and there is a huge portrait of his first wife across the entire door, which means that he worked next to her all his life, here it is, and moreover, when the door opens, it’s from the side, if you walk into the room, you can’t see this portrait, yes , i have one like this, i have one at home, i have the same portrait, but small, like this, and this is sov simenna, sonya. she is wearing a necklace, as my mother said, this is the only thing i have left from my mother, my mother gave this necklace to me, and i gave it to my niece as a wedding gift, already sonya's great-granddaughter it turns out, it's not that valuable, in my opinion, it's aquamarine, most likely these are these stones, but we didn't have any diamonds in our family, we never had anything like that, but... this necklace is like

such a memory, well, it’s a family memory, it’s already grandma ’s, yes, yes, yes, now it is with the great-granddaughter, but the great-granddaughter has already given birth to her daughter, so it will be passed on to someone further along the female line, so the necklace will live, sergei vladimovich was great man, but for you he was a grandfather, and you are a granddaughter for him, yes, but he gave you some gifts, somehow spoiled you separately, some were interesting. i think he and my mother bought this ring for me in germany, when i turned 20, it’s chrysoprase, the stone of acting happiness is considered, since i studied at the chukin institute, which means such chrysoprase was given to me, and of course, when i was small, in those years there was nothing special in moscow, no normal clothes and nothing, of course.

some things were brought from abroad to my brothers and me, then i i carried my older brother to term, something, this, well, these were, so to speak, some kind of gifts, well, by the way, there is a good photograph of you and your grandfather, but i know that in your family there is one funny anecdote , an anecdote is now a funny story, in fact it can be funny, maybe not historical, yes, in one failed gift. yes, this is a funny story, my grandfather had already given up smoking by that time, but he had long ago, in my opinion, i think, no, probably after my birth or before my birth, he quit smoking himself and told me, katya, what do you want? to give so that you finally quit smoking, well , what should i give you, and i jokingly said, a car, he immediately answered me, smoke, so i still smoke completely legally, smoking is bad, we say, we are skati, you can’t smoke.

his second wife was no longer alive, and he and i , he had dinner with us or we with him, we lived in neighboring apartments, my mother was his best friend, i’m now preparing for our transfer. i looked at books everywhere with such inscriptions, to my most necessary friend, daughter natalochka, you told me that he was very sad in the mornings, that there were no guests, no, it was in the evening, he said in the evening, natalochka, and that no one will come to us today, my mother said, no, we had guests yesterday, well, that was yesterday, but we know that... more well, this lively, cheerful

man sang very well and composed himself on the guitar and the guitar is still on the sofa in the living room in his house, here it is, we have a unique opportunity to listen to a recording of one of the romances that he performed, perhaps, so to speak for the guests, during some kind of lunch, so to speak, they dined on sytakan. the faceted pieces fell from the table, they fell, but they were broken, my life is broken, they fell, yes , they were broken, my life is broken, here ubari enters the hall, his mustache curled, how modestly, nobly, he looks at his watch, so modestly, nobly, he looks at his watch, look,

look, you bastard, look what time it is, maybe you're a little girl. i want to throw my cap in the air, i was once carried away by all sorts of our folk holidays, i was still sitting sad at home, and suddenly i remembered, it was still the soviet union, brezhnev’s time, that today is the night before christmas, my husband came home from work, i dressed him up as a bear. i turned my sheepskin coat inside out, put it on a leash like this on our dog’s collar, my mother came from the theater, she and i painted our cheeks, i said, that’s it, we’re walking around the house, singing carols,

as soon as we walked out the threshold, the elevator goes up, there’s grandpa from the concert with the hero star, where are you going, i say, we sing carols, carols, you don’t know anything, said grandfather, wait, after 5 minutes he took off his fur coat, hat, left the apartment, already wearing scarves, but behind the star hero, and we walked around the house with my grandfather, that is, with my husband, the bear, with my mother, we were so two dolls with her funny, then no one had different christmases, somehow it was not our holiday, yes, it turns out , everyone is celebrating, in the house, it turns out, everyone has a covered grandfather singing carols in russian, in ukrainian, and under prutkin’s door he sang in, probably yiddish, or, well, in general, he sang

carols in hebrew, and prutkin’s door they didn’t open it, five minutes passed there, prutkin’s wife called and said, sergei vladimorovich, is that you? there were, he says, yes...

lines, one of the actors is sure to raise a toast, thanks to sergei vladimirovich, thanks for everything he did for us, that we visited there, there or there, himself grandfather spoke very interestingly, he said, we show the world dolls, dolls show us the world, and you thanked him for this, but look, today we didn’t talk...

hello, this is a theater podcast and i and its host anton gatman. today we have an unusual episode on air with two guests at once, with whom we will discuss how they exist in theatrical process, in the professional process, two key theatrical ones. professions: director and artist, and we will discuss this with my friend, artistic director of the moscow pushkin drama theater, evgeny pisarev, with the incredible wonderful artist of the same theater, alexandra ursulyak. hello, zhenya. hello, sasha. hello.

greetings. the route you took to get to the pushkin theater is surprisingly similar. you graduated from the mkhat studios school at different times. with a difference of 10 years. yes. ended up in the pushkin theater, where works until today, tell me, everything that happened before the mkhat studio school, your dreams of becoming artists, do they also coincide, or is it still the same? but then everything, starting from entering the studiumhad school, i dreamed of the shchukin school,

because my idol, andrei mironov, studied there, well, these were all children’s dreams, but i didn’t end up in shchukinskaya, vamhad, and this changed my fate , i didn’t end up with tobakov, to whom i applied, but there the cards were turned out differently, i ended up with yuri ivanovich eremin, who ran the theater pushkin, in the pushkin theater there was never anyone who didn’t know such eremin, but nevertheless he ended up in the pushkin theater in general... well, for almost 30 years, practically well, with a little to say, leaving for a short time in amkhad to tabakov for 3 years you i left, yes, well, for four seasons , yes, somewhere, but at the same time, i didn’t leave the pushkin theater because at the same time, i was still staging a play there at the invitation of roman kozyk, but before that, of course, on the one hand , i kept dreaming about the theater and dreaming about acting , but on the other hand how exactly is this will unfold why i... i really

may have a somewhat similar story, but it may be less conscious than that of evgeniy sanovich, because it seems to me that i opened my eyes, i woke up, probably at the age of 16, when i i did it because everything that happened before was some kind of dream, although it also happened, this is also my life, and this is what i also consist of, of course. but i had a hard time going through my school years, and this is, in general, a large part of a child’s life, so i was very happy when i entered the school and also this was, by the way, a very unexpected card that fell to me, because all of my relatives, a huge number of them, graduated from the shchukin school, i don’t have anyone who is similar in this, but i do. yes, but, but i, i never wanted, i didn’t want anything at all, i didn’t have time to want, everything came from a creative

family, the difference here is that i’m completely from a medical background, which has nothing to do with it, so directly, but i always dreamed of medical care, but it’s too late, but, but the fact is that i really are all shchukinites, absolutely everything, sister, mother, stepmother, father, first husband, stepmother, everything is simple. everything, everyone from the shchukin school, only i’m alone, which means i’ve gone to a completely different place, and it seems to me that i’m even in some kind of, there’s a drop of some kind of protest, and i wanted to somehow get away from me, yes, otherwise, i probably wanted to fight back, but in fact, to be honest, the decisive thing was this very warm atmosphere in amkhat, and some kind of meeting with teachers, with kozyk, with brusikin, with pokrovskaya, with evgeniy sanovich pitsarev, who was a teacher at all.

concert venues, tell me, taking into account the current context of the moscow drama theater, this is 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 corpse to corps , they play in different theaters, different performances , but at the same time, many of them are constantly in their corpse, here’s how...

even if this, even if they are led by a director, then in many ways it’s still the same management, and in many ways these are still not monotheaters, but theaters where different directors are invited, since different directors are invited, then, well, strictly speaking, the artists are able to exist in different styles, in different manners, and so on, and i,

for example, always i think it’s better to invite us, and let the directors come to us and do it with us. in the theater with, but on the other hand, i’m always in favor of, if you ’ve earned this right, not to serve in the theater, but simply, how to say, well, in the service of this profession, then go out somewhere, how to say, and to see what is happening in the world and how to say, somehow going out into the street, and not just locking yourself in your home, also makes sense. sasha, when you receive offers to participate in performances of other theaters, not the pushkin theater, but other theaters, some kind of... decision-making moment arises, the priority is still the pushkin theater, or there are still some circumstances that can this priority be pushed back? well , for me, too, it’s very much like, well, this is my native theater, and it’s true that i’ve been there for so many years connects with people with so many things, and of course this is a home, a home that you want to protect, to which you want to bring, to

which you want to bring, but sometimes it happens that in order to bring something to the house, you need to go somewhere and something take it for yourself. and this is absolutely normal, but evgeniy sanch knows, i always discuss everything with him, so if i was called there, or called here, i always consult with him, but not at the level of whether it is possible or not, at the level i wonder what you would advise , what do you think about this and so on, in any theater, of course, always jealousy arises, and if i went to the side and staged it and suddenly received a golden mask for it, or i don’t know, 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 there, there and there, i don’t really understand it, and not because you should 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 i teach at the emhat studios school, and many,

some of my students don’t want to go work in a repertory theater, i understand them. their brains are developed completely differently, also a sign of the new times, but you started drinking too much just recently, do i understand correctly? yes, i probably can’t yet fully call myself a teacher, but i also wanted to get in touch with this area, and maybe i won’t give up yet, maybe i’ll continue further, i don’t know how it will work out, but does this profession seem important and interesting to me?

which is no longer yours, but it is today, yes, this music, these films, you can say this, you haven’t read this, you haven’t watched that, they say, but you haven’t read this, you 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 like this... then some steps towards each other, and we must take them together, young people, students who...

i was very categorical in this sense, but these are precisely my mistakes as a teacher, because very often people who

didn’t understand anything, didn’t understand anything and couldn’t in the first, second year, suddenly jumped out in the third, and people who started well, they suddenly withered by the fourth year and so on further, this is absolutely, someone, someone , someone ended up in the wrong place, for example, there at school the studio didn’t work out, went to gitis, something happened, for example, this is...

in fact, we we work in a theater that once existed, in its place there was a chamber theater, and despite the fact that tairov inserted everything alone, usually 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. we continue the theater podcast, our guests are evgeny pisarev and alexander rusulyak. your wonderful cabaret project. i read, zhenya, somewhere you said in some interview, i think, that you are generally wary of entering other people’s territories, in the sense that you do what you

do best, and where you doubt that it will be best, that it will be it’s better, you don’t risk going there, here’s the story of the cabaret, yes, because well, it’s like a material that, in general, has quite a success, and on a worldwide scale. as a person who agreed to do this, and agreed to do it in a drama theater, you had some kind of fear that there would be comparisons with bob fosse, well, everything connected with this is for some reason difficult to say , because 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 evgeniy vitalievich mironov, i was surprised and somehow sincere. misunderstanding of how it all happened, and then his cunning, and maybe very insincere move at the same time, when i said, well, after bob phos, but after everything, he says, no one can do this better than you, there is no

person who, i somehow believed in himself or pouted or something, and how to say, somehow 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 i told everyone, so that’s it, but if it weren’t for arose... some kind of picture, if some kind of 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, it didn’t look like bob fosse at all , and my inner story, how can i say it, was different, don’t even argue, but just somehow different, so i wasn’t scared anymore, i had a wonderful team, i had sasha next to me, and it seems to me that we somehow somehow not not what let's do it differently, not like bob phos, just. made their own the performance, it had its own concept, that’s why it worked out, some are, i wanted to say, in captivity, but not in captivity, under great impression, and don’t want anything

else, for example, yes, but for them there is a standard, and this it’s very difficult, how can i say, we were doing a play that had been married for 10 years already, for example, and i, alexander anatolyevich shirvin, yeah, and vera kuzminichna vasilyeva, i knew them, vera vasilyevna came to us all the time, despite venerable age for performances. sherwin is older, of course, but still. and i say i i dream that you would come to figaro, come to all other performances, don’t come to figaro, he says, well, don’t, no, no, because when people were 20 years old, they played in a play, which, in fact, also is to some extent a standard, well, of course, of course, and of course, even, and verichna says, 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 didn’t like cabaret and who are waiting for others

arrangements, another that are waiting for liza minelli. you see, well, liza mineli, here you go, alexandra ursulyan, here’s sasha, i was just about to ask about this, liza mineli, my love, yes, i love her very much, i was at her concert, and you are willing, or you, no, well, here, you know, what are the thoughts here, firstly, it’s good, well, it’s like a great story, great material, but to be honest, i always at that moment for some reason never thought about it, so i always have decisive ones... zhenya, whom i call evgeniy sanovich, is 24 years old, and he says: sanya, things like this are necessary here. evgeniyevich, i’m sure i can do it, you can, i just ask you, don’t get sick, in may, don’t get sick, understand? okay, evgeny sanich, that’s it, this is how we had the conversation.

i’m terribly trusting of everyone and so on, but here, thank god, i’m happy that fate brought us together there, completely unexpectedly, but it seems to me, for a long time and god forbid you don’t get sick, not only in may, let’s not get sick , we will be healthy, in principle, i hope we will do something else, sash, you work in dramatic performances, you have experience musical, well, of course you have experience in both cinema and tv series, the only thing you haven’t

tried yet. i believe, because i want to reveal the secret, that when we just started rehearsing the cabaret, there were a couple of arias there that sasha simply couldn’t reach, now that’s all, of the three named movies, drama, musical, is there out of these three, you still need to separate one, here you need to mix everything together , but i’ll tell you this, here you don’t need all of these, because for me the most important of the arts, probably the most important, is music, for me this is music, i’m unfortunately not

a musician, i’m unfortunately not... but i really love music, and music is a very accessible art, but you don’t need anything other than ears when you work in a drama theater, that’s for it is very important to me what kind of music is 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 even more of an opportunity, and to sing something along with...

staging an opera staging a musical, for example, they are closer, of course, to each other, rather than there dramatically with the methodology, yes, yes, yes, but in the dramatic theater it’s still good.

time, you need it this way, that is, there is no possibility, practically no possibility of any kind of backlash, not in time, but we had an industry when it was necessary like this, it was necessary like this, it was necessary only because we had a musical history , we had a dance story, we had a dramatic story, which you just needed everything when you were busy in chicago, and it was the same there too, but there is a tougher story, of course, because it's licensed. a performance, here you go, but you know what i want to tell you, everything always happens the other way around, the more they make this corridor for you, the more imagination you have, you start anyway there, even in this narrow corridor you begin to invent something for yourself and giving birth , i don’t know, even in my life,

the tougher my schedule, the 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 in musical theater in musicals to the fact that everything is systematic, quickly, i complete the play in a month and a half. question: where am i going, why am i in a hurry? moreover, i also planned everything, suddenly i asked myself, we started rehearsing zoya’s apartment, that some interesting process began, the artists began to bring a lot of ideas, proposals and so on, i think, why is it necessary in april we have to release it, but why can’t we in may, there in june and so on, because i understood that this opportunity, of course, also gives the repertory theater, well, the fact that you are an artist, and the fact that i artistic friend, and the fact that i am an artistic friend, and this, of course , is also... a big plus, because we are not only striving for the premiere of something, we are also living some kind of life, we are living some kind of creative life this performance, so for me this is also important, sometimes it is important to stick to these frameworks and how

to say to be mobilized in this sense, and sometimes to linger a little and a little, if there is such an opportunity, to get involved in this ... success, i would like to clarify, you are the director of the theater, naturally, 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, yes, that’s where this balance is, yes, because we know very well that it is possible to build a good quality commercial repertoire, yes, but there is still material that is not guaranteed to give a clear financial result. but it’s interesting for the director, it’s interesting for the artists, it ’s interesting to delve into it, it’s interesting to understand it, perhaps it will be such a boutique story, but nevertheless it’s theater, this balance, here you are as an artistic director, you

somehow feel it, you somehow build it, of course, but how without this, of course, is another matter, that nothing can be the fact that it will certainly be a success, or that nothing can be. well , somewhere, somehow, so to speak, it’s worth putting a straw on yourself, somewhere, it’s worth laying down some kind of straw, although it’s not, it’s not, the performance won’t work, then no star can save him, you know, that’s how to say it, we released this season, a young director, igor teplov, made a wonderful performance, space, in general, why it is also wonderful, because it is based on a modern play, which was just written, and by alexei zhitkovsky and of course always. in our branch of the pushkin theater there are often performances based on modern plays, because it is terribly dangerous, especially ours, especially the pro-russian hinterland, even if it’s comedic, but it’s still problematic and so on, to let them onto the big stage,

and i still, how can i say , so i convinced the director that this should be done on the main stage, that this should be done in a certain a genre that i think he masters and develops. in this, well, of course, i said, go persuade victoria isakova to play there for you, who already plays a lot , but also films there a lot and so on - so i went into such a risky project, and the performance turned out, it seems to me, wonderful, but if it hadn’t worked out, no, forgive me, victoria isakov, wouldn’t have saved him, you know, but it seems to me that the performance worked out, but of course, of course, if you take a modern play, a problematic play, and so on, but still it’s better that there is some other person in this problem, so to speak, who will make you listen about this problem, know about this problem, and so on, so a performance comes out that critics... and the professional community accept hurray,

yes, good press comes out and so on, but the public does not perceive it at all, that is, life in these social networks, this performance absolutely destroys it, and the professional community only compliments, that’s where, where to move, continue to persistently play, some time to keep playing of course, but you 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 always say that this is very important experience for us, this is a very important performance for us, but unfortunately, the life of this performance cannot be that long and, 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 he was a performance mousetrap, well, some kind of... some kind of detective,

in some classic english setting 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 mash trap is going on with us, it just seems to me, how can there be a mousetrap in london, every day there is a mousetrap in london, it goes on and people watch, it doesn’t need any stars, but people watch this plot, wonder who the killer is and so on, it turns out there is a theater and such a function. can also carry quite the same, how to say, but sometimes there are such generally incredible ones, i i’m not saying that this performance is bad, it’s a wonderful performance of its kind, but i can’t say that it moved the art of theater somewhere, i can’t say that any critic, the criticism was incredible there and the whole theatrical moscow came watch, but this and this, as one director said, i say, this is a bad performance, this is bad, no, this is the black bread of the theater. these

were, and i understand that really, how to say, and this is also some kind of experience of artistic direction, like someone desserts red caviar, and sometimes you need to he said that theater is valued not by the presence of stars, but by the presence of a strong, excellent second row, yes, but it may be unpleasant for an artist to hear such things about himself, but this is very important, when there is a very strong second row, then of course, well, in fact , even a space performance, yes it’s clear that there’s vika, who seems to be on it all, and the audience really comes in complete delight with all the other roles, we have just fantastic artists, and how powerfully they do it all, it’s just such a thrill. sasha, if you look through the eyes of an artist, well, in this case, 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, but you feel like the artists who are involved in this performance, yes, that it is successful,

history and that it will not become a performance for 10 years , or when you see an extinct hall and can continue to play, realizing that this will ultimately not even be a completely sold out hall, and some not very energetic applause, you ’d better refuse, i don’t mean you, not you personally, that’s it. cast, cast. here is a corpse, but i think that the critic too a person, and the viewer is also a critic, if it’s not tight in the hall, something means something wrong with the performance, but what was the situation like that, yes, but it was so quite provocative, but it wasn’t sluggish, it wasn’t the situation that there was a rotten hall, which, how to say, somehow didn’t go there or something. the hall was furious, here is the hall, this was an option when the hall furiously

did not accept what it aggressively did not accept, not that it did not applaud, but stood like that in the face and said, shame, shame there and so on, and it was me in general experience, i just i came to the theater, this was it, it even happened before the moshilovka, and konstantin bogomolov was rehearsing, in the fall i came in the summer, and the first... autumn in october was just here in turondo, and i just didn’t understand how to say, and i didn’t know how how how to be in this situation at all, what to do in this situation, especially since konstantin and i were standing in the wings together, which means they were watching it all, when it started, it’s a shame, what a shame , there’s something else, i turn to konstantin and tell him how terrible, and he turns and says to me: what a class, well, how can i say, he solved his problems, he certainly checked something for himself, then in many ways, it seems to me, pturandot became

some kind of starting point where he did some, well, i won’t say his last name, but i know a lot of famous... directors who came to turandot and were like, wow, wow, why are you smiling? dad, why is he smiling? pourquoi masquer cette terre? but it seems to me that it was just too new then, it was too much, it was just at the wrong time, in the wrong place, it happened because the theater also, as it were, some transformations, he also walked while the cossack was there, we

also went a long way so that evgenyach had the opportunity to carry on this relay race, because the theater that i remember i came to is in general. it’s not like what we have now, it’s just heaven and earth, so, of course, the public is different, differently educated, already like an audience, but second, you know, if i had been fully at that time artistic director and director of the theater, but then i was, how to say, and was the director theater, which, in fact, owned everything in the theater, did everything in the theater, in fact, only told me... go, put on good performances, and how can i say, don’t meddle in the whole life of the theater and so on, that is, what kind of posters, what marketing, how tickets are sold, who we invite, what kind are there, and so on and so on, so i could only say horror and look at kostya, well, how can i say, well , nothing to decide, the director announced to me that we are playing the last two performances now

we’re not playing anything, well, there’s really nothing else the artists were also not ready for such a reaction, and viktor verzhbitskin is a wonderful artist, who later worked very... a lot with kostya and - how to say, produced many wonderful performances, he simply said: “i won’t go on stage anymore, i’m not ready for such a reaction from the public, i’m not ready to play, introduce anyone there and so on, well, he had such a reaction first too, my dears, i’m very grateful to you that you came just the two of you, thank you, it was extremely important for me that you just the two of us came, i think this conversation, i hope, dispelled some non-existent ones. in my opinion , the opinion that the director and the actor and the artist is an endless conflict is completely wrong, in any case, your example shows that this is endless trust, which gives rise to a great creative result, i wish you good luck, thank you very much, thank you very much, thank you, this there was a theater podcast and i and

its host anton getman, our guests were the artistic director of the moscow pushkin drama theater evgeniy pisarev and the incredible. theater actress pushkina, alexandra ursulyak. hello, we're live. time in the studio ekaterina andreeva, briefly about the main thing. war crime. ukrainian militants targeted a residential area in takmak in the zaporozhye region. latest data on dead victims, including children. success on...