can you imagine, at the concert i just took an acoustic player right on stage with us, this was a difficult time, well , i just had to make a choice, tolik had to make a choice, he too was cramped within these frameworks, seryozha voronov, and here we are in our little village here, which olga later sold for me to finish.

whose different candles were lit, the lights were turned off and for hours, hours, every day, we saw each other every day, played some jams, that’s how this group was born, let’s talk about what’s happening now, tell us about your project with yuri, this is not a project, this is not even a project at all, this is not even a project at all, fortunately we met, became friends and played together. and i want to play together, now we’ll definitely record another song, i never think about this topic at all, you know, bossman is a tramp too, because sasha, klyar and i didn’t think about it at all, that ’s what oh, we’ll release it there records, we will play concerts there, no, we just played what we love and we like to play together and... we really like it and all our and

the girls and boys of our orchestra just like to play together, that’s all, and there are some plans, but i ’ve never made them in my life, now it’s too late to make them, let’s listen to your song together: i hear thunderstorms thundering , come on, i hear thunderstorms thundering, bronzed everything that exists. the wind, everything that had previously bloomed and was evil, was swept away, the soul was filled with pain and grief, the flowers were trampled , the fire was melted, the grass was swept away, and the flowers were filled with pain and grief, the flowers were trampled. melted the snow, and

i look into this darkness, where i am still engulfed in heat and screams, but i will not close my eyes as a forerunner of it, in its depths, i know what is so destined for me, and i only ask one thing, let me resist, i am in it... on deep, i know what is so destined for me, and i only ask one thing, let me resist, and help me resist, the gusts of the sky, help me like a candle, not to go out into your dreams, and if i fall,

endless forests without extreme wills, and i again the flock, in this storm, drove to the abyss, playing like in a thunderstorm, over my russia, and i get up again, in this storm they played over a simple game.

i hear thunderstorms creaming and threatening all the oozing milk, our granddaughter’s whole wind, everything that bloomed before words, blossomed,

filled the soul of the field and grief, trampled the flowers, melted from the sky, crushed from the nakedness, soul over... igor ivanovich, no only a composer, singer, film director, but also a theater director, well, yes, there is such a thing, in the theater, how many productions are there today, well, there are only three of them, eh? this was a long time ago, when oleg nikolaevich efremov was still alive, and therefore the anarchy that was going on at the sovremennik theater, and now i’m in

he staged a play for a contemporary called sasha shishin, based on the novel kill babrikin by sasha nikolaenko, can you say a few words about this play? he told me quite a lot when anarchy was already underway... who knows, he sent plays better than i did, much better , i was looking for something myself, it didn’t warm me up at all, and in 2016 a novel came out - sasha nikolaenko, kill bobrykin, i must say that sasha nikolaenko is actually my close friend, i’ve known her since

she was eighteen, she’s generally artist, at such a young age started writing... stories and one day, when she was 18 years old, she gave me her stories to read, i read them, i was completely fascinated, i said: don’t stop, you will be a great writer, that’s for sure, i absolutely see it, that’s it. and goes out to kill bobrikin, she gave it to me, having not yet received a russian booker for it, i read it - it is the most complex novel, written in blank verse in the first person, the most complex, simply extraordinarily complex novel, and i said to myself, that’s all, i went to galina borisovno, first with this the book that sasha gave me, i say, i

found galina borisovna, this is what i will give to her, she read this novel, then a day and two later i came to her again, so ... she says: you are it, how are you going to do this anyway? i say, i have no idea at all, so i have no idea, that is , her reaction was ironic, no, no, she says, i don’t understand how to stage this, this is a very complex work, how to stage it in the theater, how how can you imagine it, i told her honestly, i don’t know, here she is she says, why are you going to do this there, i say, i’ll just do this, i don’t know how to do it, it’s hard, either i’m here or here or... throw myself out of the window, so she says, well come on, i believe in you, here are soli and pogodina, this is from st. petersburg, she is from st. petersburg, olya pogodina, an excellent playwright, i knew her at that time, read her plays, i love her plays very much, i called olya and said:

“ ol, please read the novel, let ’s write a play, and we wrote it, here’s the first version, then the second, well, galin boris died. the pandemic began, then they just called me from the theater, i came back, the theater offered me, would you like to come back from the wall, i said, yes, i will come back, i have some debts to galina borisovna, that’s it that’s how it happened, igor ivanovich, a legend and hero of many of his staircase, it’s already not bad, it’s already normal, the hero of many bikes, i just want to check whether this is true or not, i told me, in my opinion, seryoga galanin told me exactly that that we are friends and i even shot a video for him at one time, so here’s 16 tone. verandah, igor ivanovich is having his meal,

here come the guys from the security agency, whom we all know, in general, they always guard all sorts of foreign stars who come, the guys from them stand around the perimeter, in the four corners, the person they are guarding comes in, this is a boxer evander hollifield, no, it was this same englishman, this lady, guy. with dreadlocks, yes, world champion, yes, well, yes, yes, it happened, yes, they recognized me, yes, yes, yes, they recognized me, i know these guys, great, i say, great, and he’s like that he’s sitting inside them, crouched down like that, and so tense, i say, guys, you tell him that i won’t offend him, let him relax, yes, it happened, he relaxed, but they came up, you said. well, somehow we shook hands, let's listen to the song, your next one, my life flows and

rolls, come on, this song was written by alexey medvedev, he is from the city of murom, he wrote this song when he was 26 years old, we are all a little the same age , a young guy, and when i first heard it, it made a colossal impression, and we immediately became play, and for the first time we just signed her up as the bossman of the tramp with sanya sklyara. part two, i said to sanka: listen, i ’ll play you a song now, here’s lyosha medvedev, he didn’t know him at all, so i say, let me play it for you right now on the internet, i love this song so much, i want it so much for many years to play at all, but to play it in his own way, and he says, come on gorinovich, come on, i played it for him, he says, why are you such a fool, let's go, let's go rehearse it now, we'll record it, so we recorded it. podcast 20 years later its host alexander anatolyovich and konstantin aleksandrovich mikhailov

, igor ivanovich sukachev and yuri aleksandrovich cherbakov were our guests and let's listen to the song “my life flows and rolls.” everything happens in pairs, and you don’t want to live, sometimes you don’t want to. there is no mana for souls, but my life

flows, flows and rolls, flows and rolls, the wheel flows like a stream, and my life flows, those little houses flow, flow.

it doesn’t give doesn’t doesn’t give you doesn’t hide flies

people on the flame of a candle mota. and my life flows, flows and rolls, flows and rolls, i turn the wheel, and my life flows, flows, technical equipment, a stream flows and rolls,

everything happens, sometimes you don’t want to, sometimes you don’t want to, there’s not much in my soul, but my life flows, flows, flows, flows, wheels flow, stream, ah wheel, and my life flows, flows, flows , i wheel, and the wheel, but my life.

and it flows and rolls, flows and rolls, like a stream and cinnamon, and my life flows, it flows and katititsa, it flows and katititsa, like a stream and wheels.

dear friends, on the air of the creative industry podcast with you, as always, elena kiper, producer, music video director and roman karmanov, ceo of the presidential fund cultural initiatives. our guest today is a director, yes, a person from whom such energy immediately came, director konstantin bogomolov, artistic director of the theater on malaya bronnaya, hello, hello, i think that whoever turned on the air just now is a storm of emotions, i think they are experiencing, and bogomolov, or bogomolov, or god, bogomolov, well, in general

, different emotions, how do you manage to evoke such emotions in people. i just work a lot, a lot, in order to call up some special ones , i work a lot, that’s it, well, i’m not, i’m not concerned emotions, i’m just doing my job, i’m doing it as i see fit, and maybe it’s good that the work i’m doing evokes different emotions, very different and joyful, and sometimes some negative and controversial ones, in any case in this case, i always say that the best effect of a performance is when a person continues to think about it, think and think about it after watching it, the performance. cool, cool, not when it immediately at the moment of its implementation causes happiness in the auditorium, although it is also wonderful, but the coolest reaction

is when a person cannot forget about the performance, when he turns it over in his head all the time, when he returns to it, well, i met somewhere that you don’t be offended, even if in general a person left, no, i’m not offended, but that’s normal, listen, that’s normal, people shouldn’t... accept absolutely everything and agree with everything, i ’m doing an art in which it’s very important to stay, as if to balance between the desire to please, because neither theater nor cinema, directing, acting, they are impossible without the desire to be liked by the public and the need to preserve yourself, because if you fall into the desire only to be liked, then it is cheap, if you fall into... the desire to preserve yourself in all circumstances in some special way you are marginalized, you are left with some very narrow circle of viewers,

that’s why it’s a very fine line, at what point did you find this balance, it wasn’t always with you, not always, and there was a moment of some kind of slow groping interaction with the audience, when you begin to understand what the person behind the walls of the theater breathes, aka, what he is looking for, what he wants to talk about, and how he wants to talk about it, and you professionally, as if like a child, who slowly, with his parents, with the world around him, feels for this way of conversation, masters the language, tries to make himself understood, tries to understand the world around him, tries to establish contact with him, like this... activities, leaving the institute, slowly, slowly , slowly, building up your professional capabilities, your skills, you

simultaneously carry out this communication with the outside world and gradually you, too, in your professional life master the language, gradually, well , it seems to me, ideally you reach the level when you understand that people, oh what people think, even when they don’t yet... say something, you understand and feel ahead of time, but how do you feel them, what are the signs, this is some kind of intuitive, this intuitive feeling, you begin to pronounce the text, and you you feel the response waves, and then you understand, for example, that people are sad today, but the performance is cheerful, you need to find this wave, as if some kind of unified tonality, and gradually shake them up. you know, there is such a physical paradox that a person alone can, in theory , theoretically, can destroy a bridge, yes, you just need to oscillate any bridge, you need to find, which means, enter into oscillations with it,

a person can gradually swing the bridge, this is impossible, because a person cannot catch such small vibrations, but theoretically it is possible, the same thing is here, it is possible to enter into the same key of vibration, which means into the same range of vibrations with the audience and slowly. then, only when you have found this unity with the audience, slowly shake it up and subordinate it to your tasks, make the audience suddenly cheerful, or the cheerful hall , on the contrary, sad, if the story is sad and requires thinking, and so on, and the same the same thing in directing, you basically try to feel, but what does it want today, not a specific hall, but society as a whole, how does it live, what does the viewer live in general? predict, you’re staging a play, you start rehearsing it sometimes six months before the premiere, sometimes you conceive it a year before the premiere, and you try to predict what the viewer will be like there in six months, in 3

months or in a year, this, well, this is probably still experience, and intuition, this year, uh, if i’m not mistaken, it will be 5 years since you took over, that is, in the nineteenth year it happened, but the theater is on armor, the theater is on small armor. yes, but can we say that the viewer has already formed, here is yours, over these 5 years, yes, i think, yes, uh, over these 5 years the repertoire has completely changed, a lot of new performances have been created, the troupe has changed, a lot of new young artists have come, every year i watch a lot of courses and take minsky to the troupe. young people, they come, they try themselves, and if everything is good, they stay in the theater, they linger, in fact, oleg pavlovich tobakov once acted the same way, when he looked,

he even... had such a trainee group, people, people , whom he hired, he first sent a group of interns, they sort of tested themselves, then they moved on to the staff theater, if they have proven themselves, we don’t have a hundred trainees, but still people have to prove themselves, young people have to prove themselves, at the same time there is an older generation, we immediately agreed with the troupe that the older generation is beyond suspicion, as they say, they they have earned their right to be in the theater, they... grew up in this theater, they have become great professionals in this theater, i have an excellent relationship with them, it seems to me that they work a lot, so we are now rehearsing the play romeo and juliet , and we will release, i think, in next season, and with the older generation as well, that’s why the repertoire has completely changed, and accordingly, probably,

of course,

i’ve already more or less decided on a range of values ​​a long time ago, you know, this is such a strategy, on the one hand, of course coincides with my worldview, i have developed some kind of balance over the years - the radicalism of traditionalism, and it is important for me to maintain this balance, look for a new language, but at the same time talk with people about

some... eternal values, i have developed , for example, the melancholy zone is a very interesting thing, you watch yourself about 20 years ago, i didn’t understand at all how you could stage chekhov’s plays, it seemed to me that it was so uninteresting, so boring, but what were they talking about, what was happening in these plays, years passed and i suddenly understood chekhov, felt it, felt it, it’s like it’s in my blood, i understand these experiences, i... understand this melancholy, and joy, sadness, and these interests, and these experiences, i understand all this, a person changes, this is normal, that 's why, probably, of course, it coincides partly, but it also seems to me that this is, in principle, the best audience for the theater, because you know, a theater that exists for the very young, so fashionable, young, advanced, well, what is time?

they will forget about this theater, yeah, they will be 27-30 years old, they will forget about this theater, they will change their values, i hope people will come to our theater at 27, at 30, they will come at 50 and 60, and so on, they will come all their lives, from the moment of christmas we see the greatest tragedy, one might even say it’s amazing loneliness, christ

already from birth, not ours... there is a place in this world. nazareth was an absolutely inconspicuous village, so the most likely reaction to the fact that jesus is a man from nazareth could not be, how come from... such a dubious place, but where is it? jerusalem is the capital, it is the city that was chosen by god's providence so that the salvation of man would take place there. it is there that you understand that this is not a legend, that he was there, that he walked there, he preached there, he sat in the garden of gethsemane, that’s absolutely certain. when people decided to get rid of god and get rid of him words, one might say, the greatest tragedy in the history of all mankind occurred, that is, people killed god. the way of christ. may 4 on the first, these are miracles, blessed matrons, i always carry an icon with me, here i have petals, with the matron’s petals many

are healed, we came precisely for this, so that she would help us in our personal lives, those who protected her looked after , they came up with the idea that she is from a very poor family, this is not true, whoever is in pain is standing about... holy matrona, come to me as if i were alive on may 5th at the first, mother nikolina anna ivanovna, i came to her, she patted me on the head and said: you

will never have a headache again, and having lived 96.5 years, she now i realized that i was a matron, the director is on the air of a creative industry podcast with us today. probably, this is some kind of active internal involvement of mine in what is 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 so tightly packed, the text is public, in he has such energy a challenge, a challenge quite definitely.

what, you want to never work for us again? do you want us not to work? who will it come from? but it will come from the conditional opinion leaders in this society. yeah, that is, as if from those people who in the networks, in society, yes, influence, form a certain agenda, yes, that is, join the cancel culture, this is the same cancel culture, because you do not comply. certain given, i do not break the law, i just freely say what i think, but if what i think does not correspond to certain given, then things, then you will subject to cancellation, and in order not to be

subject to cancellation, the producers themselves are afraid of this, they told me in advance, don’t, please, we beg you, don’t, absolutely don’t, and what were these topics, well, it was.

which is no longer europe, that

real, old, european environment, yes, powerful, with a huge culture, with huge complex traditions, stratification of society, with incredible breakthroughs in art, in intelligence, in science, no, it’s kind of slow some kind of degrading environment, and russia, in general, inherits, in fact, that same pre-war old europe, i wanted to say some things, just say them, well, because well, well, it’s impossible, well, it’s impossible to talk all the time as if in the language of performances only, i want to say about some things directly, openly, clearly , confidently, and i wanted to speak in a language, you know, not in a scientifically abstract language, but in such a cocky language, i wanted to do such a cocky thing. and i can tell you this

thing: i then released a manifesto and went to perm perm opera and ballet theater to work, to stage a play, the opera carmen, a manifesto just came out and practically flew back and forth, a huge number of people came up, i said, konstantin, thank you, it turned out that this manifesto spells out those things that existed energetically inside a huge number of people, moreover...

this performance consists of a series of performances of 12 one-man performances, the idea came up to give the floor to ordinary people who live their lives. who do their own thing every day in their cities, villages, in their factories, schools, hospitals, various educational institutions and so on and so on, and these people work honestly, desperately, with love, with joy, overcome

some difficulties, achieve something, and you know how in minohausen here... maybe not a sub-act, but there is something heroic in this, there is something heroic in this in these lives , so we took 12 directors and 12 playwrights, we carried out such a count, which means there were a lot publications in the regional press that send your stories, send applications, we will make performances about you, we have received a large number of applications from different regions. from 64 regions we received applications, people sent about themselves, yes, yes, it was very important that not, you know, not some plant director from above, we turned to him, give us some wonderful production worker from you, and he’s like, you’re vasily, let’s go there, there’s someone from moscow about you, they want to make a play about you

, they’ll write about you, yes, yes, they’ll write about you, and this vasily, that means he’s some kind of guy, well obliged, okay, such a social burden, no, this... photographers photographed these people, their lives, and their places of work, the director then takes an actor based on the written play, we have wonderful actors who will play these roles, monologues read, talk about these people, 12 such one-man performances

will be performed, will be performed, that means in the exhibition spaces. russia then, we are sure, these performances will continue their life. by the way, we already have requests from the regions for us to take these performances to regions, they will continue to live in the regions, in moscow, and in general, in principle, for me this is essentially the same, the development of the idea of ​​documentary theater, but at a completely new stage. i'll tell you that we have a documentary theater at some point in the country, it focused on...

because reality is complex and diverse, when you are drawn to darkness and blackness, and also an amazing, completely heroic guy, darkness and blackness it’s pulling, it means there’s something wrong in your soul, you know, uh, how children are formed, through mimisis, through imitation, and art is always a mimetic thing, an imitative thing,