it seemed to us that it looked like a musical note, which seemed to sit on the ruler of the staff. and now, attention, the correct answer. at the beginning of the minute of discussion, andrey, you said, in my opinion, treble clef. and then darya lyubinskaya added a note: a magpie on the gate. the art critic compared it to a note on a stave 5:55 mr. batashov you just shone in the general plan i saw you just just shone the note i was very happy about the eleventh round. mr. belozerov, you won’t

believe it, but right before the game, right 10 minutes before the start, i complained to our director that we weren’t playing 6:5 at all, that it was 6:4 all the time, just like alena povasheva played the first game 6:5, we never reached the score 5:5, here it is, boris belozerov, as ordered, please score 5:5 dedovichi and natalya antonova is playing against you, dedovichi village, pskov region, attention, little tricks, look carefully at what is in front of you, what is it, some cosmetic accessories, sir presenter, will you sort out cosmetically what you have and what else you have?

explain, well, let’s say, as far as i’m talking about this story, it’s applied to the hair, to the hairstyle, so that they don’t spend a lot of time under water, so that the hair doesn’t get stuck or spoiled, and accordingly they also apply powder makeup to themselves there, don’t show it to yourself, yes, here, in my opinion, vaseline is covered on top, so that when they are again in the water, this makeup does not wash off, because water repels and 120 seconds, 119. you

spent on the discussion, and your yanets version was in the first second, in to my, well , about the fifth, pay attention to the screen, to such tricks. the score becomes 6:5 in favor of the experts, boris belozerov's team wins over the tv viewers and will now play in the final game of the autumn series, here are the names of the winners, by the way, everyone showed up today, andrei ostrovsky, kim galachan, janis cteruk,

brought the decisive sixth point, nikita the old lady, garya lyupinskaya, was good as always, and the captain was boris belozerov, congratulations to you, boris. dear tv viewers,

watch the final game of the summer series on channel one next sunday, june 16, immediately after the program time, i remind you that the team will play. 2024 is the year of the family, but it is also the year of pushkin, he is a famous person who wrote many poems,

he had a nanny, the beginning of childhood, when we began to somehow become a little aware, to join the culture, every... russian person knows remembers the words from childhood, i loved you silently, hopelessly, now with timidity, now with jealousy, now with mime, i loved you so sincerely, so tenderly, when i love you god to be different. pushkin is the founder of the language in which we're talking today. pushkin’s journey teaches morality, and probably teaches one to love one’s homeland, to love one’s nature. read pushkin, friends. hello, this is a theater podcast, and i am its host anton getman, in the year of the 225th anniversary of

the birth of the great russian poet alexander sergeevich pushkin, who to this day remains a key symbol of russian culture abroad. we again thought about what is the secret of its popularity, how do individuals and institutions become brands that define the image of an entire country abroad, is it possible promotion of new names, including theatrical ones, in the current international context. we’ll talk about this and more with the special representative of the president of the russian federation for international cultural cooperation, mikhail efemovich shvidkin. hello, alexander sergeevich pushkin is one of the main cultural brands of our country, he is known, understood, and it is quite easy to enter the international market with him. tell me, please, on a par with tolstoy, dostoevsky, chekhov,

russian ballet, in what connection did pushkin become such a brand of russian culture abroad? well, i. i’ll say the most important thing, he became world-famous largely thanks to tchaikovsky and glinka, although glinka, unlike tchaikovsky, is less popular in the west, although it must be said that, say, in berlin there is a street of mikhail ivanovich glinka, he lived in germany, died in germany, in this sense i think pushkin. the world learned through musical works, no matter how strange it may seem, the fact is that

pushkin, who is the founder of new russian literature, is very national, well here we can say this, alexander nikolaevich ostrovsky, the genius of russian drama, is less recognized in the world, or rather, less known, less popular. it is translated, it is studied, it is published, it is published a lot, but i think that its significance for russia... is many times more important than its significance for the world reader, in many respects, perhaps,

because it is difficult to translate, it is still difficult to translate , although it is absolutely clear that there is not a single educational institution where russian culture and russian literature are studied at all, where studied pushkin, but it seems to me that he is, first of all, a deeply national writer, this does not mean that... dostoevsky is not national or tolstoy is not national, but they live in a different time, this time is still the second half of the 19th century, they are such a brilliant guide in the world, this is ivan sergeevich turgenev, and so on and so forth, there are many reasons, i won’t explain now, that’s why mahatma gandhi comes to tolstoy, that’s why they say about tolstoy that if he were alive, he wouldn’t it would have been the first world war. therefore chekhov and shakespeare - the two most popular and frequently performed

playwrights in the world, so tchaikovsky and mozart are the two most frequently performed composers, and pushkin stands apart, he is probably more important for us than for anyone else, despite the fact that i repeat, the idea evgeny anegin evgeny onegin himself is an expression of what he wrote about. let's say, byron, which many world authors of this time wrote about, but i think that for us pushkin is more important than for everyone else, i repeat once again, this does not at all diminish his global significance, if you refer to nabokov’s lectures on russian literature, then everything seems to be rewarded there, another question is also the quality of translations, because it is difficult to translate, oddly enough.

emotional, passionate by nature and so on, while some kind of great renaissance harmony lived in him, if you like, a person who possessed. an amazing understanding of the universe, immersion in the russian, in the national, this is a separate topic, sometimes we don’t fully understand what our interlocutor understands when you speak to him in russian, which he even knows very well it’s good that the russian language doesn’t understand that when we talk about translation there, well, there are

people there who write english as a native speaker, but still. translation is a cultural code, translation is always the ability to betray the original, you know, as they said in the old days, translation is like a woman, if it’s beautiful, then it’s wrong, you see, and if it’s true, it’s not always beautiful, so we there we read, say, faust in parsnip’s translation, realizing that there are some discrepancies with what... goethe wrote, it’s still a translation into language the native language requires a special, special touch, and i repeat, but at the same time, naturally, you need to know the language from which you are translating, this is important, this is important, well, important, because there, well, there were great translators dickens, russians, yes, i

found one of them, it was pomerantzova, when every word was discussed, when...

its recognition to foreign-language readers, in general , the russian school of translation, the russian school of translation, these were people of the highest cultural level, one of my strongest childhood impressions, i was probably 9 years old , korean folk tales in translation by anna akhmatova, a group that was part of the section of translators in foreign literature, the union of writers of the ussr, these were.

then this list will consist of the bolshoi theatre, the marinsky theatre, tretovka, the hermitage, the pushkin museum and a number of outstanding russian artists and...

musicians who spoke the same language, of course, came, and brilliant performers came, bernstein came, the yurzhe of normandy came , came, there was a chicago orchestra, balyanchin came, also from... russian roots, by the way, well, look, when we say big theater, this is the grigorovich ballet, for example, the sixties, in the late sixties, which were very modern then, which

were reviewed by many, there is also swan lake, let’s say, i don’t even say, spartak, which toured, this there was contemporary art, in this sense, there was, say, mkhat, who went to london in the early sixties, yes, that was in my opinion, well, not the beginning there, the mid -sixties, he lost. because he was carrying classics, which were very completed, by the way, after these tours , conversations began that they should, they should call efremov then, yes, but nevertheless they really know those large groups that were promoted by the then state concert, again, the names were brilliant, stropovich, vishnevskaya, me i’m not saying atlantov there, cuties.

well, for example, now it’s successfully disturbing, there is conservatism of the public, uh-huh, there was a tour of the art theater in japan, but mkhat, an understandable abbreviation, gergiev is an understandable name, they loved temerkanov. it's quite difficult to break through, because well there is a certain conservatism, we know a set of names that we want to watch, listen to, and so on, especially since, as you

understand. today it is clear that the russian avant-garde is connected, among other things, not only with advertising, signs there and so on, it is also connected with icon painting, always today continuity is expressed more sharply sometimes than

at... in each concert there are one or two new works , my advice, the fact is that this is a matter of state policy, but if we speak quite so straightforwardly, yes, in soviet times not a single concert was possible without it not containing one or even two new works, when the state orchestra or the orchestra of the leningrad

philharmonic went abroad, they were told: otherwise we will not let you out, well, on the one hand, yes, but on the other hand there must be readiness host party, yes, because if we talk about international cultural cooperation now, let’s say with china, don’t you think that in order to build this system of cooperation we, in a sense, need to start over from the beginning...

i looked at the prices there at the beijing opera yes

not. not not not in the genre of peking opera, in the building of the peking opera, this is normal european, once european prices, the fact is that again - today we need to look for some right approaches, but you understand, today there is no market in any from the new states, not in any of the new states, not in any country that was formed after the collapse of the soviet union, there is no, no, there is no opportunity to come and tour. for money for a long time there, it won’t work, you need sponsors and you need the state, but if you still start, here’s how i wish i could start from the beginning, but pushkin, gogol, glinka,

whose anniversary is also this year, start right from the stove, go exactly the same way that we took with europe and america many, many years ago. i repeat once again, china is huge, china is one and a half billion people, china is building the infrastructure that it wants to fill, this requires very careful and painstaking work, they do not need to be accustomed to russian art, i was recently in guangzhou,

met with representatives of the opera theater in guangzhou, yes, they stage, excuse me, quiet don, an opera performance, you understand, yes, they stage it naturally, tchaikovsky is there , for them... there seems to be no problem with the russian repertoire, but there is a serious problem of how to organize our tours, right? well , i understand correctly, mikhailovich, that you agree that after all, the market, well, in particular in china, yes, participation in the formation of the market, agents, promoters, management, is taken quite seriously, has influence in this market, regardless of the will of one or another. the country's leadership, well, don't do that in china, i think the country’s leadership has quite seriously explained to everyone what the framework exists within which they need to work, but nevertheless, the market is the market, they themselves

are ready to do this at their own peril and risk, and it seems to me that today, especially since they are going on now 2 years of serious cultural exchanges with china, then of course one of the tasks, there are few platforms for museum exchanges, private museums of contemporary art are just emerging there, which is a lot in china, by the way, in china there are many private museums

of contemporary art, but there it is only is emerging, there is a problem with venues for ballet performances, despite the fact that indians seem to love russian ballet, but in reality... russian seasons work in senegal, there is the maghreb, where russian culture has always been treated with great respect, there is ethiopia, and so on further, well, different countries, they require different approaches, this is a rather complex

story, so the world is big, as they say, a certain very serious flexibility is needed here, despite the fact that you understand, there are also tasks such as promoting the russian language, and well so on and so on and so on, educational. founder and artistic director of the moscow musical theater, in addition to the fact that you license some works, in a smaller number of them from what you have on the poster, you create your own musical, you create a russian musical, tell me, this is what it seems to you, given current moment... yes, you feel

that it is already a russian musical, a russian-language musical, born in russia, it has been in your theater for those 12 or already 13 years, it seems to be developing and it has become, as it were, part of the theatrical landscape, we should not play western musicals one by one for a simple reason, it is no coincidence that in the last 10, 15, 20 years, operas began to be sung in their native language. our 12 chairs were inserted by two captains, here is

the tragic story that we know on dubrovka, these were russian musicals, of course, but there was no musical theater that works like a stajon opera, we play there 20-25 times, pause, stage another the name is there and so on, i think that’s correct, well, you created a system, we created such a story, because it’s licensed. and then remade it radically with permission

copyright holder then, it was kalman’s daughter, ivanka, an absolutely wonderful woman, we then did it with the canadian theater, with the canadian circus, we did it all together, rewrote everything, but the main thing is that the action of the original takes place in the stanislavsky circus, in general in st. petersburg, for us, this all happens in france and the intrigue is written in a completely different way, but this is the only name that is from...

not connected with commercial art, we do well with high art, like it or not, they come to moscow to go to the bolshoi theater, people come to moscow to go to the tretyakov gallery, to the new opera, to the stanislavskyovich danchenko theater, to the pushkin museum, to the kremlin, of course, to the circus, there is no such need, we are going to moscow to go to the moscow musical theater, maybe someday. this will happen, when this happens, i hope, when we build

a building for the theater mitazh, they will say, well, we’re going there, this is bound to start a new opera, then that means to the moscow musical theater, but if we talk so seriously economically, look , to new york, where broadway is such a theatrical heart, despite the fact that there is a broadway broadway broadway theatrical heart, yes in new york, well, before covid. and people coming from iowa or from milwaukee to new york know that they have to go to broadway, a minority know that they have to go to the metro, there to the museum in the metro to the opera, but everyone knows that they have to go to brody and see what some fashionable musical, but

here they know that they need to go to the big theater, and this logic is just a little different, although i can’t complain, you know, here... we’re in may, we discussed this with maxim nikolin, we shared first and second place, i think they were second in may in terms of attendance, we were the best in moscow, which is absolutely incredible, but we showed the circus princess, they always go to the circus princess, so , but that’s not what i ’m saying, i’m just saying that, in principle, it’s a russian musical, we’ll repeat once again, russia is a country in this sense capable of choosing any genres, now i’ll tell you something else, yes, and will you ever- have you heard lately that someone has written a new operetta, no, no, everyone is writing, everyone is already writing musicals, this is also very unique, i haven’t even heard that an opera has been written, yes, no, well , they still write an opera, yes, from time to time, but

no one has written a new operetta , despite the fact that go, tell me, moscow cherry, which was staged so well on the chamber stage, on the chamber stage, and in the big theater, is it? what is this apereta, you say, well, shostakovich wrote apiret, yes, on the title it says apereta, apereta, yes, well, how does it differ from the structure of a musical, that’s another question, agreement, let's just say, mikhail afrikovich, thank you very much for this conversation for coming, thank you very much, thank you, vich, i am very grateful to you for this meeting, our guest was the special representative of the president of the russian federation. for international cultural cooperation, artistic director of the moscow musical theater mikhail efimovich shvitkoy. you can watch all episodes of the theater podcast on the website of the first channel 1tv.ru. love will pass, desires will die, cold light will separate us. who will remember

secret dates, dreams, delights of previous years, let me leave memories on the sheets. follow your lungs. to the poet's anniversary. hello, this is the popular science podcast schrödinger's cat, and i am its host , grigory tarasevich, editor-in-chief of the magazine. also called schedinger's cat, and today we are talking about pushkin, our guests today are two doctors of philological sciences, maria valeryevna ivanova, dean of the scientific faculty of the gorky literary institute and alexander viktorovich markov, professor of the russian state university, also a doctor of philological sciences, with me

a simple everyday question, is it comfortable for you to sit, comfortable, yes, quite, thank you, this chair is comfortable and so on, but this question was, of course. sincere concern for your comfort, but also by talking about pushkin and his language, because, if i understand correctly, the word comfort at the beginning of the 19th century, few would have understood, i understand correctly that this word was then foreign, rare and somehow incomprehensible, yes, because, of course, in french there is a word confort, but it is very rare in comparison with other french words for convenience, lightness, so the word comfort was clearly perceived. like english, like anglicism, not belonging to the french language, only english, however, improvements have occurred, at least on the big roads, a pipe in every hut, glass has replaced a stretched bubble, generally more frequency, the convenience of what the english call comfort, this is pushkin,

traveling from moscow to st. petersburg, when i re-read this work, it seemed absolutely amazing to me how similar the language is to the one we...