for the decade. but today it turns out that in the cinema we have seen almost everything, that there are no forbidden themes or stylistics left, how today this sexuality of an actress is broadcast, this is clearly not through revealing clothes, just by charisma, just getting into the casting, because i'm sure no one can predict a story like sharon stone. who crosses her legs in a white dress and for 20 years this image has been cited as the sexiest, the most daring, although it would seem, but of the modern russian actresses, who would you name, like the sexy ones now, such a dangerous one is coming, you know, maybe you didn’t

remember someone, you named someone, someone you understand , that you are all now, of course, i can remember with pleasure the whole case of kept women, i believe that - and then this just magic happened, when everything coincided, the images, the actresses, the casting, the script, and of course, there is a lot of sex in every image, but dasha moroz, aka in general, she is a very good dramatic actress , but after being kept, i got the feeling that for many directors she became a hostage to this sexy role, well, i think that this is her decision, we will see her in different roles, who else? i really love all the images of marina zudina, but this is precisely due to charisma, but due to charisma, because putting all the same things on some other actress, without her appearance, without her posture, and nothing will work. thank you very much, natasha, it was very interesting, i i wish you as much interesting, vibrant work from different eras as possible and, of course, success in

your difficult work of searching for the necessary things, i realized that this is really very, very good.