this is what he says: this is grace, i became blind in one eye, completely blind, on the operating table, i physically felt my guardian angel, and i believe that my guardian angel, of course, the lord god, with the hands of the doctors they performed a miracle, oh, how beautiful, you are preparing for easter, and this is preparation, i am going with the children, and we are hanging our whole garden with all these eggs, but for the second millennium we have been carrying this sunday in our hearts, this is... in fact, the greatest russian holiday . may 4, on the first. the creative industry podcast is live with us today director and artistic director of the malaya bronnaya theater konstantin bogomolov. tell us about the manifesto, where, where did everything come from, because of course we read, but here’s the kidnapping of europe. journalism. well, my performances are also often journalistic, yes they are. in general

, in one way or another they always responded to what was happening around, and i really like it when people coming to the hall get this opportunity to interact with some kind of modern agenda, and probably this is some kind of active inner one of mine involvement in what was happening around me, it could not help but give birth to some kind of text, the text is... the abduction of europe, in general, it is also structured like a performance, it is such a dense text, public, it has the energy of such a challenge, quite a challenge to a certain audience, i had a lot of arguments over this text, because people suddenly said, oh, you think so, yes, i think so, oh, that’s what you are, oh , that’s what you are, well, well.

and in order not to be subject to cancellation, the producers themselves are afraid of this, they tell me in advance they said, don’t, please, we beg you, don’t, categorically don’t, but what kind of topics were these, well, it was an emigrant agenda, it was a story in poland connected with the poles , nazism, and how it’s impossible, there’s no need to talk.

population, that europe is trying to replenish its aging population, that is, with emigrant flows, and how this is already turning into some kind of absurdity and savagery, what often happens there is a gender issue, there is no need to talk about it in an ironic way, just don’t touch the sore points, which are not sore points, these are not sore points points, these are very specific things that you can’t talk about, but best of all... that means, do performances that

will correspond to the agenda, then everything is great, then everything is fine, then you’re on top.

in this situation, of course, some feeling of some kind of lie that was happening began to accumulate, and some kind of feeling began to accumulate that in fact the europe that exists is no longer europe, that real, old european environment , yes, powerful with a huge culture, with huge complex traditions, stratification society.

i want to say about some things directly, openly, clearly and confidently, and i wanted to speak in a language, you know, in such a not scientifically abstract, but in such a cocky language, i wanted to do such a cocky thing, and i can tell you such a thing, i then released the manifesto went to the perm opera and ballet theater to work on staging a play, the opera carmen, just as the manifesto came out and practically flew back and forth there, a huge number of people came up. konstantin, thank you, it turned out that this manifesto pronounces those things that existed energetically inside a huge number of people, and a huge number of young people, you know, this is very important, because

sometimes they tried to present it in such a way that, well, this is such a boomer type, the older older generation is trying to mean something is not. nothing like that, a huge number of young twenty-year-olds who feel like this, think like this, they connect with this text, that’s why it’s such a cheerful, essential, but cheerful in its form a cocky statement, which in its cockiness inherits, in a sense, correlates with the performances that i do, now now you will speak in the voices of the country, but this is your new dialogue.

in their cities, villages, in their factories, schools, hospitals, various educational institutions, and so on and so forth, and these people work honestly, desperately, with love, with joy, overcome some difficulties, achieve something, and you know, like in minhausn, maybe there’s not a subdivision, but there’s something heroic in it. uh, there's something heroic about this present in these lives, so we took 12 directors and 12 playwrights, we carried out such a count, which means there were many publications in the regional press, saying that send

your stories, send applications, we will make performances about you. received a large number of applications from different regions, from 64 regions, we received applications, and... people sent about themselves, yes, it was very important that you don’t know, not some plant director from above, we turned to him, give we need some wonderful production worker you have, and he’s like like you. vasily, let’s go there, there’s someone from moscow about you, they want to do a play about you, yes, yes, they’ll write about you, and this vasily, that means he’s someone there, well , they obliged, okay, such a social burden, no, that’s it we didn’t want this at all, we wanted it to be an initiative from these people, so that they wanted to be told about them, that they feel like people who want to share their story, who are in love with their business and want to share this love, that's what we got there were a lot of applications and... the guys, directors and playwrights selected the most interesting ones, we discussed these applications with them, and the guys went

there to see these characters, spent days with them, lived with them, talked with them, playwrights and directors studied their life, photographers photographed these people, their lives, and their places of work, the director then, based on the written play, takes an actor, we have wonderful actors who will play these roles. read monologues, talk about these people, 12 such one-man performances will be performed, will be performed, which means in spaces of the russia exhibition, then, we are sure, these performances will continue to live; by the way, we already have requests from the regions for us to take these performances to the regions, they will continue to live in the regions, in moscow, and in general. .. in principle, for me this is to a significant extent such a development of the idea of ​​​​documentary theater, but at a completely

new stage, i will tell you that here we have a documentary theater at some point in the country that focused on a certain kind of blackness, and on the dissection of a certain blackness, and i really wanted the documentary theater to be preserved in our country, transforming and began to talk not about the dark country of life. and a reality that inspires and which you can be inspired by, a truthful reality, because one continuous blackness is not true, because reality is complex and diverse, when you are drawn to the darkness, to the blackness, also an amazing, completely heroic guy, drawn to the darkness and blackness, there, it means that something is wrong in your soul. you know, children are formed

through mimisis, through imitation, art - it is always a mimetic thing, an imitative thing, for example, the art of theater, we imitate, and what we imitate, we imitate what we like and what interests us, and we find what resonates in our hearts, and it seems to me that if we try to imitate the good, then this good will resonate with the good in our heart, and we ourselves will become better, and if we imitate, peer into the blackness, then accordingly this blackness will find the blackness in us and expand this zone of blackness, that’s why, for me, this is another mission of transformation - documentary theater in our country, this project that we

are implementing, we are also implementing thanks to the cultural initiatives fund. the coolest reaction is when a person cannot forget about the performance. can we say that the viewer has already formed? there was a moment of some kind of slow groping for interaction with the audience; people should not accept absolutely everything and agree with everything. tell us about the manifesto, where is it from? i got it, i had a lot of arguments based on this text, it turned out that this manifesto speaks out those things that existed energetically inside a huge number of people. now you will speak with the voices of the country. in fact, in russia there have always been much freer circumstances and freer conditions for art than anywhere else, and the theater is a place to which a person must come, come, come. podcast. today is the first one. this city was literally and

figuratively reborn from the ashes, because during the war rzhef was almost completely wiped off the face of the earth. here that's just the sound that's the sound. yeah, it looks like there's something about this place. oops, the partisan detachments had pigeons, scouts, demolition men walked around with pigeons. and what about the pigeons? what if they came out to arrange a walkie-talkie. you need. i’ll now put it in the correct stance, i’ll make my hands like this little house, that’s where this expression comes from, i’m in the little house, i’m in the little house, guys, i’m in the little house, that’s it, one of the main symbols of the city, rzhev, the red boots of the princes. premiere on may 5th on the first broadcast of the creative industry podcast, our guest today is the director, artistic director of the theater

on the small armored vehicle konstantin bogomolov, we continue, this word and imitation, well...

we all grew up not only on pushkin, but on dumas, and dartanyan is a russian hero, well, yes, he is as much a russian hero as a french one , maybe even more russian than french, and dickins, and shakespeare, irostan, i don’t know, ancient greece, these are all our authors, maybe.

we love and absorb the culture of the whole world, we are incredibly curious, we want to take the best, and it seems to me that in this incredible friendliness in this love, in this curiosity, in this ability to make their own the best that other peoples create. to accept this into yourself, to become infected with it, this is also an essential part of that very cultural code, the russian cultural code, and this is our enormous strength, this is, i would say, russian multiculturalism, this is not western multiculturalism, this is special, this is our

multiculturalism, which presupposes, while preserving one’s own, loving. and never cancel, so, by the way, we don’t have this moment, yes, there has never been any kind of hatred, cultures, and never have been, in the years during the second world war there was no german culture, yes, with all the hatred for nazism, german culture was separated from the political system of political madness, german ideological madness, and continued to be loved. it was impossible to imagine the abolition of goethe as a german author in russian culture, impossible, this is absurd. this, you know, is some kind of property, very significant, the properties of the intellect, soul, consciousness and heart,

well, since it was you who formulated some things very precisely in your manifesto and they even predicted something, in general, in advance, i can’t help but ask about the time in which we now live, this is how we need to treat it correctly, to what extent? are all these changes, are they, well, let’s say, global in nature, to what extent can all this be influenced, or do you have to go with the flow, you have to accept going with the flow, just, this is what we are stewing in now, this is what this time is like , we live, of course, during a storm, a global historical storm, i don’t see anything terrible in this and nothing tragic, i believe that... around me,

not only do not be afraid, but understand what it is . therefore, i personally always urge those who are an inevitable historical process. that it has its own tragedy and its own beauty, that it has meaning, that it has meaningfulness, that it opens up new horizons, and that this is a great cleansing that benefits our country, and i think, ultimately, everything world, but it again depends on us, so that we are uh... firm, strong and confident in our country in our position and our strength, then we will be able to transform

the world around us, and for those who are somehow afraid , uh, of these changes, calm down, calm down, uh, listen and decide. that’s all, it seems to me that this is the only recipe, i could be wrong, but there is an impression from the outside that you are somehow very comfortable in this, at this particular time, well, that is, you somehow feel like a fish in water you somehow feel in it, i feel comfortable, because in fact i will tell you why i feel comfortable, because i it seems that this is an honest time, so i can talk honestly within this time. and say what i think, and i, too, to a very significant extent, freed myself from the need, you see, it’s a

cultural environment, it’s so very specific, let’s say, this cancel culture, the culture of bullying for some non-standard opinion, it put a lot of pressure, yes i feel comfortable. because i say what i think, because i feel free, because i feel that what is happening is right and leads to some very correct changes, and i believe that this is some kind of cleansing, big cleansing crisis of civilization and some cleansing processes are taking place, and i like that i live in a country that, it seems to me, has great prospects. which becomes a leader in speaking the truth, we live in a period of fantastic, historical changes, but this is very cool,

this is very interesting, we do not live in a swamp of some kind of stagnation, yes, we live in an incredibly interesting time, yes, a lot of drama happens at this time, but this cool time. and we, contemporaries of this time, contemporaries of incredible, very important changes, we are witnesses of this, and we can be participants in this, there is no need to be afraid, we must move from witnesses to participants in these changes, this is really so, go ahead, witnesses, participants. everything will be fine, dear friends, our guest is an actor, director, publicist, konstantin bogomolov, and a writer, it was wildly interesting with you, so holistic.

i just met you for the first time, i’m very pleased, thank you very much, thank you, thank you, dear friends, you can watch all episodes of the creative industry lab podcast on the website of the first channel 1tv.ru. hello, the theater podcast is live and i, its host anton getman. today our guest is the incredible prima ballerina of the bolshoi theater svetlana zakharova. hello, light. hello. tell me, please, was it your choice to choose the fate of the ballerina, or did your mother participate? well, probably in childhood, at the age of ten, when you need to go learn this profession. at

that moment, of course, i had no idea in general, what is it, that is, i saw on tv how ballerinas dance, what ballet is, in principle, i had an idea, because i myself studied in different circles, and went to dances, went to gymnastics, then well, my life as a child, it was so very rich in different circles, different areas of study, and but exactly what is professional ballet? of course, i only realized when i crossed the threshold into a professional choreographic school, and it was entirely the idea and dream of my mother, galina danilovna zakharova, who at one time, when she was little, she dreamed of becoming a ballerina, but her parents did not take her because she was the only child, in the city where she grew up there was no vocational school, but still her life ended up was associated with dance, she graduated from a cultural education school, she danced,

danced in groups in... ensembles, in the drama theater there was also a group that had ballet, let’s say, she performed there, that is, she was very creative, when my moment came, let's say, i grew up, and i had to make a choice, not even for me, but for my mother, whether to send me to a vocational school or not, there was no vocational school in our city, i was born in the city of lutsk, we had to go to kiev, where at... time in ukraine there was the only choreographic school, professional, and it so happened that my mother was a little confused, she remembered her wonderful teacher, who in the past was a ballerina from leningrad, so she took me to her so that she could just look at my data physical, so she stripped me, asked me to stretch me out, that is, she looked at my figure,

then she asked me to stretch me out...

to change tickets, because to be honest, my mother thought that immediately after the first round i would cure her, which means her soul would calm down, that she did it, and we will go home, yes, we had nowhere to spend the night, and that means we had difficulty with the tickets, my mother changed them the next day, and then i did it again, that is, every day my mother went, changed these tickets, we spent the night then at the school in the basement of the duty officer, she gave us shelter because that at that time there was a hotel there, you know how difficult it was to rent, after all. it was still soviet times, then we spent the night at the same house on duty, just like that, and i remember how at night i was preparing for the next round, in the corridors of the choreographic school, i danced this number to my mother, which i had to show to the commission, then there is, if so very briefly, this is the story of my admission, the most interesting thing is that when i entered the school in kievskoe, i then lived, of course, in a boarding school, and my mother lamented that it was necessary well, we have relatives in moscow,

we have relatives in st. petersburg, someone went to visit relatives on saturday, sunday, i was left alone almost in the room, and because of this my mother was very worried, at first she came almost every week came to me by train and spent 2 days with me, then went back to work at night, well, in general it was so difficult, i cried, my mother cried, it was very hard, but when such a certain moment came, let’s say, when they began to notice that something... it turns out, it became interesting, so childish excitement appeared, so the choreographic school sent me to st. petersburg for the vaganovo prix competition, and there i received second place, so i received second place and another boy from belarus, whose name is igor

kolp, and here we are, the only one who let's say, he got onto these pedestals, because he took third place, i took second place, all the other places in solo or pair performance... naturally the graduates and students of the vaughan school went to, tell me, this is the atmosphere of a boarding school, this what, is this the atmosphere of a pioneer camp or is it the atmosphere of a kindergarten? this is a dormitory, in general, you can say so, a boarding school, it was just officially called that, a boarding school for a choreographic school, there is one dining room for everyone, large rooms, later. for some time they were separated and we stayed there, at first we lived with seven people in a room, then we made renovations, i remember, and i lived with my classmate alone, and it was just happiness, there was one phone for the whole boarding school,

that is, you know, sometimes i can get through to my mother and there are parents of other children, in a boarding school, well, no i know about 100 children, probably living there, give or take, but at that time there was no cellular communication or internet. nothing, and this is the only phone, it’s the one on duty, but she just managed to pick it up, one child spoke, then the phone rang again, they called, there was also such a notification on all floors that svetlana zakharova was there, go to the phone, and you’re from the third floor through three steps, you fly head over heels, because you understand that international, long-distance communication is very expensive, and you run to quickly, the main thing is that the call does not fail, in general, yes, of course, well - there is, in general, something to remember, because the conditions were harsh, in fact, there is a children’s group around, and they are quite like that, not only that, that in the class there are quite harsh relations between children, completely unfriendly,

yet competition is already felt absolutely immediately in the kindergarten, and especially if you are a boarding school student and there is no one to stand up for you, your parents live in another city, you cannot even take it at any time. .. phone them call to complain, or you have to run to the post office, long-distance phone, order a call, or wait, sometimes my mother couldn’t even get through to me, so i say, because the duty officer received so many calls so that the children could communicate, in general, all this very now, i had already forgotten about this, of course, thank you for reminding me, this is such a school of survival, probably in life, well , in general, for a child’s psyche this is quite a serious test, if i...

then i already began to understand a little that because of why is this happening, maybe the teacher paid more attention to me because he saw potential in me, there was nothing to eat there either, because it was a huge canteen that served, in addition to the choreography school, a music school and an art school, that is, there was absolutely no talk about calories there at all, and in general about how to feed a child. who studies ballet, that is , 300 people came there, a huge line had to be stood in order to take this tasteless, what they offer there, yes, like this, so vital, you say, this connection, ballerino-teacher, this is

where this special relationship arises, when there is a teacher whom you trust, who works with you, this special relationship with the teacher, they arise back in school, exactly.

i say that what she taught me, i still use in principle in our head, in general, i honestly always have professional life, how to hold your back correctly, what your hands should be like, well, that is , these are the moments . yes, yes, well, you know, i’m structured in such a way that some difficulties, they come to me very quickly, you know, somehow are forgotten, and i don’t think about what happened yesterday, i think about how to live today and how, well, let’s say, organize tomorrow, so now i remembered it, even somewhere with a smile, with irony, maybe be. what i had to overcome, that’s it, but

it really educates, it builds character, and you know, there is such an expression as ballerina character, yes, tell me what it is, yes, ballerina character, it’s hard for me to tell you what it is, but apparently i have it, that's for sure, prima, all the beauties peace, from my heart i... "if you leave, i will stay, may i never

stop waiting for you, the russians are coming, the ceremony of presenting the people's award is a golden gramophone, the premiere is tomorrow at the first, the marks on the neck are not from a rope, a cord and such a thin leather "it's a tourniquet, it doesn't look like it was a random murder." i don’t understand that there can be this crazy person in my head, so, colonel shillov, we owe everything, you know, even if we have the devil with horns in front of us, someday all this will end, but we ’ll make a joint card, i’ll send it to vanya, now i organize according to military laws time, new episodes from may 1st on the first. the theater podcast and i, its host

anton getman, are on air, we continue the conversation with the prima ballerina of the bolshoi theater svetlana zakharova. light, you moved to st. petersburg, new teachers, new classmates, or probably already classmates, it’s correct to say, new requirements, something fundamentally changed when i came to st. petersburg to study, and they took me, it happened after . competition immediately graduating class, although i had to study not for one year, but for two, that is, i jumped over, well, here i am i read that this is a unique case, until today in the history of the vaganova school there had been no such thing, that it had not happened, usually on the contrary they take lower, but they took me straight into the graduating class, i was not ready for this either, this is also a separate story in my life life, that is, you turned out to be the youngest, i turned out to be the youngest, the children were all a year older than me, they were already like that, well , imagine, anyway, the child is already psychologically ready. well, yes, even if i was technically ready to go dance in the theater

at that moment, but psychologically i was not ready, did someone explain to you why this happened? yes, they explained it to me, then at that moment there was rector nadirov, he said that the council decided that you need to graduate quickly and go to work in the theater, that is , at the maryainsky theater, naturally, which i never even dreamed of, so of course. for me it was a big shock, firstly, i was psychologically not ready to finish one year of study and go into adulthood, not even to the theater, but into adulthood, here are the relationships with classmates,

so we were very friends, that’s amazing, for it was a revelation for me that i had arrived, a stranger, one might say, a stranger, and i was so welcomed in the class, they worked with me a lot, studied, the girls and i went, walked, there were shops, museums, a theater, it was such a quest, let's just say, drive like a hare from zocha voroshi, come take the tram, get to the theater without paying money, and that's how everyone stood. well, it was such an adrenaline rush, such a way to cook something, eat, we also somehow all did it in a group, and somehow we still maintain warm relations, now many of them have already finished dancing, probably almost all of them, some have already become teachers at the aganov academy, some

continue to dance a little, some are already teaching in theaters, that is, we continue, when we meet, we continue to be very warm communicate, dear people, tell me. well, you finished and you ended up in the marinka, you immediately came to the soloist position, you bypassed the carde ballet, i passed the carde ballet, i haven’t danced for a single day, i don’t like that word when they say stood in the carde ballet , they don’t stand in the carde ballet, there fortunately they dance a lot, i didn’t dance for a single day in the carde ballet, they immediately started giving me solo parts, at first there were very small twos and fours, at first i danced big swans. everyone knows the dance of the little swans, in this one, yes, yes, in marinka it’s a four, there’s a different edition, yes, that’s it, i danced the big swans, and your first solo part, the first solo part, i remember, it was maria in the bahcesarai fountain , but this already happened somewhere literally,

maybe six months later, because my work in the theater, because somewhere in april or may, i don’t remember now, remember? it was spring, i had already danced giselle, this was also such a unique case, i was only 17 years old when i came to the marinsky theater, and at the age of 17 i had already danced such a difficult role, if we talk about the bagchesarai fountain , there are two main characters, maria, who danced, once staged this ballet for galitsa sergeevna milanova, and i and also zarema, and everyone remembers maya mikhailovna plesetskaya in this parts, well, in general, this performance is still on at the marinsky theater. which i also performed there, and i danced, that is, i understood that ballet is divided into two heroines, when i danced giselle for the first time, then i truly felt like a ballerina, the next stage was the bolshoi theater, 2003 , yes, again a change of school, again

a change of city, again a change of team, again a change of teacher, but still you are already an accomplished ballerina, after all, with... one person, that is, this is the teacher who made me a ballerina, that’s all parties ballerinas, she passed everything on to me, she was a student of vaganova, that is, she told me so much, she showed me everything so well, we were just always with her on tour.