so that the picture gives, well, yes, but as they say, here is such a positivist, natasha, well, we are all intrigued, you brought it to the studio, here is the samovar and fragments of the diorama, the diorama is my favorite thing, when i come to the log, here you are you know, the first thing i do is go to the diaras, where i go, what it is, how it can be explained to people who have never seen it, but first of all, since i came from the tula region, i came with my samovar,

so i have it, and it’s not just a samovar, it’s a historical samovar, it’s generally so to say, accompanies several generations from the polenov family, it is believed that this is the same samovar, it is generally unique, it is called a spider, we restored it a little, it was cleaned, so to speak, there are already such modern wooden parts, and it is cleaned, but this in general, a unique samovar, they say, they say that he just accompanied vasily dmitrievich. during his balkan campaign, that is, he was, well, like a thermos, but in general it is believed that he accompanied vasily dmitre polenov during his balkan campaign, but he definitely accompanied his son dmitry, during the first world war he took part, the son of vasily polenov also took part in the battles, for which he received the st. george cross and so on served in the cavalry and... the fact

that he was with dmitry vasilyevich during during the first world war - that’s for sure, well , they say that he also visited the balkans, he’s called a spider, you see what legs he has, and this is a road trip, this is a road trip, yes, but he’s generally heavy, he’s really very, well, like that it's probably not easy to travel with him, because he it’s quite heavy, but it’s such a camping, camping samovar, i thought that since i came from the tula region, i should definitely bring my own, i definitely need to bring a samovar with me, and what about the diorama? i don’t have, because it’s completely somehow, well , people will see this secret, they will recognize and this magic of this magic will disappear when people come to see our diorama in the museum, but i brought you the original diorama, now we are showing what we we show it every day, this is a penny diorama, and this is the original diorama of vasily dmitrievich polenova,

i don’t want to tell you the secret, in any case, the plot, the plot is that it’s a round-the-hundred trip, no, i ’ll tell you the plot, but i won’t tell you the secret of the diorama, because everyone should just come to polenovo and see it , because stock, yes, it’s because the magic of a fairy tale, this is a shadow theater, let’s say, a shadow theater, and those who want to know more, let them come, well, this picture depicts the nile, and also... it’s not there here in this smaller , shortened version, but vasily dmikovich polenov, you see, he really was a passionate traveler, a passionate collector, a wonderful artist, he was such a man of renaissance scope and an intellectual, he spoke six languages, he had a huge library, he himself read the goethas, schiller in the originals, translated and so on, and of course, having found himself in the twenties at the end...

to say that he was already almost 80 years old when he painted this diorama, this is a whole cycle of pictures of a trip around the world, united by the plot of a trip around the world travel, the point is that we are leaving from polenov. and we return back to polenovo, in 15-20 minutes, well now in 15-20 minutes, here we have naples, vesuvius and so on, in 15-20 minutes we see the whole world, we will visit america, america, in latin america, in china, in european countries, in

turkey, we will sail to the black sea and so on, we will see all this, and then again we return to polenovo to the hearth, to the performance on... when polenov showed his diorama, it certainly wasn't 15 minutes, because that only in the picture of latin america did he read langfell’s song about hiawatha in full, for example, in the pictures of venice, he gave a huge lecture about who the venetian doges were, that is, his diorama text was of course like that, well, like a real educational lecture, but the children of the late twenties in these villages, where there was no...

showed this diorama, and there is even such a story, it’s true, it’s also written down that at the end of such a session, when he showed all this, he told all this , read sing langella, so a little boy came up to him and handed him a tiny homemade white bun and paid him for this show with this white bun in the hungry twenties, paid him and said eat, vasily dmitovich, thank you very much. natasha, well, you can talk about polenova at any time, without any informational reasons, but here we also have an anniversary. yes, this year polenov turns 180 years old. well, did you put on your belt and approach him? well, we are always ready for anything, of course, but i just brought the exhibition catalogue,

which has just opened in samara. why don’t you ask in samara? i answer this question with one answer, but where else? well, where else if not in samara? a wonderful catalog that was published by the samara art gallery, they decided to open the polenov year with their large retrospective of polenov, 76 works by vasily dmitrovich polenov came to samara from twelve regional museums of russia, so to speak, from twelve museums there are things from the tretyakov gallery, the rest are regional museums, that is, this is omsk, ekaterinburg, vladivostok, there are very good collections there, we are giving them. from irkutsk for the first time, well , in almost 100 years, that is, in 1928 , the irkutsk art gallery received a huge painting of christ and the sinner, well

, a slightly smaller copy, but by and large, in general, there it is more than two meters of floor by more than two meters christ and the sinner, she entered in... 928 in 2024 for the first time she left the walls of the irkutsk museum in order to go to samara for the exhibition “man of light” for the 180th anniversary of vasily dmitrievich polenov. here is a wonderful catalog from a distance samara, in general, i congratulate them on this unique project, this is exactly the irkutsk thing, well, which, in general, completely repeats the imperial thing, i congratulate them on this wonderful project, this is how we open polenov’s year, in the summer, of course.

hello, this is a podcast of witnesses from einstein and its leading film historians, natalia ryabchikova and stanislav didinsky. our podcast is about who and how created classic, beloved, little-known, forgotten soviet films. and today we will talk about the sixtieth anniversary, probably one of the most beloved soviet films is the film “i walk through moscow.” and today our guest is the actor who played one of the main roles in this film, evgeny steblov. hello, hello, hello, evny! “hello, we will try to tell you what we know, ask you about what we don’t know, but

for example, we know that the story that was later told in i’m walking around moscow began in the head of gennady shpalikov, well, long ago before that, and was told in the initial application, which was called "friends", about two guys, schoolchildren, who meet in... in the morning line for beer, but in order to find this beer stall, one of them had to play detective, because he started looking for this line using roach skins, which were scattered on the street, it was on these skins that he actually went to the stall, well, that was shpalikov’s idea, from this story a new version of the script gradually, gradually grows, the schoolchildren are replaced with, in general , adults, students, graduates.

establishment, and there he saw this one on the territory of vdnkh there was some kind of beer scene, which then came into the picture like this, when it started to rain, the weather was sunny and there was a young man - a girl was walking in front, he was riding behind her on a bicycle and carrying an umbrella over her, this, i know , what he wrote down,

this is where it began, this is the root of this mood, which led him to the script, i’m walking around moscow. and by the way, maybe we can watch just this fragment now, because you appear in this fragment too, well, let’s clean it up, friend, eh, no, that's his fiancée. i don’t know where the groom is, sasha, sasha, he bought a suit, and his hairstyle suits him, he’s a typical criminal.

but you might not have been in this story at all, did you end up there completely by accident? yes, by chance, my classmate and i. unfortunately, with viktor zazulin, an artist of the vakhtansky theater, who recently passed away, we went to masfilm to wander along the corridors, so that someone would suddenly pay attention, notice, but i didn’t even have to wander along the corridors, we just passed the entrance, immediately met a student with evening course, and he says, what did we say, well, he says, well, it’s clear, and he told us, come in here - i’m walking into the group in moscow, the fourth floor from the elevator to the left, i remember, well, we came in , so at first we were given

the script to read, i didn’t understand anything in it, but then i really wanted to act in film, so then we were shown to georgiy nikolaevich at danyle’s, there was an acting assistant there, now it’s called casting director naverbakh, so she showed us ... nikolaevich and he, uh , ordered what vitya should do he needs a photographic proof, but he says this is not necessary, i have it, but it’s like medicine. verbakha told me that she stuttered very much, and we called her in the picture with nikita lika zaika, so she then said that you looked so pitifully that i decided to do a photo test for you too, so we did this photo test, this photo test turned out to be, one might say, such a star ticket, she was really

wonderful, this photo, in the suit of the groom, then... he was already approved and then he had to refuse and the doctor said that i woman, i can’t, you’re calling, nikolaevich, nikolaevich called him, and he says, so he sent us, where to hell? he says, and he never hesitated, maybe we cured him, so georgy nikolaevich’s chapter ends on the topic of this situation, and we can now reveal this secret, who was this actor? but i don’t know, because for me it’s a secret, but i asked him, nikolaevich, he told me why you need to know this, maybe he still treats you somehow negatively, that

you crossed his path, in the documents too there are no assumptions about this at all. they already auditioned for the role of the groom right away, and they auditioned me for this role, but you say that the students really wanted to act in the film, but when we read the documents we often see that it is not very easy for them to always be released, what the film crew needs to write, just in general they banned it, of course, but you knew that they would ban it anyway, well, it didn’t happen that they would ban it, how could they ban it, it’s just that at the mkhat studio school there it’s simple. they were immediately expelled, at the shchukin school they were not immediately expelled, but in general this is also somehow was not encouraged at all, well, mikhalkov was forbidden, as far as i remember, yes, no, they didn’t forbid him anything, it’s just that boris evgenievich was his boss, the people’s artist who played kutuzov in war and peace, i ’m explaining this to the audience, he just told him , you

go ahead, either study or act, well, in general , somehow choose one of the two, well, then nikita left. i stood in the city theater, so i answered questions, and then they showed me the city, everything there, in particular they me, there is a very good local history museum, they took me in the local history museum and showed photographs there, in particular, i remembered photographs of the grand duke’s visit to the city of rybensk, here

the grand duke is standing, and two people in uniforms, which means such youthful friendship, it’s all very realistic, some kind of image of moscow that we now it seems completely real, but again we know from memories, yes, that as if during the filming it was even necessary to wash houses in order to create such an image of bright moscow, clean moscow, i don’t know, it’s unlikely that the city that we see on screen, different

but from the real moscow of those years, yes, well, here’s an example, and how did it differ from vadim ivanovich’s talent? we have such an episode in the documents that we read, that the scene with a cafe in the arbat side streets, the cafe was created for this scene, it was not there, it was created, and this model, pavilion, full-scale, yes, from standard blocks, that is, really at the factory that makes these cafes, they bought blocks for the motsfilm,

maybe, i can’t say, i remember that when they were filming this scene, when i come to nikita, i approach his house, it’s in arbatsky lane, then this cafe was there, and it didn’t seem to me that it had just been built, when the film came out, i ’m walking around moscow, they write that many people compared it with the film of marlen khutsyev, the ilich outpost, or i’m 20 years old, they very often talk about that this film...

it is such a block and such a multi-faceted block, i would say, and i would not immediately pair it with pelikina

with all due respect to her, but what is united is that this is shpalikova’s script, otherwise there is intonation in the grain shpalikova, yeah, but it’s intonation, it’s still turned into film classics by the soul. and consciousness and georgy nikolaevich danel, the director who saw it, transposed it, the same andrei petrov, the composer, in general, you know, georgy nikolaevich once , shortly before his death, he gave me a book, he wrote wonderfully, he several books have been published by him, so i remember some interview with him, he said that he could make all his films, once, except i ’m walking around moscow, and i understand why, because i’m walking around moscow, it was mood, it seems like nothing, yes, just like that, and

the main thing, i remember, nikolayevich, what you can’t ask, is that i was a second-year student at the time and moved on to the second year, i had experience before that, i starred in an episode in the film the first trolleybus of the gorka studio, that’s all my experience, that’s what you can’t ask nikolayevich, he... smacks him with his lips and says: just like that, just like that, they didn’t really rehearse, they filmed it practically in one or two takes, that’s it, it was so relaxed and easy that you still come to the conclusion, especially as i get older, i, as a believer, that this is god’s providence, because it is impossible to explain otherwise, that’s how all these people came together in this place on this topic. you see, this is difficult to explain, indeed, the french new wave, neorealism, they are like some influential movements in cinema, and

you heard, well, i don’t know, maybe someone from the film crew said, watch gadar’s new film, breathless , it was rumored, we went, we went to the movie house there to watch, but honestly, i don’t think it’s shpalik and... and georgy nikolaevich daneli, they were such independent artistic personalities, maybe they looked, saw a lot, but i don’t think they could shoot something like something, they were so natural, uh, talents, there was no imitation in them, they could know to take this into account, but to do something in this unison, so to speak, is unlikely, listen, shpalikov, forgive me, please, shpalikov was a student, in fact, it’s as if he still has in essence there was no filmography, he was still in gikovets, i walk around moscow with a film, defended my

a thesis, in fact. how high was your trust as an actor in shpalikov as a screenwriter and how did this legend take shape before your eyes? usually , after all, screenwriters don’t communicate with actors , or it’s as if their work is completed at the moment when they put the last point in the document into the script and hand it over the director goes to a new project, how did he influence the film itself? well, he didn’t consciously influence me like that, but... the fact is that he was married to my classmate inna gulay, then they separated the kingdom of heaven is no longer there, no one is alive anymore, so there was some kind of connection, she was very close friends with valya malyavina, also my classmate, you see, this is one circle of people, one time, that’s what you can analyze and correctly, if you are talking about this,

this is time. time, certain intonations, i mean, intonations not in the literal sense, not musical intonations, but such artistic intonations, some kind of internal, they were in the air and the most talented people obviously caught them, the same lyosha loktyev, that means galya polskikh, all of us in this intonation, yes, but we didn’t even know each other in front of the picture. but after the film we are already like relatives, in this film there is a story about how shpalikov actually wrote the text of the final song, these poems are famous, there are several versions in different memoirs, natalia ryazantseva has one version, georgy nikolaevich has another in his memoirs, usually everyone tells daneli’s version that shpalikov was supposed to submit the text, but disappeared and came

filming while filming. on mayakovsky square it’s such a romantic rise at night, it’s already evening, no, no, not a rise, no, and of course, i’m more inclined, i know what georgy nikolaevich said, and it’s true, and these are not night scenes, they were filmed during the day , and this was a planned shooting, not a sub-shoot, well, i mean a passage, a passage over the mayakovsky square overpass, well, gene.

i walk around moscow, as one walks on a plank, what is a square from right to left, also a square, pushkin once lived here, pushkin was friends with svyazimsky, grieved, lay in bed, said, that he caught a cold and so on, but they didn’t fit this size, so i had to make it up, well, you see, how all this supposedly consists of accidents, but in fact it’s god’s providence, i think, just

if.. what didn't you like? i like girls, but literature is art, what is the story about? well, in general, there is little about good people; a writer must penetrate deeply into life. what is your profession? he is an assembler, an installer, someone, a writer-engineer, of human souls, and you, as i see it, are a locker, huh?

you are an opportunist, why am i an opportunist, where did you get the idea? and why? yes, because literature has its own laws, for example, a hunting rifle is hanging on the wall, it must fire. “what kind of gun, there’s no gun there, the czech said it, he’s an eccentric, because i figuratively came to the word, amazing, but there was no script for this scene, there wasn’t, yes, well, the fact is that in fact, i don’t know , who was the first to think of this, well, from the editors, from the editors there were such statements that you mention, but here they are, in my opinion, and georgy nikolaevich and..." decided to film such a scene and uh inspired gena to write this text, in fact this character is a tenter, he expresses all the complaints that

the editors expressed, only a few parodies, well, i remember that basov at that time he was filming his picture, he wasn’t even filming it anymore, but he was dubbing it in the old tone studio on a mass film, georgy nikolaevich invited him to star in this fragment, in this episode, from this his acting career began, one might say, such a triumphant one . , yes, well, because that’s who he is indeed, he is a director by training , but we ordinary viewers know him most of all, of course, as an actor, he is so straightforward and at one time they were basses and bulls, this is in great demand. all the episodic roles, everyone offered them, they could generally make good money, and bykov also appears again in i walk around moscow, stealing scenes literally all with his participation, then

one actress appears there, who by that time was completely unknown, we later recognized her, yes, it was inna churikova, and ina, yes, no, she was reining a horse in the park, you know, ina, me and... completely

on location, but still they climbed into the fall, autumn is beginning, they are already transferring it little by little, little by little to my film, not like that, pavilions they filmed it then, this is what happened now, this is what you are broadcasting, this is now. yes, but look, he can always come up with something like this for the final scene, and the actors are all freezing, in the subway, it wasn’t in the script either, it wasn’t, and

there are different versions, in fact, how it should end, where they should be, in the borodino panorama , somewhere else they are walking or in airport, the same place where this film begins, but ultimately transfers... the metro filming, because the metro has already been requisitioned for a couple of nights, they are filming, moreover, at the university station, which is the final one at that moment, there two trains are running, you weren’t on this shoot, you weren’t there, i wasn’t there, you didn’t go to those shoots that you didn’t participate in, i didn’t go to the shoots at all that i wasn’t busy with, you can say. that after this film you woke up famous, that you began to be recognized on the streets, some kind of recognition came to profession, no, no, firstly, when the film, when it began to be shown in

art houses, yeah, in this circle, in the circle of filmmakers and cultural figures in general, of course, i was already known among the students, my classmates there, but such... to the public, it was still there, it had not yet been released, it was later released, and at the time it was released, i was already starring in the film, goodbye boys. i was on a film expedition, so i didn’t notice this, then somehow, when i came to moscow, i began to notice that on they look at me there, students usually really, really follow this, that they recognize you, they don’t recognize you, this is some kind of recognition stage, as if, now we can already say that i’ve turned 78 years old, of which, you know, only 17, i lived, not as a public person, and i remember

that when leikoronna overbach and i came with a letter, with a petition from the massfilm film studio, to the rector of the shukinsky school boris evgenievich zakharovi, people's artist of the ussr, to let me go with a request, he he greeted me very kindly and generally kindly let me go, but what about here is mikhail kalik and goodbye boys, expedition. well, besides, i already had to go on academic leave, but somehow the teachers treated me favorably, boris evgenievich himself can see that i was later reinstated in my course, i didn’t lose a year, but i understood that i understood that many people envy me, and i tried to behave somehow delicately towards my comrades, and in general i am such a non-boastful person by nature. i just remember that

many people were very complimentary towards me behave, and i understood that in this complementarity of some kind, maybe there is a share or flattery, the calculation is such, well, that i have become famous, that with me, as it were , vasily vasya, it means demonstrating some kind of closeness, that’s what i understood, and i somehow differentiated it, i still tried to discern it. a genuine attitude towards oneself, but this is also natural, natural, because it was we who pulled out a lottery ticket, well, well, it was really lucky that i not only got into the cinema, into my own cinema, films are now turning 60 years old, well if you read the moment of the premiere, 1964, and the logical question, of course, yes, the previous generation of viewers know it by heart, especially this famous phrase: my favorite scene, when... mikhalkov’s hero walks down the street, they meet some

group of repairmen who are hammering the asphalt asks: what are you looking for here, and they tell him: even more than everyone else, get out of here, they’re just digging, and if they’re digging, then it’s necessary, as if you don’t need to know this, this young, persistent generation is asking questions asking: here today, yes, when new viewers who are watching this film for the first time, why do they need to watch this film, what do they need. we’d better go have a look, download something from the internet, watch some tv series and so on, what can he give us? the film i’m walking around moscow today, and i think that this old black and white movie will always be there at all times new, here i am walking around moscow, because it is truly a miracle, that god brings us all together, all the cars of this film, yes, all the participants and co-authors, so to speak, and

something happened, by the will of george nikolayevich, of course, by his will, he made the final decisions in each individual case, you know, a lot of people imitate, a lot of people have appeared, ala, i ’m walking around moscow after films already, uh-huh, that means we caught something, i imagine i don’t give this any credit, but it means that the authors all caught something, we sang something on the theme of time, to some extent we voiced time, there were some scenes that ultimately were not included in the film, in which you were filming, well , it was at first, so when i come to nikita, i started, he picked it up or i don’t remember, this is the song we started singing first, and i walk,

but mostly those who work in the theater, i worked in the theater all my life, that’s why we have a relationship with the stage without reverence, even on the contrary, on the contrary, something like that. friendly and condescending, the miracle is that they were filming, they seemed to do it somehow naturally, just like that, suddenly it grows, for example, a miracle, one of the miracles is also that president nixon came on a visit to the ussr, and

a guard of honor walked, walked , he was met there at the airport and they walked to... our song, byva, a march, in a marching version, everything is good in the world, you won’t understand what’s going on right away, it was a surprise, and this is no longer just a social sound, but such a global sound, oddly enough, this intonation of our film, completely optional , as if on the one hand from the point of view of brute reality, on the other hand it’s such a... piercing time, i would say, you know, we’re talking about this topic now, i’ve already said several times how much we’ve already celebrated the fortieth anniversary of the film , fiftieth anniversary, i i remember when we celebrated, it seems, our fortieth anniversary, at our demonstration, i

was walking around moscow, which in general everyone knew, the whole beach had gathered, then when we came out,

i said very correctly that this is such a cast of time that was taken very quickly, very easily, and like in some kind of capsule, it really preserved the breath of time, it’s in what yusov did, it’s in what you, the actors on the screen, do, in the way danelia put it all together, in the way shpalikov wrote it, and to really plunge into this time, it seems to me, no the best film, as i swish around moscow, yes. yes, yes, you are right, yes, then the form is so optional, there is nothing intrusive, you see, today we received such a breath of the sixties with our dear guest, evgeniy steblov, thank you, thank you for coming, and we say goodbye,

it was a podcast of witnesses from einstein and its hosts, natalya ryabshchikova and stanislav didinsky, film historians, you can see all episodes of our podcast on the website. first channel 1tv.ru, thank you and goodbye, thank you, goodbye, hello, dear friends, this is a podcast about the life of the wonderful, i am with you, its host,

this is how the actor is remembered in the history of russian theater and russian cinema, yeah, this is a very difficult question, for many reasons, in general, when you talk about actors, when you read lectures, say, on the history of theatre, as opposed to history and literature, you know this very well, you can’t take a book off the shelf, there are none, especially if we talk about theater, there is no such living role that today you can - yes, photography, but he it won't work out from here, here this is the most difficult thing, it seems that he died in

the year thirty-nine, it seems that this is quite recently, historically a very short period, but there are practically no people who saw him alive, on the other hand, this is a time that seems to be distant and that’s all -still close, this is the time of our grandfathers and grandmothers who saw. this optics is very complex, finally, there is still a point here, he died very early, 45 years old, he did not live to the age when, say, he would have played king lear, and there would have been a whole chronicle of his creative life and so on further, he died in the thirty-ninth year, and he - starting with the marvelous generation of vakhtangov actors, so to speak, side by side with them - at some point, probably starting with the role of yegor bolychev, he simply went sharply upward, he was on the first list of those awarded the title

of people's artist of the ussr, he received the stalin prize posthumously, he fit everything into these 15-20 years of his creative life, which could be said, judging by what i read and what was said to me, those who saw him and knew him well, he combined with... to the first generation of vaktang members, and not only to the first generation, this is a marvelous theatricality inherited from vaktang, grotesque, irony, sarcasm, those roles that, on the one hand, that was so typical , well, starting there, for example, with the role of tortali in princess turandot, in this legendary performance, he was busy, but at the same time, very often the philosophy of turandot is reduced to... such a skittish stupid playfulness, which was present in it, but behind which stood

zavadsky’s powerful philosophical worldview, twenty-second year, the civil war had just ended or was ending, there was no family in which, so to speak, there were no killed, wounded, arrested, expelled, with whom ties were severed, this is the irony, the noise... the scene, it’s like would overshadow this, maybe behind this there was some kind of jealousy of the vaktankov actors of his generation, who

suddenly saw how one of them rushed so high and deep, and this combination of a person immersed in almost such an early moscow art theater naturalism, at the same time with amazing playfulness, gaiety, sarcasm, irony and so on, they know well the person whose name the institute at your institute, who dream of studying there, is, of course, who boris vasilyevich shchukin is, they don’t know, little has been written about this person and little is known, except for those photographs that we showed, and, probably, for now... lenina, whom he played, that’s all. i began to look for some video recordings to find shchukin, except

for a tiny split second when he plays tortaglia, when he is in egor baluchev says one phrase: there is no video or film material, nothing to show at all. the name of boris vasilyevich shukin is alive today only thanks to. the fact that after his death, the laureate of the stalin prize, people's artist of the soviet union, when he passed away untimely, his name was assigned to our institute, you see, here, here is shchyukin, shchukin, shchukin, shchyukin, now we can name you a huge galaxy of artists of the twenties -the thirties, which were brilliant in their acting skills, and... about which we we forgot when we talk about vakhtangov, for example, the widow nadezhda mikhailovna

wondered why the name vakhtangov in the sixties is so me... why does it sound, and the answer was found from his grandson, when we opened the monument in 2014, he said, now i i understand why the name vakhtangov resonates, because it comes from his students, and the name shchukin also rings today from his students, from the fact that we study at the shchukin school, and the rest is just speculation. there is no one to ask, the books have not been written, nothing has been written, i can say that this actor unusually tragic talent, he did not play king lear, he did not even play the mayor, because on the eve of the premiere he died, and he prepared for this role very seriously, the only role that remained in the history

of the theater was his bolychev, and as it were... i can’t, i have nothing to rely on except some facts, where a theatrical article about bulychev, who was in amkhat, and was in the akhtangov theater, where, despite the grandeur of leonidov, and shchukin is presented most highly, it’s true or not true, i i don’t know, but this is left in history, the man... is extraordinarily talented, because he plays so frantically and so brilliantly with tartaglia on the one hand, and buluchev on the other, you need to have talent, of such a crazy range, in general shchukin is a follower mkhata, how did it happen then that he ended up at the vakhtangovo theater? he did not get into the theater ; there was no vakhtangov theater yet, but there was only the third mkhat studio,

which was directed by vakhtangov, this is also ... social status, he was big a theatergoer, it was he who taught him to go to theaters, and shchyukin from a huge number of theaters and the enterprise of that time, he chose the art theater, and his idol was kochalov, and there is a photograph where - kachalov was written, i probably won’t say the exact phrase , but its meaning is that

my brother in talent, grandson, in my opinion, brother in or grandson in talent, that is, he , yes, he identified him as a very talented person, kochalov, but can you imagine what kachalov is in the twenties and thirties, that was all. hello, this is the news on the first, in the studio maria vasilyeva and at the beginning of the issue, briefly about the main topics: in the tyumen region the level of the ishim river has exceeded 10 and continues to rise, in novokuznetsk there is only 5 cm left to the dangerous mark, in kurgan there is a lot of water in the village area belozerskoe. destroyed.