which glorified the role of the mother, soldier ivan provkin, such a klutz, incompetent, for whom everything seems to fall out of hand until he goes into the army, in general the director admitted that he did not attach much importance to this role, only peltser’s performance made it possible to somehow fill it with some new colors, to turn the role into a noticeable one for this character, this heroine, in fact, after that she became relatively famous. in general, throughout the entire soviet union, but not even relatively, it really became famous, we can see what it looked like on the screen for the last time, try putting it in whatever job you want, if only the guy was aisle, he’s going to the garage, asking, asking, asking, he asked to be a fitter, asked, burned the wires, burned, a little he didn’t burn down the stable, not a single foreman wants to hire him, he’s a slacker, a slacker, an irresponsible person, so... what’s your son, i won’t send him anywhere,

that’s enough, i can’t, i can’t, i can’t, what about you i promised my husband when he went to the front not to worry about the family, but now my son is without a job leave it, i didn’t raise my hand to him, i’m wrapped in a whip, it’s me who’s raking, evdakeya, i’ll go against him already, i’ll go against him already, but hush , hush, hush, hush, the people are listening, well, well, drink some water, you drink it yourself, it will bring a person, and then water.

she makes a scandal, but makes a scandal with meaning, this energy, it was inherent in her in life, yes, she was very, rather, such an intelligent, intelligent, aristocratic, or something, yes, look in life, she was always fit, like a they remember her, she would do yoga, right up to extreme old age, but on the screen she is her own, she is simple, she is universal, and what is this at the heart of each, well, very many images?

peltser, this is reflective, well, as if already a director and actress, a heightened sense of justice, she seems to have this temperament, this certain scandalousness, it manifests itself in exactly this form, yes, that she defends some kind of justice, as she understands her, yes, with a fight, with a scandal, sometimes with demands, with swearing, in general in life she did not shy away from, as they say, strong expressions, but... nevertheless, in general , her character was also so difficult, because there are memories of how she got into trouble with directors and very often her career in one theater or another ended after a showdown with the main director, which, let’s say, didn’t give erol, so i won’t say very often, because after all, we have little data about the twenties and thirties, but in the satire theater, where she came in the late forties, she worked , by the way, for 30 years, and those were really stellar her years, another thing is that yes... to her

already under 50, and then already over 50, but there are wonderful roles for her, wonderful opportunities, peltser’s biography is a clear embodiment of the development of one of the lines. russian theatrical art, theatrical traditions, in particular, well, not a little forgotten, the so-called korshi theater, which, well, opposed itself , or, let’s say, its colleagues opposed this theater to stanislavsky, a little earlier, and later to the mirkhold theater, the line that he developed in soviet art, well, yes, that is, there is such a theater director's, which begins with amhat, yes, then stanislavsky's student meirhold goes even further along this line...

and then satire, this is it, yes, this theater of miniatures somehow helps her to open up, popular theater, they can stage classical plays, modern plays, but it’s always for the audience, these are wonderful directors, mark zakharov, yes, valentin plutchik, who is the main director there, but the main thing in this theater is the actors. you are at the dacha and we are at the dacha, anything can happen at the dacha, special edition of the program, live healthy, we will plant, sowing, treating pain and generally understanding the charms and problems of the countryside, tomorrow will be

the first one. donald tusk accuses russia-republic of belarus of spy scandals. this is a serious matter, it concerns the influence and activities of russian and belarusian people.

after the sad events in the capital, some of an impressionable nature will see in them almost heroes, not you, our goals are right, our methods are criminal, i dream of getting an answer, tomorrow morning in the senate nikolaich will declare himself emperor. history is being made in st. petersburg, here it dies, tomorrow everything will change, you, senator, you have wealth, service,

what do you need to change, let’s elect a dictator among us , we’ll enter into negotiations, what kind of negotiations, we just shot at them, tell trubetskoy if he doesn’t make up his mind, and we’ll go out ourselves. in france , aristocrats were hanged from lanterns, if it’s like in france, then everyone present here hangs, they won’t dare shoot at us, we didn’t shed a drop of their vile blood, we’re with a stick. which will ignite everything to burn out,

the union of salvation, the film premiere on russia day on the first. this is lisenstein's witness podcast. v in which today we are talking about the outstanding actress of the second and third plan, tatyana peltser. i wanted to remember a couple of roles, actually, peltser in the satire theater. there was a wonderful performance, why do we know about it, we can see it now, we can talk not only about a film career, but about a theater career, because starting from the wedding with predan, yes, from the beginning of the fifties, the best performances were then transferred to film no longer even like film plays, but like television plays, a wonderful performance, which was staged by mark zakharov and alexander shirvint, prosni siy, it was staged in the theater at the very end of the sixties, in the seventy-third it was filmed, and we can see. seventy-year-old pelser, who does incredible entrechat performances,

dances, runs around the table in an accelerated rhythm, as if to a silent movie, binehil's show is like that, a little bit, yes, a performance that was directly made for her, she plays the aunt of the main character, aunt toni, this is such an old woman who enjoys life, who receives five pensions, right from this they start and imagine that they bought a new umbrella and received pensions again. then from canada, from canada, and from italy, and from italy, and from sweden, and from sweden, and from france, and from france, and then she tells the story of her life, all the time i want to see in this, of course, some echo of the story of peltser herself that she had five beloved men, they all went to different countries, and after the war she wrote them a letter that i never forgot you, i never regretted that i loved you, so we parted, but remember me, i lost everything, they started to send pensions, one, as she says, went to sweden -

without her the performance is also not a performance, we can see it too, this, of course, was really her finest hour, the theater gave her the opportunity to express herself, and the cinema actually received some then - crumbs, well, firstly, actually already an era of stagnation, and a little earlier, this is already the time of such a real dawn of children's cinema, cinema, one of the strongest directions of soviet cinema. this is the attention of cinema for the younger generation, for children and youth, as they said then,

there were whole film studios that specialized only in this, and of course, where there are children, there are grandmothers, in fact , quite a lot of vacancies are created for older actresses who can play such a grandmother, and of course , i think that out of inertia they are starting to call those who have already played a similar role in some other film, well, let’s call pelzer, she ’ll play everything perfectly. in fact, pelzer is like a kind of glue that actually binds together are different parts of the film, yes, she may not be the main character, but it’s hard to imagine without her, he’s like a kind of background, like a grandmother, and in the life of any grandson, there are parents, there’s someone who connects all family members, but she not an ordinary grandmother, the fact of the matter is that a pelter is a grandmother who sings, dances, rides on the steps of a tram and climbs onto the roof, and this was clearly demonstrated by ilya fress in his film... of a yellow suitcase, which in general is such a real benefit performance tatiana peltser

on the screen, where yana showed all her talents obtained flexibility, youth, slimness, and the consequences of yoga , and so on and so forth, let's look at the training, i will rise, if necessary, higher, i 'm not afraid of anything, we'll stop putting up with the trees of the roof, feel free to follow me, the coward, the first entrance, the fifth floor is flooding us with bartage, i’ll show you mine. suitcase, this is that,

the first entrance, fifth floor, we are flooded, what is interesting in the film is the adventure of the yellow one as they write about it, peltser performs almost all her stunts herself, well, that is, it’s not just someone dancing for her on the roof, a... and her they raise it to at least some height, after all, and it’s not in vain that nadezhda kosheverova, our craftswoman, yes, storyteller, director, has been filming it for 30 years, it seems. her career began in a good way at 50, yes, but after that there are already 50 roles, 60 roles, thousands, every time, and kashverova in the fifties stars her in melodramas, in adventure films, not in fairy tales, when she returns to fairy tales we know kashvirova primarily from the film cinderella, yes, where

another great old woman, faina, plays ranevskaya, in the sixties, seventies, eighties kosheva. takes on a fairy tale, a fairy tale cannot exist without peltser, ilya fress takes on a children's film, his characters cannot do without their grandmother or great-grandmother, at some point it’s time to move on , she becomes a great-grandmother, yes, yes, yes, and when it’s interesting that we see her as a mother, aunt, grandmother, great-grandmother, at first these are more realistic roles, then more comedic fairy-tale roles, and then we reach a new realism,

imposing our point of view on life on them, i need to remind you that you never dreamed of it, this is a melodrama from the life of high school students, a boy and a girl fell in love, but their parents were also once in love with each other, they are trying to separate them, they already have different families and now the grandmother is participating in deceiving her grandson. sick, wonderful fragment when the grandson actually finds out that his grandmother was deceiving him. “now he’s at school, and i’m smoking through the window, and then he’ll come, i’ll be lying there dying, understand, this is forced, it’s

a deception, open, open, let’s talk, we ’ll deceive”? for your sake he speaks for your own good the older generation and in general, as it were, a conflict between the older generation and the younger generation in the film ten is at least clearly manifested in some kind of everyday context, the film courier, for example, yes, where we see the absolute abyss that lies between children and parents. i always think that it is in the role of a grandmother that you have never even dreamed of, peltser most resembles herself, for some reason it seems to me that she is like this. although here she is a grandmother in leningrad with a fireplace and plants and so on, in moscow she was a single woman - with a two-room apartment in an actor's house metro airport and carrying a bag over her shoulder in the metro, and in fact you could often meet her there, as the neighbors say, the neighbors saw through the window how she cheerfully rushes towards the metro,

but nevertheless, this is what i think she is, the only difference is, of course, in it the great actress did not die, in it she just... lived just in time, when her time had come, think that after fifty, but there are so many more wonderful roles, again, not only in films, not so much in the cinema, as much as in the theatre. 100 reasons to watch gaitai, game, motor, on the day of russia on the first, back, have a rest, ska home, i’m holding on to the victory, i ’ll come to you, in a hot battle, oh andryusha, should we be sad, don’t hide the accordion, play for

all the 333 nights. a young director , mark zakharov, appeared at the satire theater, who began giving her wonderful roles, including in prosnisepo. in 1977, when peltser had a conflict at some point with the main director pluchik, and zakharov had already left for

the linkom youth theater, she went to zakharov to change her life and career at more than 70 years old, trusting a relatively young director to go to him is, of course, also an act that is extraordinary, and a person who is ready to commit such actions. a person who is willing to take risks, and zakharov tried to find roles for her, it is difficult for him to find a role for her in his films, he doesn’t have many of them, but the role in the film formula of love, it is really plot-forming. let's watch an excerpt from the film, what do you propose, to recapture her from the count? and you should beat off the move, beat it off, you! alyosha, i’m used to everything ready-made, i came up with you, you know, an ideal, give it to you, and read other people’s poems, it’s not great valor, he

, probably your petrarch, put his laura on a horse and, only they were seen, auntie, admit it with you, something similar happened too. by the way, i wouldn’t have been sitting here in old affairs, otherwise i had also come across an admirer like you, he was a strong man, he wasted all his strength on poetry, he ruined my life, zakharov said that when he and grigory gorin, with whom they worked together in the theater, naturally, they began to compose this story about gragliostro in russia at the end of the 18th century, they... the story of cagliostro, his unsuccessful adventures in russia, because everything here is really not

his way, he tries his own, miracles happen for other reasons, all the time there are some people who don’t believe in what he does, and there is leonid bronevoy, yes, a colleague, peltser in the theater, peltser herself, who again plays not a grandmother, but an aunt, that’s for... it was peltser who was the main antagonist of the graphaleostr, it was she who helps her nephew achieve he thinks that now this is his the mysterious count of a thousand years will help, but here they have already said that this happens with us too, but they didn’t write down all the numbers in the passport, and there we also have a ninth year of birth, and a tenth year of birth, but forks and spoons are swallowed, nothing there is no surprise in this, but he’s armored and so sarcastic... the neighbor takes the pelzer for others, yes, she says, well, here’s a girl for you, you still want

to find some kind of imaginary love for yourself, here it is, next to you, let's act, act, in fact, it's driving again beloved ones, just like in the play about snisipoy, a very perestroika movie, of course, today you watch, you are surprised at how much it suggested to people some, well, answers to the questions that were in the air? a fairy tale with a moral, yes, well, like many of zakharov’s films, an ordinary miracle, kill dragons and so on, and of course for linkom, already in the last years of the eighties and in the very, very beginning of the nineties, peltser is practically a talisman, yes, she here in the formula of love has been playing for 80 years, yes, and she continued go on stage almost until her death, but at the same time, of course, abdulov whispered words and roles in her ear. when she didn’t remember her well, yes, age took its toll, alas , she and leonov, they all went on stage, there was no need to do anything, there was no need to say anything at all, she herself was like a phenomenon,

yes, she herself was like - this is the whole set of her roles that were deposited on her, she is her role, and these roles are her, and this is such a stratification in this small human body, and in this cap she is also there came on stage. and it was important for the viewer to see her, this was already in the fifties, when her colleagues remembered, after ivan brovkin, after the wedding with a devotee, they go to some kind of concert program, as usually happened, yes, they go to some collective farm , to some factory, and how people are just happy to see her, physically here she is, peltser, here she is our favorite, one of the colleagues even joked, it was such a comic skirmish in the theater, with her quarrelsome character, not it was always easy for her to find a common language with colleagues, someone said: tatyana ivanovna, why are you performing, well, no one loves you except the people, this of course was not so, she... in

the theater she was loved very much by her colleagues, including her peers and young people, but here’s what yes, she was not easy to communicate with, but this is not visible on the screen, yes, and the viewer simply adored her, every time we now watch films with tatyana peltser, we are immersed not only in this story, the story of the plot itself, yes , but we are immersed, somehow, all at once, it immerses us, in this long, long history of soviet cinema. v what do you think, on what is this phenomenon based, the phenomenon of soviet supporting actresses , third plan, older actresses, in general, supporting actors, because the supporting role in soviet cinema is very significant, there is a whole cohort of wonderful outstanding actors, who all their lives play only minor roles, it seems to me that this is all because soviet cinema initially declared itself in the twenties as a collective cinema, so we will film.

institutes, schools, which year after year produce, produce, not the best word, of course, educate, professional, musical, dance, dramatic, tragic actors, quite diverse in their capabilities, yes, then they join the gig, not everyone even has a place in theaters, that’s why in the thirties there were so unsuccessful with my career.

documentary films, how eldar rizanov begins to make his debut in feature films, makes successful comedies, or former assistants, kozensov and trauberg, how kosheverova, how fress, finally get the opportunity to make independent films, well, all these films need actors, that’s right, that’s why in the fifties there was a whole new layer of acting, and actors were needed for different roles, but you, you can’t only have ivan brovkin, yes, in fact, it’s just not easy for those who...

families, maybe single-parent families, and after the great patriotic war, but we need to show the older generation, this is where the pelzer star appears, and we need - this is the older generation, yes , here she is in ivan brovkin, a collective farmer who survived war, raised her son, and she needs to somehow arrange for him, somehow start a new life, this feeling of a new life and a family that stands behind her, yes, it is in the one in which i live. the cranes are flying and in all these wonderful films - the fifties, sixties, then, of course, the younger generation already appears, as the main one, the child on the screen and so on, but again, yes, the child needs a grandmother, children's cinema, here you go, please, who could you play, say, in the thirties in a film by sergei zenshtein, alexander nevsky, i can’t imagine her in the ancient russian guise, neither in alexander nevsky, nor in ivan the terrible

tales, but it happened later, but... it’s hard to imagine such a thing in everyday roles , or if we remember that the thirties - this is not only the time of biopics, biographical films from the history of russia, but the time of literary adaptations. again, in peter i, it doesn’t seem like this peltser, but the historical roles don’t seem to be hers. well, listen, after all, this era is, so to speak, heroic, and which demanded heroic works on the screen, and pelzer’s roles, they are more everyday, more down-to-earth, and directors who work with such material, they appear in soviet cinema already in the 50s, sixties, seventies, when they need to tell some stories, including chamber stories. one family, not a family through eras, but a family here now with its own problems that need to be solved, even with the methods that peltser does, you never dreamed of a film? yes, i think that it was the development of soviet cinema and the development

pelzer's acting talent, at some point they simply coincided in the fifties and then went on together, until the mid -eighties, this, of course, is not only pelzer's happiness, but above all ours. yes, it’s very cool that her career developed at least later than others, but the main thing is that it’s good for us that we can watch these films again, and not only films, but also performances. and every time it’s some kind of charge of energy, which, as they say, she gave in life to her colleagues, her friends, to acquaintances, yes, to people who simply saw her in the theater, this energy is transmitted from the screen, perhaps. it’s just that cinema had to technically somehow also reach this energy, but the camera movement was freer, the film was more sensitive, going on location, where she would dance on the roof on

some roof built in the scenery of this very roof, it was necessary that you can see the sky, you need to have real trolleybuses and so on, cars, and where else to run, this is just that...

find it on the website of the first channel, i’m proud of it that i live in such a beautiful country, that we have so many regions, so many different cultures, i know a lot about our homeland and i want people to know about it too, this is very important, ulyanovsk is the birthplace of lenin, koramzin and goncharov. this is a whole adventure park, there are bears and more. fyodor chaliapin at one time called himself a simple vyaz peasant all his life. the white nights of leningrad, the gray peaks of the caucasus, the blue lakes of karelia, the green sea of ​​taiga, are as

beautiful as our sunny kalmykia. nobody returns from a trip the same way. human being, so travel, develop yourself, on any route, in any village, we are all one big family. hello everyone, this is a free program podcast, my name is maxim tronkov, my guest is one of the best figure skaters in russia, whom the fans have dubbed peter i, peter gumenik, pete, hello, hello! tell me, how do you like this title? it seems to me that it is quite difficult to be worthy of it, i like that they called me that, so to speak, especially since i am from st. petersburg, yes, that is, there are many stories in this, and even here is one

this title may force me to try to live up to it even more, but did your parents name you in... honor of peter i? well, rather in honor of the apostle peter, but peter the first was also named after the apostle peter. let's talk about your family then, since you yourself stuttered. you have a very interesting family, your dad is a priest, and how did you get into figure skating? my parents were sure that the boy needed to play sports and that he needed to play sports that he liked, so they took me to different sections and tried to find out where would i like it, i went swimming to some kind of ballet... and i didn’t really like it anywhere, i wanted to leave everywhere,

when they brought me to the skating rink, i immediately realized that this was the one, mine, i always asked to go again, and they took me, and you never regretted it, no, you never regretted it, that’s for sure, but i never had a desire to follow in the footsteps of my father’s parents, well, there wasn’t really such a strong desire, i.. . maybe i thought about it sometimes, but i decided for myself that probably, if it’s also mine, then i’ll understand it. and i clearly want this, but for now i will live a more worldly life, well, you have a very large family, tell me how many brothers you have, i have two more brothers and a sister, all the younger ones are studying in schools, but now you are getting very interesting. software engineering and

computer technology, yes, this is a very interesting direction, we are engaged in programming, computer science, i ended up there quite unexpectedly for myself, because back in school i never thought about such a specialty, i am a computer science major. i haven’t studied almost what programming languages ​​are, i i didn’t know either, at most i could make some kind of tablet in excel, or draw something in paint, well, that’s how often it is in russian schools, it seems to me that this is about the level, it stops there if you don’t intend to enroll there to some it university, and i was going to become a doctor, but not right away, but the results of the eg are working. 4 years, so i decided in 4 years i’ll ride, decide

on sports, maybe i’ll go to the olympics there, in 4 years, at least it should be easier to combine, because already at such a respectable age i will be a figure skater and it will be possible to train a little less, but then i decided, uh, that to make it easier for me later, i can start preparing myself, study the programs, i started studying and realized that this is not my thing, and i don’t like it, that there’s probably too much to remember, i prefer the kind of knowledge that you can guess for yourself, and how it flows logically from one another, and i decided somehow shift to a more related field to bioinformatics, but in bioinformatics i am not i found some good programs. in st. petersburg for a bachelor's degree, since purely semantically i

looked at this name of bioinformatics, i decided that since i had already studied biology, then the time had come for computer science and thought that i would go to some it university, study computer science as a bachelor, what practical you see the use of your profession in the future, this is research work, it seems to me that it would be the most interesting thing for me, maybe related to pharmaceuticals, to develop some medicines that would interacted with the genome, that is, you want to become a scientist, yes, but the only thing that i can’t say with 100% confidence yet is what i want to become until now, maybe i ’ll stop at computer science, maybe i’ll go further, maybe even nothing will be useful, but the only thing i know is that it gives me pleasure in the process and my brain does not harden, but how

does all this combine with the training process, because two training sessions a day, plus university, tournaments, shows, and you learn on the daytime, as i understand it, firstly, i'm on training, this is my first priority, and i go, train as much as i need, i always go to competitions, and whatever time i have left, i study at the beginning of the semester. you can choose a schedule for yourself, that is , scatter the subjects so that, for example, they are there, concentrated in the morning there and in the evening, so that during the day there is free time, a window when i can train and a lot of my specialty needs to be done at home myself, not at lectures, so i have time, and you generally have some free time, or at least one day off, why don’t you do anything at all, don’t do anything at all, but this

is rare, i don’t like such days, i feel like they are such wasted days, i prefer to do at least something, well , let’s move on a little to sports, is peter ii ready to open a window to europe and how do you like the competition now in men’s single skating? yes, our competition is really good, comparable to the world level, if a window to europe appears, then i would be happy to get there, of course and would compete with europeans, not only the whole world, of course i have been waiting for this for a long time. and it would be great if there was such an opportunity, but so far there is no such opportunity, we have quite good competitions, the interest also remains, it seems to me, among the spectators, it has even increased over the past 2 years, i myself have also

improved over the years and so have my opponents they don’t let you relax, who you consider to be your main ones. i’m just trying to improve my level myself, but look, if you remember last season, then at the russian championship there was a real drama, here’s gold and silver, question, huge, huge question, for the free program, let's look, so peter gumennik has second place for

the free program, and now give the difference, now give the difference, in whose favor, the overall result for two.

tell me what it was like for you, well , it diluted our confrontation, it turns out that you also entered this group, the gap was still quite small, among all three of us, of course, not 0.000ths, but also there it was the result of one mistake, that is, vlad made a small mistake, so he lost, if he had skated cleanly, he would probably have been me first. i also made a short, already more serious mistake, i fell from one jump there, well, at least from the cheapest one, but still a fall is a serious mistake, but if i hadn’t fallen, i hadn’t made this completely random fall, i could have done it too to be the first.