only in how they now evaluate this test of strength, they say they need to hide for several years and prepare better, or continue aggression against russia right now and expand the conflict to the baltic states, for example, well, what do you think they will choose, premiere, big story, tomorrow after the evening news, we are again together with those who love good music,

the russian championship in primedaigue in the discipline of dynamics anarchy in bassia continues. results of the first plant. hello. hello. and i removed you from competitions. on what grounds? based on common sense. i am a master of sports in swimming. how old is your id? so, i passed the medical examination, so you don’t have the right? i don’t have the right, that’s for sure, i don’t have the right to be allowed to compete, people become disabled, the limit of each age is that what passes painlessly at 20, can sweep into the grave at 40, i’ll hold my breath for 4 minutes, time it. “do you hear, gerdeeva,

today i have so many performances through the roof, i’ll catch you, or what?

marinka, come on, come on, you can do it, push say yes.

the second one has started, closing, the dynamics are overwhelming among women,

how does it feel? what's this? black elk, short and generally unclear. loss of consciousness due to acute oxygen deprivation of the brain. is it dangerous? well, it can cause functional impairment. listen, who is batyarov, vadim. well, this is such an extreme academician. previously headed.

and you? and i, and i’m not his option, he only does special things. at the start of the third swim, the dynamics of finless among women. ekaterina evteeva, moscow. tamara sergeeva, moscow. elena stepanenko, st. petersburg. moscow.

larisa vykova finished - white card 97 m. tamara sergeeva - white card 108 m. ekaterina evteeva, white card, 131 m. this is her personal record. manina gartriva continues her swim; she is participating in tri-timing competitions for the first time.

i'm okay. marina gordiya, white card, 142 meters, dynamics without fins, best result, this is a new russian record.

mom, congratulations, hello, hello, they showed you on the news, give me your bag, let me at least hold the cup. so this is pinned on you, but your grandfather gave it to you? yeah, said for stas, yeah, how was the concert? no purchase, no problem, another time in another place, what? we're moving to moscow, i'm not going anywhere, dad, i signed everything for you here just in case,

there's more to come, it's a pity that there's not enough fuse, since there wasn't enough then, even more so now, what are you, do you really think that it was a matter of passion, what else, you had unique abilities, marinka, you had them, you made it, your time is gone, my time has come. i didn’t know

that moscow rescuers earn so well if i borrowed from a friend, but not i could have fallen on my face, meeting the russian freediving champion on my trough, in general, i embellished your resume, and if anything, don’t be surprised at anything, you are now an honored coach of the entire volga region, and a laureate of the competition for rescuing drowning people,

six, what are you you do, huh? calm, everything is according to plan, the money will appear, we’ll move, of course, it won’t be easy at first, but where is ours, it didn’t disappear, but it didn’t disappear, anh, what anh, i actually have a music room there, i have friends there, i have a my whole life, all because of some moronic friday.

you must be prepared for serious loads, we don’t have some kind of fitness center here, we have a forge of olympic personnel here, look at our athletes, all this gold is the merit primarily of our coaches, no one...

breathe, breathe, don't forget about breathing. masha, tighten your hand, come on, support movement up and down, come on, come on, come on, let's go!

breathe, breathe, add, add. the snow is still white in the fields, and in the spring the waters are noisy, they run, they wake up the sleepy shore, they run, they shine, and they say, they say to all ends, spring

is coming, spring is coming, we... that spring, messengers, it sent us ahead. what, where, when, spring series of games. tomorrow, after the program time. kiev propagandists distorted bulgakov's biography so much that they instantly turned him into an enemy of ukraine. roskiev, the mother of russian cities, these are crazy ones.

please, hello, what are you doing here, and it’s not dawn for you to go to school, so calm, girl, i have everything under control, so today i received four liters, went to the store, fried pancakes, baked them or baked them, well, you understand in short , with a cross raised, yes on a typewriter too, okay, tell me what you need, i also want to do freediving, who can go to college? i’ll go to college, one thing doesn’t interfere with the other, maybe you ’ll train me, but i need a coach myself, you, mom, you’re the champion of russia, well, come on, mom, come on, say yes, come on, say yes, mom , well, well, yes, mom, say yes.

you were 14 minutes late, what did you come with, hm? i don’t know how to explain, i’ve probably hit a wall, there’s no wall, you think this is my limit, nothing’s clear to you, let ’s look at it at your leisure, dkv, what is it

deconcentration. the psychotechnics underlying my theory, if you figure it out, you’ll understand, then we’ll move on to practice, but if you don’t understand, you’ll spend your whole life trying to swim 143 m instead of 142. our attention is structured in such a way that we see only individual objects. when we begin to use dkw, deconcentration of attention, we see the whole picture, the world turns into something homogeneous, there is no dinner,

but dinner will be done now. a person is able to extract energy even from fatigue. as a result, we enter deep a meditative state that allows you to control the body while working with the external environment. this makes it possible to make a leap into our consciousness. mom, mom!

i had it the day before yesterday, and a week ago, okay, just cramps, you walk like a zombie, and you infected sashka with your sickness, anya, what are you talking about, my mother works two shifts, training for the european championships. this is a sport, a sport, ah, here you are, you prepared for the competition, you rehearsed 6 hours a day, you won, i want to win too, in general, against my friend katya, there is a free room, she doesn’t mind me, in short, i’m coming from you... i didn’t know that you had a new friend,

what do you even know about me? uh, hey, what's wrong with you? easy samba, but why not factrot? loss of motor control due to hypoxia is more similar. marina valerievna, apparently you didn’t understand me, you are paid a salary so that you increase. our regalia, not yours, yes, in my opinion, improving your own qualifications for a coach, qualifications in what, in drowning and who is it with you, and this is the belayer, the championship is coming soon

europe in freedami, i think i expressed myself clearly, we are aimed at olympic sports, listen, sports are developing all over the world, at international championships in pressing, russian athletes are practically not represented, i could organize training for students, free from work, gordeeva, i am self-willed for you. i won’t allow it, i’m sorry, but you will do the work that we assigned you, it’s clear, well , now we’ll train at night.

i feel at home, hi, take off your shoes, listen, i... "i've never done this, we now we’ll fix this, walking on coals requires the same internal concentration as diving, you’ve already tried to master my method, technique, lungs, muscles, this is not the main thing, the main thing is our volitional consciousness, let’s start, how? look straight ahead, but distribute your attention around the periphery of your vision,

soon. you will understand that you see everything around, even what is behind your back, no longer, say it’s pain, what do you see? i can't, i can't, what do you see?

you are from right to left, i endured everything, everything, and so that in front of my daughter, you you betrayed not only me, you betrayed her, daughter, i didn’t betray you, i’m waiting for you at training tomorrow. don’t you dare do this, if you quit the sport, lose to yourself, a month and a half ago, the parents of the lieutenant, alexei turbin, are killed, from now on

we have a lot. undercover taxi. premiere. from monday on the first. mole, cool. as the chairman of the jury, i felt out of place. perhaps all the most famous actors and directors in the world sat at this table. i 'd like to have lunch. please just this pasadena. we don't have restaurants. how did you

feel in the film, where? all the actors played themselves and only you had a role, but whoopi goldbert is a policeman? how are our films received by the local public? are they expecting some other turn of russian cinema? clinics? are you criticizing the american dream? no, i'm trying to tell banks' story of the last seven days of laura palmer, are you laura palmer, matodo? on friday at first, tell me you like my hat, you don't have a hat, i would like to in the future to say that i did everything i could in my life.

jessica, really nice to meet you, marina, nice to meet you, jessica! imagine someone jumping from the 26th floor. when a person descends to depth of 100 meters, their lungs compressed to the size of an orange. after five minutes without sufficient oxygen, human brain cells begin to die, which may lead to

seizures. free diving is an extreme sport where you are constantly between life and death. two. marina gardeva, thanks for putting a good show, jessica was getting bored, of course there will only be one winner at the final, by the way,

the ball fills up, drags you up, uh-huh, clear, clear, are you sure that you are ready to live, well, that’s a completely different matter, here you don’t control anything, you control everything this thing, really, it’s this elevator of the underworld, can you find the right words, three, two, one, official top plus one, plus two, plus three, plus four, plus five.

i won’t go, you go on your own, okay, i ’ll return you to the hotel, mom, well, let’s go together, you need to unwind, i had to dive today, this is all because of a trace of idiotic, what? don’t look at me like that, the technology failed me, well, mom.

fear is a terrible thing, you nearly had me shit my pants, marina gardeva. 'you jessica could have lost one of her biggest sponsors because of you? of course, we know it went all right in the end. it's good for jessica. can i give you a piece of advice, darling? this is an expensive hobby. the world championship is coming up, 15.00 bucks entry feet, plus the training, plus the equipment.' we simply can't afford it sweeter. i'll be

okay. right. jessica will announce 95 meters in constant weight. it's simply insane. there's no way you'll ever come close. i'll do 10. right!

freediving began with the ancient craft of pearl fishing. so we will start with this. all these pearls are the same, but each of you has a different purpose. think about why you are here. get started! sasha, i'll be right back. don't feel sorry for you,

pearl. the gift my father gave to my mother was probably a fake. why did you come? i can help you, i don’t need your help, you didn’t run away from me, but from your fears, they won’t disappear, if i go out, you already understand that there is no pain, there is pain, mom, i know where to get the money, everything, the world championship is ours, look here, a global brand in the production of sports equipment for freediving announced a sponsorship prize of 25,000 dollars for diving in one breath in the legendary blue hole coral cave. crazy? is this a divers' graveyard? there are 55 m to the arch, then 25 m into the tunnel, then further up. yes, but then

we’ll get everything right away, and money and fame. not a single female freediver has ever dived into the blue hall. open up to your sister, ma is not discussed, someone was planning to move, yes, and will move as soon as he earns money, why move, it’s normal here, and in general we’ll start saving, um, with what? better tell me about yourself, i don’t know what to tell you, i entered the conservatory, you’re silent, cool, congratulations, how smart you are, you know that i’m proud

of you, before you were impressed by my successes, now you’ve completely given up on everyone, no, no, it’s not like that, it’s just... there’s just very little time, and i want to achieve results, you do too, no, not me either, i’m probably doing the most pointless thing in the world, then i decided to dive, mom, damn it, come on, mom, you’ve already proven everything to everyone, and in general it’s time to go home, in case dad decided to come back. when my father left my mother, she sat at the table all day long, looking at the table, hoping that he would return to her, no, i don’t want like her, and i don’t want like you, bluehole, you’re completely crazy, you know,

how many people died there, i know, i know, gordeeva, you know, if anything happens, i won’t even get you out of there. your workouts are crazy, why do you have to constantly go to defying common sense, age, finally, i , as your doctor, should still, like my doctor, take it, please, but why measure it, as always, 120 by 80. else, what else, where else, i want , so that you can watch my sashka this month, he and i will be in the blind row together, oh, god, please don’t start, okay, you know very well how much we train with him, i know

only one thing, you are not a mother.

hello, dad, what happened? no, nothing, everything is fine. you never call just like that, well now i decided just like that, listen, dad, i have very little time, i’m preparing for a difficult dive, i know, you know, i just wanted to tell you, i’ve always been proud of you, now so... dad, bye marinka.

"my son died because of you, you and all the others like you, death took him, death, evil spirit, a long time ago, amir left here, and when he would go away, his daughter used to take pleasure with young men , when they me then..." about his daughter's since he decided that even she should be drowned, but before she died, she cried out and said that

she will still take the man that comes near her, go on, go dive, she wouldn't touch the woman, dive with my son, his name will be... look at the class, we'll be the coolest at the championship, sasha, listen , you don’t like it today. that oh, you're crazy, you can't live without me, it was my idea and in general i trained like

hell, sasha, today i'm diving alone, no, then no one dives at all, i mean no one, why the hell did we come here then, what -the legend is idiotic, what do you believe, this is a cemetery for divers, not freedivers, the problem what is it that everyone and everyone is diving in, even beginners? what's only a handful of men have managed so far? nine, eight, seven, six, five,

four, three, two, one, official top, plus one, plus two, plus three, plus four, plus five, plus six, plus se + 8.

amazing, it has been done . russia's marina bordiva has just become the first woman in the world to swim across the blue hole cave

in one breath. you have so much time ahead, enough that at any depth, now you don’t have to go anywhere at all, just work on myself, to become better, i was ready for everything 200%, you took and deprived me of this victory, alarmist, and it is you who are not ready, if you had not chickened out in ignat’s place, i would be here now.

this is incomprehensible, both the fact that you survived and the way ignat died, dry drowning happens

extremely rarely, water gets into the lung, a spasm occurs. you're out of breath, don't rush, lie down for a couple of minutes, get dressed, come in. well, congratulations on your achievement, i got what i wanted, please just tell me what’s wrong with me, a violation of neurohumoral regulation, so what is it humoral, humoral - is it humor, liquid, well, blood, lymph? it is like a rebellion of the internal liquid environment against the external liquid environment, and what does this mean? failure of all

biochemical processes; general recovery alone will take many months, maybe years. hold on, i’m fine myself, you can’t dive anymore, forget about it. mom, come on, hold on, everything is fine,

everything is fine, everything will pass. 75 years ago , an organization was created whose sole goal was the destruction of our country. nato members made their plans according to wehrmacht standards, we built our own support system and logistics. in fact, it was the fourth reich and continues to be so. gorbachev, let's be honest, was simply scammed. when carriers of nuclear weapons were destroyed, ours were cut under the supervision of american specialists.

so what do you think they will choose? premiere, big story, tomorrow after the evening news. chanson, this is not just for you , you need to do it. it was so festive, and i wanted to go out and dance, but i couldn’t.

new season from april 14 on the first.

gordeeva, i warned you, but warnings are not enough for you, you are fired.

thank you for coming, you were right, you can’t run away from fear, but you can get through it, i had an injury, physical, mental, i’m afraid of water, you’re not afraid of water, about your visions, doctors definitely won’t help me here. listen, maybe my

method will bring you back to life, or maybe it will kill you, i have nothing to lose, i close the grill with a key, throw the key to the bottom, if you want to get out, you dive, take out the key. open the grate again. no fear.

you won't leave me here, there's only one key. vadim.

here you are, they called you a thousand times, i

left my phone somewhere, but everything is fine, don’t worry, what happened? grandfather.

it is necessary to turn off those areas of the brain where memories and neuroses of trauma reside. we come up with our own fears and make them come true ourselves. when we learn this, we move to the next level and begin to control the work of the whole body. and gradually. understand the limitations of the brain, pain, fear, suffering go away and a person gains superpowers.

in order not to feel the cold, you must slow down your heartbeat by half. you can do it!

swim, marina, wake up, wake up! you, you must see this.

“all people are made of water, and you are made of magic water, that’s what my father said, and i believed him, and then he left us, and i realized that all this was no lie.” “ there is no magic, of course, i’m ordinary, like everyone else, but there is,

just to feel it, you have to dive very deep, that’s all, let’s call it another test. this journey, according to the plan, you have to walk 101 m in 3 minutes 40 seconds, don’t watch the computer, if you feel that something is going wrong, go upstairs, mom, you’ll succeed, you’re cooler than jessica, but what does jessie have to do with it? mom, you can do anything, anka is right

, just listen to you, oh hey man sorry jessica's clamp broke you wouldn't ever spare with you yeah okay let me go and check okay all right

thanks man, thank you, five, four, three, two, one, official top, class one, class two, plus th, plus f.

you're crazy, the disqualification was canceled, everything is fine, that's normal, look at yourself, you you can’t dive, the cable is 110 instead of 101, the technician made a mistake, damn it, in the damn sleeve. mom, you ’ve been preparing for the dive for a year, you won’t be able to withstand the repeated load, but not a single living person can stand it, i can stand it, i can stand it, mom, i’m begging you, please, but

don’t, sir, let mom decide. yes, you are both crazy, mom, you said it yourself, records are not the main thing, yes, yes, i’m saying now, records are not the main thing, i just don’t understand. but this is not the last world championship, if you lose to jessica this time, you will win the next one, there are no cards with results at the end of the cable, it says that you were able to go through your fear and your pain, it says what you are worth, in fact, if

i...

hello, this is a theater podcast and me and its host anton getman. today we have an unusual episode on air with two guests at once, with whom we will discuss how two key theatrical professions exist in the theatrical process, in the professional process: director and artist, and we will discuss this with my friend, artistic director of the moscow...

before emhat studios school, do your dreams of becoming artists also coincide or are they still different stories? we never discussed this. well, i don’t know, sasha will speak for himself, but it’s clear that from childhood i only looked in this direction, i was the same boy who was put on a stool, who, therefore, came up with some kind of role-playing games for guests, who came, hello, come to ours. i told the store there to my mother’s guests and so on, no, it’s clear that i wanted to be an artist, but then everything, starting with entering school studiumhad, i dreamed of the shchukin school,

because my idol andrei mironov studied there, well, these were all some kind of childhood dreams, but i didn’t end up in shchyukinskaya, vamhad, and this changed my fate, i didn’t end up with tabakov, to whom i entered , and then the cards were turned out differently, i ended up with yuri ivanovich eremin, who directed the pushkin theater. in the pushkin theater and never was, who did not know such eremin, but nevertheless ended up in the pushkin theater and, in general, well, for almost 30 years, practically, well, with a little something like that to say, leaving for a short while in amkhad to work with tabakov for 3 years, yes, yes, well, for four seasons, yes somewhere, but at the same time i did not leave the pushkin theater, because at the same time i still staged plays there at the invitation of roman kozyk, but before that , of course, on the one hand, i kept dreaming about the theater,

school, i don’t have anyone who we are in this, which means we are similar, yes, i don’t, yes, but, but i, i never wanted, i at all i didn’t want anything, i didn’t have time to want it, everything came from

a creative family, the difference here is that i, completely from a medical background, have no nothing to do with it directly, but i always dreamed of medical care, but it’s too late, but the fact is that i really have all shchukinites, absolutely everything, and my sister, and my mother, and my mother, and my father, and my first husband machi, that’s just all, everyone is from the shchukin school and i’m the only one, which means i’ve gone to a completely different place, and it seems to me that i’m even in some place there.

the spheres are warm, and, to be honest, this is what i chose. tell me, yuri khatoevich temerkanov once told me, well, of course, it was a joke, but nevertheless, looking from petersburg, he said that i have the feeling that in moscow there is one large symphony orchestra, where the musicians end up, depending on the program and the concert, in one or another theater hall or in one or another concert venue. tell me, taking into account the current context of the moscow drama theater, this is it. half a joke, half a joke, it has something to do with this collective, the collective dramatic troupe of moscow, because today the arts migrate from corps to corps , they play in different theaters, different performances, but at the same time, many of them are constantly in their corpse, there is some kind of story that exists in academic music, certainly in musical theater,

that... today there is such one big drama troupe, which, depending on the project, director, material flows from one theater to another. i don’t think, i think that of course, this has become much more, and this is also some kind of sign of the times, but maybe also because, after all, the moscow drama theater used to be theaters - director's, this was usually the teacher, his... artists, he is a guru, yes, now theaters are in many ways directed by the director, or even if it is, even if they are led by a director, then in many ways it is still management, and in in many ways , these are still not monotheatres, but theaters where different directors are invited, since different directors are invited, then , in fact, the artists are able to exist in different styles, in different manners, and so on, and i, for example, always

believe that. ..

sometimes it happens to bring something to home, you need to go somewhere and get something for yourself, and this is absolutely normal, but evgeniy sancic knows, i always discuss everything with him, so if they called me there, they called me here, i always consult with him, but not at the level it’s possible or not, at the level it’s interesting what you would recommend, what you think about it and so on, in any theater jealousy certainly always arises, and if i went to stage it and suddenly got a golden mask for it or.. .i don’t know, well, or in general some kind of success in the theater is happy, but not very much, because how can i say, and if i have gained experience, then of course, that’s when a young artist comes, wants to enter the theater and says, well, i’m still here, there and there, and i don’t really understand it, and not because you should to be only here, but because then you don’t need to start in a repertory theater, then you need to immediately as an individual entrepreneur, and i respect that too, i

teach at the mkhat studios school. and a lot, some of my students don’t want to go to work in a repertory theater, i understand them, they also have a completely different sense of development modern times, and you started drinking too much just recently, i understand correctly, and i probably can’t yet fully call myself a teacher, but i also wanted to get in touch with this area, and i may not give up yet, maybe i’ll continue to do so, i don’t know how it is. it will work out, but it seems to me that this profession is important and interesting, as knebel says, to teach by learning, this is absolutely accurate, i directly understand that all the people who teach.

you didn't read this, you didn't watch that, they they say, but you haven’t read this and haven’t watched that, and i understand, yes, yes, i don’t really know their world, and i don’t really know, and for me now, if i want to be with them, i don’t want to be like them, but in order for the path of a teacher to be some kind of steps towards each other, and we must take them together, young people, students who want to be actors there, and i, who remember how then they taught me how i live there and how...

it keeps me in some kind of tone and doesn’t turn me into something like that, i already know how i measured everything out and so on, well, tell me it’s still like that it’s quite a difficult moment, i understand that in creative professions in theater universities, well, not only in studio schools , it still arises when you take two courses or three courses for some time and the teachers and the course master, and at some point they understand that nothing will come of this person, no, i can’t say that i was once very categorical in this sense, but these are precisely my mistakes as a teacher, because very often people who did not understand anything argued didn’t

think and couldn’t on the first, second course, suddenly they jumped out in the third year, and people who started out well, they suddenly withered by the fourth year and so on, this is absolutely, someone else got into the wrong place, for example. the studio didn’t work out there at school, i went to gitis, for example, something happened, this is such an individual moment, zhen, you’ve been an artistic friend of the theater for almost 14 years, please tell me, you’re like an artistic friend of the theater, you’re a collector of talents, or do you rather prefer or preferred up to a certain point the construction of an author's theater, i would i wanted to say, i am a nurturer of talents, because well... if you understand a sub-gatherer of talents, this is all the best that there is, it means, like oleg palch was, a collector of talents, absolutely, but this, this is a wonderful, well, such a merchant’s approach, to me i think, how can i say, i’m comparing the construction

of an author’s theatre, i believe that in each, every performance there should be an author’s one, yes, there is a theater, i would just like there to be a theater, well, this is my vision, there are different visions, my vision is still for the theater to be diverse. and so that it has many faces, and so that there are different approaches, and different worldviews, and different ways of being, in fact, we work in a theater that once existed, in its place there was a chamber theater, and despite the fact that tairov staged everything is alone, as a rule, there, but alexander tairov, but nevertheless there were operettas, and tragedies and musicals, and dramas and so on and so on, so something like this, the snow is still flowing in the fields, and the waters are already in the spring they make noise, they run, they wake up the sleepy shore, they run , they shine and shout, they shout to all ends, spring is coming, spring is coming, we are young spring,

messengers, she sent us forward, what, where, when, spring series of games, tomorrow, after the program time. kiev propagandists distorted bulgakov's biography so much that they instantly turned him into an enemy of ukraine. since kiev is the mother of russian cities, these crazy people will abandon kiev. the sharikovs gave birth to offspring, now they are taking revenge on bulgakov, now they declared him a ukrainophobe and they did the right thing, of course, because they finally started reading books, as well as exclusive fighters in our studio who trophied.

some other round of russian cinema, are you from the clinic? are you criticizing the american dream? no, i'm trying to tell the story of banks and the last seven days of laura palmer, you are laura palmer, matodore on friday on the first, say you like my hat, you don't have a hat, i would like to in the future. to say that i did everything i could in my

life. we continue the theater podcast, our guests are evgeny pisarev and alexander rusulyak. your wonderful cabaret project. i read zhenya, somewhere you told in some in my interview, that you are generally wary of entering other people’s territories, in the sense that you do what you do better, and where you doubt that it will be “ well, it’s hard to say, then that’s all this is already in the past, and since now i

no longer have any fear, i don’t remember whether there was fear, there was a proposal from evgeny vitalievich mironov, there was my surprise and some sincere misunderstanding of how it all happened, and then his cunning, and maybe it was a very insincere move at the same time when i said, well, after bob fos, well after everything, he says, no one can do this better than you, there is no person who... somehow i believed in myself or was sulky or something, and how to say, somehow i thought that they believed in me so much, sometimes the artistic director also needs, how to say, for someone to breathe air into him too, and not just me telling everyone, that means, here it is, but if some picture had not arisen, if some decision had not arisen, then of course you shouldn’t go into such territory, but it seemed to me that something connected in my head, this it was completely different from bob fosse, and my inner... story, it was, how can i say, it was different, it won’t even rip, but

just somehow different, so i was n’t scared anymore, i had a wonderful team, i sasha was nearby and it seems to me that we somehow didn’t let’s do it differently, not like boba fosse, we just did our own performances, we had our own concept, so it worked out, some are - i wanted to say in captivity, well, not in captivity, but under great impression and do not want anything else, for example, yes, well, there is a standard for them, and it’s very difficult, i... how to say, here we were doing a performance that would have been married to figaro for 10 years, for example, and i, alexander anatolyevich shirvin, yeah, and vera kuzmenichna vasilyeva , i knew him, vera vasilyevna came to us all the time, despite her advanced age, to performances, sherwin tracks, of course, but still, and i say, i dream that you would come to figaro, come to all other performances, they didn’t come to figaro, he says, well , don’t, because when people are 20 years old. uh they played in plays, which, strictly

speaking, is also to some extent a standard, well, of course, of course, and of course, he even says truthfully, i’m afraid i won’t like it, but i really want to like it, which means, and i really like your theater there and so on and so forth, so i understand people who did not like the cobar and who are waiting for other arrangements, another, who are waiting for liza minelli, you know, but liza minelli, here... well, how great is that history, great material, but to be honest, i'm always in this for some reason i never thought about this, but for me the deciding factor is really zhenya, whom i call. 24 years old, and he

says: sanya, such things are needed here, evgeniysanovich, i’m sure i can do it, you can do it, only these.

mix into one, because for me the most important of the arts and, probably, the most important, is music, for me, this is music, i, unfortunately, am not a musician, i, unfortunately, do not know, yes, fully opportunity, yes, but i really love music, and music is a very accessible art, yes, you don’t need anything other than ears when you you work in a drama theatre, so it’s very important for me, what’s in the play? and sometimes through this i, as a dramatic artist, can express myself, when you have the opportunity to say something to music - this is an even greater opportunity, and to sing something along with the music is even more opportunity, so i would give everything in gratitude to the music,

amazing, amazing, zhen, well , you’ve been working in the theater for 10 years now... the performance is born together with the artists, and today this scene can be solved this way, in opera there is no such possibility, in opera, there are already costumes, some of yours, but when , of course, you are working with a large group, and you have to come up with the whole performance a year before the start of rehearsal, the problem is that a year later you can come up with another performance, but you has already been commissioned, staged there

and in the sense of scenery, costumes there, and so on, and some kind of musical decision, all this was done in advance, as well as... probably, yes, probably, and more systematic in terms of the work of the director and actor in that number. well, here’s sasha, from an industry point of view, because if musical is also a special industry, when you participated and - worked in cabaret, this is an industrial flair, yes, when you need it like this, you need it like this, you need it at this time, you need it like this, that is, there is no possibility, practically no possibility of what there was a backlash, not in time, but our industry was only part of that. that we had a musical history, we had a dance history, we had a dramatic history, which you just needed everything when you were

busy in chicago, and there was the same there too, but there is a tougher story there, of course, because this is a licensed performance, but i know what i want to tell you, everything always happens the other way around, the more they make this corridor for you, the more your imagination begins to start there anyway, even in this narrow corridor you begin to invent something for yourself and give birth. i don’t know, even in my life, the tougher my schedule and circumstances, the more i manage, for some reason, i don’t know why this happens, although it also happens in such a way that, for example, i’m already used to it in music theater in musicals, to the fact that everything is systematic, fast, i do a play in a month and a half, she started rehearsing zoya’s apartment, and i also planned everything, suddenly i asked myself the question, where am i going, why am i in a hurry, especially that some interesting process had begun, artists began to bring a lot of ideas, proposals... i think, well, why must we release it in april, but why can’t we in may, there in june, and so on, because that he understood that this

opportunity, of course, also provides a repertoire theater, and the fact that you are an artistic friend, and the fact that i am an artistic friend, yes, and the fact that i am an artistic friend, and this, of course , is also a big plus, because we not only strive for the premiere of something there, we also we live some kind of life, we live some kind of creative life of this performance, so for me this is also important, sometimes important. these frameworks, stick to them and how to say, be mobilized in this sense, and sometimes linger a little and, if there is such an opportunity, immerse yourself in this, about success, so i would like to clarify, you are the director of the theatre, it is natural that in addition to creative success, which is certainly the main thing, there is still commercial success, without which it is generally quite difficult for the theater to live, when choosing material, right? where is this balance? yes, because we know very well that it is possible to build a good quality commercial repertoire, yes, but still there is

material that will not necessarily give a bright financial result, but it is interesting for the director, it is interesting for the artists, it is interesting to delve into it, this is interesting to figure it out, perhaps it will be such a boutique story, but nevertheless, this is theater, this...

is being received with a bang, yes, good press comes out and so on, but the public does not perceive it at all, that is, life in these social networks, it is absolutely this performance is destroying, and... the professional community, only compliments, that’s where, where to move, continue to play persistently, we need to continue playing for a while, of course, but we need to understand exactly, and i talk with directors, for example, or with artists who are involved in such performances or i, i also had such experiences, for example, i understand, i keep saying that this is a very important experience for us, this is a very important

performance for us, but unfortunately, the life of this... cannot be so long, and often the opposite happens, it seems that you understand, so i came to the theater, when i first came to the theater, the play the mousetrap was being produced, and it seemed to me that it was a play of the mousetrap, well , some very average statistician, some kind of detective, in some classical english decorations and so on, it seemed to me that something was needed somewhere, somehow, and i thought, okay, season two will pass on its own, and this machetrap is going on simply.

no, no, this is the black bread of the theater, you all want desserts, red caviar, and sometimes you need to have it, and i understand that really, how to say, and this is also some kind of experience of artistic direction, as someone said that theater is valued not by the presence of stars, but by the presence of a strong, excellent second row.

through the eyes of your colleagues, the play came out, and you see that it definitely did not receive such audience success as we would like, while you feel like the artists who are engaged in this performance, yes, that this is a successful creative work and which really brought you joy, it was not useless, your position is rather, as zhenya said, to continue to play, realizing that this is a finite story and that this will not become a performance for 10 years. or when you see an extinct hall and maybe not even a completely sold out hall and some not very energetic applause, you ’d better refuse, i don’t mean you, not you personally, here’s the cast, the cast, here’s the corpse, but me i think that the critic too a person, and the viewer is also a critic, if

there is no one in the audience, something means the performance is not right. the situation with turandot, yes, but it was so quite provocative, but it was not sluggish, it was not a situation that there was a rotten hall, which, how to say, somehow did not go there or something, the hall was furious, so hall, this was an option when the audience fiercely did not accept what it aggressively did not accept, not only did not applaud, but stood like that in the face and said: shame, shame.

everyone was watching this, when this shame began, what a shame, there’s something else there, i i turn to konstantin and tell him how terrible it is, and he turns and tells me what class, well, how can i say, he solved his problems, he definitely checked something for himself, then in many ways, it seems to me, pturandot became some kind of starting point where he made some, i won’t name names, but i know a lot of famous directors who came to turandot and were like: wow, wow, why are you smiling, and why is he smiling ?

leader and director of the theater, but then i was, how to say, and was the director theater, which, as a matter of fact, owned everything in the theater, did everything in the theater,

in fact, only told me, go, put on good performances, how to say, don’t meddle in the whole life of the theater and so on, that is, what kind of posters, what kind of marketing, how tickets are sold, who we invite, what kind are there, and so on and so forth, so i could only say horror and look at kostyuga. well, how can i say, well, nothing to decide, the director announced to me that we are playing the last two performances now, we are not playing anything else, well there in fact, the artists were also not ready for such a reaction, and viktor verzhbitskin is a wonderful artist, who later worked a lot with kostya and, how can i say, produced many wonderful performances, he simply said: “i won’t go on stage again, i’m not ready for such reactions of the public, i'm not ready to play, introduce anyone there and so on, well, he had such a reaction first.

thank you, it was a theatrical podcast, and i am its host anton getman, our guest was the artistic director of the moscow pushkin drama theater evgeniy pisarev and the incredible actress of the pushkin theater alexander ursulyak. hello, dear friends, this is the podcast life of the remarkable, i am with you, its host, writer alexey varlamov, my guest is a wonderful theater and film actress, irina

apeksimova. hello, irina, thank you for coming, hello, alexey, thank you very much for the invitation. irina, you have played many wonderful roles in the theater, in cinema, you play many roles in life, please tell me honestly, as if in spirit. what is acting? this is a calling, a destiny, a curse, profession, everything together, something else. why am i asking, because i watched one of your interviews, at the very end of this interview you talked about not becoming an actor. do you really think so? i really think so, whenever possible, i encourage everyone not to go into this profession. despite the fact that i madly love this profession, in general, all my time is devoted to it, despite the fact that i work there at the same time...

because no matter how beautiful it looks from the screens or from the stage acting life, it is very hard, it is very complex, it is very unstable, very dependent, so i always urge people not to believe in this superficial brilliance, but to think that this is really a very difficult profession, i do not urge men to go into this profession, because it is still very feminine. and for women this is a much more difficult profession than any other female profession, because it requires a lot of strength , both moral and physical, and incredible endurance, and if men... go into

the profession, who will play then? this it will be a total disaster, because almost 90% of the world's repertoire, from the ancient greeks to the present day, are roles written for men. and by the way, when there is admission to theater universities, they take into account the ratio of boys and girls upon admission, i don’t know how now, in my opinion, it is still taken into account, at the time when i entered, of course, there were much fewer girls, than boys. well, are you generally happy with your fate?

interesting, varied, complex roles, and i have much luck with directors in the theater more than in cinema, but then it will be strange to say, i’m happy, no, that’s not true, of course, i’m not happy, of course, i still have the feeling that a lot has not been played, but it’s also wrong to grumble, okay, the golden mean, so you started talking about theater and cinema, also a question that interests me very much, but how do these two directions relate in the life of an actor:

on lenfilm in the film tower by the famous director viktor ivanovich triguvich and that is, i from- for this film she refused to act in a small faith, and no matter how the tower had such success, that is, practically none, it went unnoticed, despite the wonderful actors who worked there, and little faith was an insane success, and of course i regretted it, i didn’t watch this film for a very long time, well, i was offended by the feeling that i i made a mistake. but then, when i watched

this film, you know, i realized that after all, indeed, and these are not just words, everything that is done is done for the better, because with me, in the role of little faith, this film would not have such success, i'm different, and i wouldn't was able to play the way natasha played, and you know her, yes, of course, we know her, we even studied with her at the same time, she was a school graduate, just when there was little faith, she studied in my fourth year, and i'm in my first year, hmm, interesting, but i must say that i specifically watched the tower, which i had not seen before, and i really liked this film, i just really liked it, and your performance there is something incomparable , you are completely different there with a tail so romantic, on the other hand you are tough, and overall a great film, and it’s such a deep film, but it’s about this hypocrisy that was in life then, this is the desire in...

it’s clear that i in no way want to offend my colleagues who starred in the small i believe they all worked wonderfully there, but it was simply impossible to compare the two films. little vera was very fashionable, very loud, yes, of course, we all remember this, but then you starred in a film, which , in my opinion, also sounded very much in the limit, you have a small role there, it’s so expressive, so bright, like this memorable, and of course there is a cool film with young mashkov, with young mironov, you

studied together with them, as i understand it, yes, these are my classmates and we were just filming together then, and it was denis’s film, it’s wonderful, tabakov, therefore, well, while i was approved until the moment when filming took place, they could only film me like this, so there i was practically in the same scene, and your theatrical career developed in parallel, this is already parallel in the nineties, yes, this is the ninety-third year of filming limits, ninety.

everything was simply based on his incredible charisma, charm, talent, this man followed him, yes, of course, oleg nikolaevich, he said, the art theater trade union was created, naturally, i was the chairman of this group, as it is called proovkom, i i took all my friends, andrei panin, sergei veksler, vera voronkova, there and so on and so on, mikhail efremov, yeah, so we created such a trade union, but what was the goal?

pita, of course, we are all young, we are all strong, we said, how do you mean it will close? no, we won’t shut our mouths, and our editors’ contract with us was not extended at all, and on this, in my opinion, on january 7 or 8, 2000, my service in the art theater ended, you never returned there? no, i returned there once, oleg pavelich tabakov already called me, and i played seagulls, which efrem was flocking.

the main thing is that they stole a taxi again, which means myakisheva, myakisheva, where are you anyway, undercover taxi, premiere, from monday on the first. dear friends, we continue. this is the life of the wonderful podcast, i’m with you, its leading writer alexey varlamov, my guest is the wonderful

actress irina opeksimova. it turns out that in your life there were these two great olegs, oleg efremov and oleg tabakov. what could you tell us about them? both tabakov and efremov are two incredible blocks, terribly similar in some ways and completely different, different in approach, different in existence, even in their acting existence.

what, but now i understand that you need to teach this way, because this is the only way you can

enter this profession, that is, from what today we started our conversation in this terrible, humiliating, such a beloved profession of acting, if you have a very serious school. on the other hand, you have such a fairly rich western experience, but you worked in europe, worked in america, and how is it going there? well, there was a movie. and i still filmed with jean luc gadar, and it didn’t even occur to me, with gadar, gadar himself, with gadar himself, and like gadar, and he was wonderful, gadar was amazing for me at that time, because the name itself gadar, you you see, it was getting dark in my eyes, he invited me, yes, i acted with him, i was at the audition when i was approved for the role of the director, it was very funny, because well...

the film, as far as i understand, didn’t work out, but it doesn’t matter, i had such an experience in my life and i communicated directly with godard, you know, somehow managed to change my acting school, i think i didn’t succeed with him, because it was a completely different experience and kind of ...incredible reverence for such authority, naturally, i just went by touch, plus, of course, difficulties translation and everything else, but there was such an experience, there was experience.

were you terribly upset? yes, what are you talking about, life is over, i, in my opinion, for two years i could not drive past the passage of the art theater, that is, the current komerger theater. one great russian writer had the same feeling as mikhail afanavich bulgakov’s kamhata, yes, he also swore that he would not step foot on mkhata, after maliere’s play was filmed, so, i must say, he broke his promise, this unites me, mikhail afanasich, i couldn’t even turn my head side of the art theater, it would be terrible.

so i was led into an administrative resource, the ways of god are inscrutable, maybe i shouldn’t have become an actress, i should have immediately gone somewhere, i don’t know, to the plekhanov institute, well, i’m talking nonsense now, of course, but i should immediately become what as a manager, i think my dad would be happy, after all, of your film roles, which ones do you value most? well, it seems to me that the only role that i played was the cage,

it seems that he is underrated, but i will say it myself, i am very sober about what i do, and i watched this film, for some moments i felt like, no, not ashamed, offensive, because yes, i know how it was filmed, and i understand , that it could have been much more interesting, much better filmed, much, well, by all accounts, it wasn’t scary for you, i watched this film, it’s such a flight over a cuckoo’s nest.

when i asked him to take me for this role, because i really wanted to play something in a movie, the filming took place, despite the fact that it was, well, probably quite physically heavy, it was just some kind of happiness, but how long did it take to film it? no, not for long, it was a very short, very fairly compressed process, and of course, in many ways we did not have the opportunity to shoot like in a good cinematography. there in feature cinema there are 2-3 minutes of useful time a day, and we shot, probably at that time, it was crazy 8-9 minutes, now they say they shoot 20 a day, but then it was very difficult, because there is no opportunity take, to try to do something differently, well, this is a purely financial issue, yes, this is purely

a financial issue, because a certain number of minutes of production per day is a financial issue, for example, but there was a film about yesenin, yes, you also played such a quite interesting, bright role there, that’s what you get from this series, i remember what’s wonderful, i had the most vivid impression of the wonderful work of sergei bezrukov, yes, amazing, very subtle, very precise work, it’s true, but i remember that someone and it’s been quite a long time since i watched this series, someone told me really liked it from actors, some were not convincing for me in some way, but again the whole film was based on the bezrukov and this is the main thing, he really worked there superbly. i have a very good colleague, she worked at moscow university, she is an expert on yesenin, she wrote a book about yesenin, a very good book, she, when this film was just launched on channel one, she

was like, it’s some kind of horror, i won’t even look, but it’s just some kind of thing, and then the next day she came and said, this is yesenin, this is what they got, this is exactly how it’s all and it was, and now i’ve also watched several episodes, and it’s just really impossible to tear yourself away, there really is some kind of... life, in my opinion, there was a very good series empire under attack - yes, this is happiness, a series like, well, where did i end up in bourgeois, and

by the way, i remember something , your picture is also not the most famous among the public, it’s one of my most famous works, but it’s like, as a result, it’s happiness, because this series brought me popularity, well, of course it’s such a big spreading klyukova , then i don't i thought it was happiness. people go there for the money, for the fame, but mostly for the money, mainly for the money and for the fame, because day after day you work, you get a decent salary and so on. dear friends, we continue, this is the podcast life of the remarkable, i am with you, its leading writer alexey varlamov, my guest is the wonderful actress irina peksimova, then there really is such a new turn in your destiny, which is personally very... interesting to me , because here we are partly similar, i have spent my entire life i was engaged in literature, wrote books, taught, suddenly i was offered to become the rector of a literary institute, for me

it was such a rather complicated conflict, agree, disagree, but i decided that i have written several books, i can write another one, but this is in has already happened in my life, i’ve never been an elector, let me try, but now i’ll refuse, then i’ll think, what a fool, i could have been a rector, and i refused, for almost 10 years now i’ve been working at... an institute in tver boulevard, in your case, how did it happen that you are such a wonderful actress, yes, how did you suddenly get pulled into this administrative shackle? well, in about the same way, i was offered to become the director of roman viktyuk’s theater, because in his private theater company, roman grigorievich staged two plays for me, and we were kind of friends, we were close enough in his theater, a situation arose that it was necessary to replace director and i was offered to become the director of the theater... in principle, this is such an absolutely administrative job, there are papers,

government procurement, i don’t know what else is there, restoration, repairs and so on, and you agreed to this, based on the fact that this is like a new role, from the fact that this is a life role, a life role, it’s so funny, well, kind of ridiculous, in my everything actress, if anything you were not easy. it’s okay, by the way, i had the same thing, i understood perfectly well that i was not a personnel official, and if i didn’t turn out to be a rector, well, well, it didn’t work out, of course, he wasn’t there before either as a vice-rector or

as a head of the department. , yes, he just became, well , he became, it turned out, it turned out, that is, he you have a similar story, an absolutely similar story, yes, if you are how many, i’ve been working as a director for 11 years, a little older, that’s how i became the director of the roman viktyuk theater, you have your own office there, a secretary, no, i never have secretaries did not have. i have an office at the taganka theater, but it’s absolutely not a secretary, not a secretary, i don’t know how to try very hard, you know, not to turn into a manager, by the way, you and i are there, yes irina, alexey, it’s good when i come to you comes to the office, you by name and patronymic name or just by name, they call me by my first name and patronymic, well, of course, young artists, it was very, well, it seemed to hurt my ears very much, i realized that there was no way around it , more and more like artists and theater workers of the older generation , of course, they treat me like you, ira, and so on, well, like

young artists. well, i’m probably a tough leader in some ways, because i really don’t like it when theaters turn into social services, firstly, and i really don’t categorically accept it when people sleep, eat, and so on in the theater. this is it, you know, such a false perception of a theater-house, a theater -house in a different sense, not that there should be a bunch of things here, shabby cots with dirty bed linen, microwaves and so on, i’m saying terrible things, but this also exists in many theaters, in moscow, in moscow, of course, too, but wait, so you were with viktyuk for 3 years, yes, and then, then they offered me to go to the theater, and they offered it to the moscow department, yes,

because taganka is a moscow theater, right? yes, yes, and here is taganka, for me taganka is in general, something so transcendental, i remember when i was a student in the early eighties, how many hours i spent there near this theater, there is no extra ticket there, no extra ticket here, i remember of course my feeling, here are the tagankas, well, it was just something absolutely enchanting, although i’ll say a terrible thing, then, in hindsight , reflecting on my impressions of the taganka, i got the impression that maybe this was some kind of stupidity, but here’s what... i feel and say that the taganka is such a cool hydraulic crew, that’s how it all holds together here then, that they, as a collective choir , roll out to the stage, act out some kind of action, this is all very, not all performances, yes, there are others, but, but a lot of things hold up, well, they were then in those years, i’m not talking about the current one theater, everything is probably different there, but then it was such a feeling, and yet taganka, and lyubimov there, dupak, but

you found a dupak, it turns out, right? while i , yes, he passed away, nikolai lukyanovich passed away last year, of course, i found him, and he came to visit me, came, and you it turns out his successor, no, no, no, no, nikolai lukyanovich left before lyubimov, they quarreled, and the director under lyubimov was his wife katalin, then, when yuri petrovich left the theater and valery sergeevich zolotukhin became the director, then he came. vladimir natanovich fleischer, i already replaced him at the nathan theater, so after all , the manager, the director, what difference does it make, how does this happen? i am a director, but with powers not prescribed by the artistic director, that is, you do not have an artistic director in the theater, no, you we don’t have an artistic director in the theater, we have a single beginning, i’m the director, but i form the entire repertoire, creative staff, personal or some kind of creative advice you have, i have several people with creative advice, but not enough experience for

me.. life and, as practice shows, during these, well, let’s put it this way, i’ve been at taganka since i was fifteen, during these difficult eight years, i managed to bring this theater to a very good creative level, i’m bragging because the truth is, i’m really bragging, because it was very hard, everyone remembers the taganka theater of the eighties, sixties, seventies, eighties, and then it was a very long one. no one went to the taganka theater anymore, there was still a split, there was a split, of course, which is still ongoing or what? no, the split ended with the departure of gubenko, nikolai nikolaevich, after which i was appointed director of the taganka actors' community, last year we united taganka again , both stages, both scenes, as it was once originally, well, tell us what we have

you... the most important thing, i wonder what 's going on in your theater, the most important thing, you know, the most important thing, well, probably, is that the spectators returned to the theater and the young spectators returned, and young spectators began to come, this is probably the most important thing, because in general, this is what i have been fighting for all these years, because a lot of people went to taganga theaters when i came there, firstly, on a territorial basis, you know, here’s where to go. and this, as a rule, i don’t want to offend, but 75 plus, this is the viewer with the cost of tickets from 100 rub. and so on, we spent a lot of time creating a new repertoire, new performances, because no matter how much people shout about the traditions of the beloved, without the beloved the theater of the beloved cannot exist and there cannot be traditions in the theater , by the way, some performances lyubimovskys

remained. the play the good man from suzanne, with which it began, the taganki theater began in sixty years, it is still our sixtieth anniversary this year, and the masters of margarita remained two... title, but of course, this already such, you know, a museum, a museum, a museum, a museum, that is, this kind person, who was incredibly avant-garde then, now looks archaic, very archaic, very archaic, everything else, a new repertoire, a lot of performances, a lot of good artists came , but there were very good strong artists in the corps, different directors come to the theater all the time, i invite young, exclusively directors to productions. that is, you don’t have permanent directors, there are no permanent directors in the theater, there is only one, one young talent, i invited him this year, twenty-five-year-old alexander karpushin, who for a director is absolutely

something like that, now there are such young , wonderful, very talented directors, this is the only person who is full-time for us, all the other young, invited directors of different ages, but mostly young, the repertoire is built like this... a multi-layered cake, where each person should find something for himself, because there are very intimate performances, very atmospheric, let's say, simple in construction, in form, to incredibly complex ones, to musical performances, to complex ones simply in terms of stage design, and so on, different forms, different directors, naturally, each director brings his own idea, his own form.

these laboratories continue now, well, after all, this is your role, as far as i understand, usually the theater director is a person who is more likely to deal with such a technical side, you combine both the administrative principle and the creative principle, that is , in principle, you are one person , and

artistic director, by and large account and administrator, that’s right, it’s you who decide which director to invite, which performances to stage, that is , it’s all up to you, well, of course, the final decision is made by me, thank you. huge, it was a podcast life of the remarkable, i am with you, its leading writer alexey varlamov, my guest was a wonderful actress, director of the nataganka theater, irina apeksimova. you are watching the precious stories podcast. my name is ekaterina. arkan, today my guest is ekaterina obraztsova, director, honored artist of russia and granddaughter of sergei vladimirovich obraztsov, we thought so, we decided to stay with sergei vladimirovich today in his memorial apartment,

i assure you that many of the things that we will see and hear on television have never been voiced or shown, here he is, in fact, the most famous of his doll tyapa , he himself said that the doll is the oldest... child in the family, it appeared even before the birth of his own children, and he traveled all over the world throughout our country , always performed with this doll, and loved it very much, in his time everything is very good knew. sergei vladimirovich headed the theater when he was 30 years old, but he was not only involved in organizing the theater, he staged performances, invented individual characters, made dolls, he had solo concerts, or he performed... at concerts and even performed in st. george's hall kremlin, in group concerts, and there he played puppet numbers, because he discovered a new genre, romances with dolls, this was such an original pretty doll, she performed a romance,

come back, i will forgive everything, this doll was put on the head, living hands poked their way through fabric, here there are also such variants of this doll, and... two more variants, on these hands of sergei vladimirovich there were rings, in general , grandfather had amazing hands, such... i have never seen plastic hands at all, probably never, like his famous tyapa number, which is here on your screen, no one can repeat it, because it is an amazingly virtuosic work of hands, which means that these kind of rings were used in this doll, and so that the shirt does not interfere, as in the old days they dressed an accountant these are the things like that it means the shirt was put away. so that my hands would be exposed, all this was on my grandfather,

these two rings somehow, when this number was not played, were given to me, and then i served as an artist in the sfera theater, played in these rings, garlita mot was such a performance, i played madame chasen, i was wearing these grandfather’s water rings. katya, i know that... things into two most important categories, yes, necessary and necessary, necessary things are a chair, a table, a fork, a knife, and necessary is what is necessary for the soul, without which it is impossible to live, that there will be imagination and he i always said, regarding my collection, which we will talk about later, that when i look at these things, i imagine how a child played with this doll, like in this... masks, some kind of ritual actions,

it will be imagination, this gives rise to some ideas, and these things are necessary, i was called some time ago to the good morning program by karina muromtseva, and she and i talked about vessels in which, so to speak, some things, mostly boats are made by such craftsmen, i said that i know one house where there is a vessel in which there is a thing that, in addition to beauty, also has practical significance, this is a decanter, a cockerel, a lot of work was done by glassmakers, they say, we don’t know the one that sergei vladimirovich had. what's the secret? the secret is that vodka was poured into this decanter, and part of this vodka ended up in the cockerel, in my opinion, 50 g. and it was completely impossible to pour it out of the cockerel, only by the morning 50 g dripped from there for a hangover. we tried the same thing with water . happens, then wonderful, also one of my favorites

things, a golden nightingale in the collection of sergei vladimich, today there are two nightingales, yes, but there were three of them, yes, he gave the third to nemirovich danchenko, vladimir ivanovich, such a wonderful word, well, he has already sung, which means we have already managed , so we’ll tell you about him, it was...

everyone knew him at the bird market, his name was oh, vladimirovich came, there are many photographs, he was at the bird market, at the dacha he built a dovecote, and there he had pigeons, and after some time that time, quite a long time, he was allergic to pigeons, it means he really liked it, he gave it to the guests, showed him the thermometer, look, i’m 36.6. now look, i go up to the dovecote, come back, 39,

my mother and wife screamed at him terribly so that he would stop abusing his body like that, he says: well, that’s interesting, how is it, well, in general, my mother cleaned up after these pigeons she always felt sorry for her grandfather, just as she looked after the crocodiles, and where did the crocodiles come from, they lived in apartments. at first , chaliapin’s son gave them small ones like these, grandfather studied with him in vkhutimas, then chaliapin went to america, not in america, gave him two such crocodiles as...

seeds, from seeds, squash, whole from corn cobs, from bamboo, from racks filled, which means with all these toys, if we have them, we can show them, but if we talk about it, it seems to me that we will simply drown somewhere, which means that it seems to me that we can talk about another such great passion of sergei vladimirovich , he loved masks very much, he has a huge collection of masks, which is hanging. in the house wall and we will say that these masks are not souvenirs, even the institute of africa was jealous of them, they came, yes, they were bought, that is, they belonged to the leaders, or sorcerers, of some, so to speak, tribes of various strange peoples, bought, so

to say, in different places, that means he was very proud, that’s the first mask that he got, that means it’s there in the corner, that means he’s a man, i kept thinking how he’s not afraid to live, to live with someone like that, well, in general, they carry some kind of load, these masks, he didn’t believe in any infernal things, he laughed a lot at them, he especially laughed when they asked him a question, like... in your doll museum, what happens at night, how the dolls move there, but it just made him laugh, he was in i didn’t believe it, and i believed it in my youth, he laughed at me too, well , it’s still a very strange feeling, especially over the drum, some kind of strange sensation, and another

one is also quite a strange mask, heavy for me, which he received in a gift from the great juleta.

medals, cups, and ekaterina alekseevna, her mother-in-law, yes, this is empress catherine the second, she kept saying that you are taking away work from the mint, you do it all so brilliantly, but sergei vladimirovich has such a unique thing, which means he has it in the collection, and also more a wonderful panorama of nevsky prospekt in st. petersburg, this is the mid-thirties, the artist vasily sadovnikov, here we are showing fragments, this is such a huge roll, 16 m long, on such wooden things it... rotates and you can walk along it on one side with on the other hand, maybe on the other hand, and that means in some thirty-sixth year, the northern bee bulgaria wrote that well, not only are the houses there, so to speak, the windows are all registered, but people there also recognized each other; fashionistas and dandies

mingled among fashionistas; it means our friend pushkin, here he is there he runs across the nevsky prospect near the dutch church, but the people who saw this are amazing... marvelous, masterpiece things. we continue our conversation. today our guest is ekaterina obraztsova, granddaughter of sergei vladimirovich obraztsov, director, honored. artist russia and i, her interlocutor, ekaterina varkan. tell me, katyusha, are there any stories about how things come into the house? well, from what i

know, this is how it came, the monkey orchestra, this is an absolutely amazing thing, in some institution, this monkey bar, the concert was thrown into a landfill somewhere, they said, one of my friends called my grandfather, he said, if you it’s necessary, seryozh, there’s something strange lying there. thing, he brought it home, realized that it was a very complex mechanism, called his friend, there was such a magnificent master of dolls, a cartoon union, i did him too knew very well, oleg masaynov, who began to understand this mechanism, brought these monkeys to life, they are amazing, they open and close their eyes, play instruments, everything moves with them, they smile, it’s... absolutely unique, like this, this is, in general, an antique machine gun, even

barrel organs are classified as machine guns, this is such a story, just a discarded thing, which, well, this is also the 18th century, as far as i understand myself, i’ll probably just add it here too, because that's quite a lot of barrel organs sergei vladimovich had them, they are very beautiful, we can’t show them all, it’s probably with... such a tendency, because he started in the twenties, and even then he still remembered that there were people walking around, wandering puppeteers, artists, organ grinders, and this still youthful feeling was transferred to adulthood, he somehow somehow paid attention to them, remembered this youth, and thus they also appeared, acquired, very beautiful organ grinders, unusually, but we we can not show all of them, but we will show one of them we can even show it in action.

in sound form, this is a barrel organ of the famous german master, for my studio, i don’t remember his last name now, but this is a very valuable barrel organ, well, who would doubt it, that’s why... that she is alive, there was also such a so -called napoleon table , the kind that decorates the living room, and grandfather found a table somewhere in an antique store in st. petersburg, it was all tattered and painted over with brown paint, like a leg, but grandfather liked the leg, he took this table, something looked, took a closer look, saw that something was shining through... called an antique dealer, who, a restorer, or rather, a restorer, who somehow washed it all away, it turned out that there were

portraits of napoleonic army, and this was done in the old way, like a transfer a picture, this is the story, and here is napoleon, here is josephine, marshals, marshals, napoleonic, who is this, who could have ordered this, or some, so to speak, french officer. much more interesting, who painted it? so, that means someone was scared, probably didn’t want to be seen with these portraits, apparently, there was such a thing for a while, no, but there were great admirers at one time, and napoleon, perhaps later, in fact, out of fear they painted over, well, uh, because just like that, such beauty, you know, don’t paint it over, so, so imperceptibly, selanic became a portist, let’s say. katyusha, there are such family stories, they were never advertised, yes, they were not told publicly, not because they

are somehow completely secretive and secret, but maybe there was simply no reason, maybe there was no mood, maybe something else did not have, maybe we’ll remember them today, well, let’s talk about the soldiers, but the thing is, it’s not just that no one remembered them, grandfather wrote about them in his book, this story is simply not because... i didn’t want to to talk about it, but there was no subject itself, these soldiers did not exist, after my death , my uncle alexei sergeevich obraztsov, my brother, his great son, found these soldiers at the dacha, in one of the drawers of my uncle’s secretary, and the soldiers have a history, described in the book is exemplary, the uncle is his son, this it’s clear, yes, according to the steps... of memory, these soldiers were made by my uncle when he was little, when he turned 19 years old,

the war began, and he served in the naval ship in... he was sent straight from the naval ship to the front, at the front with he had a lot of all sorts of adventures, he crossed the laduga, was wounded, he was a sapper, they were sent behind enemy lines as sappers to blow up bridges, trains, that is, my great-grandfather, vladimir nikolaevich , made model railroads. and his grandson meant he was blowing things up, but it was a necessary job, a very dangerous, 70 of them left, only 14 returned back, the rest died, when they were already going back, so to speak, to the rear, to ours from the enemy’s rear, they came out in the wrong place where they were expected, and uh there, where they came out.

naturally, without documents, naturally, it was simply unknown by whom, they were sentenced to death, the funny man put them in some kind of basement where they waited, the executions were usually carried out in the morning, but luckily for them , a lieutenant from their unit drove by and said: “you what, you want to shoot, we are on the fence they assigned them for courage, they..." and they were given them, which means they were released, and before that the grandfathers wrote that your son was missing, we hope that everything will end well for him, it was of course a big blow, but you understand, and grandfather waited and believed that his son would return, at some point he received the following telegram, your son has been found, he will be in

moscow for days, he will be given a reward, a part will be equal to the corporal exemplary, and grandfather began to wait for his son to return. 2 months passed. , three, and the son still doesn’t come back, and the grandfather says he didn’t sleep at night, every night, when the elevator went up, every time he got up and waited for alyosha to come, then one day grandpa fell asleep himself and woke him up.

table and took out the soldiers, these ones that he made in childhood, each soldier is painted in detail, that is, this is a boy, he began to play with his toy, apparently, he still continued to live that life of his, well, in general, this is not probably go crazy, people who have experienced so much at that age, then think...