jazz saxophonist and in general this is such an amazing period, i was 13-15 years old then, then the blue bird cafe opened on chekhov street in moscow, during this period, having met the clinoth, i somehow entered jazz music, in general some other culture was completely unfamiliar to me and... something of some kind and something began, some kind of pulsation began to awaken in me and some kind of interest, it was some kind of amazing period that lasted, in my opinion, from the fifties, in my opinion, from the international student youth festival, by the way i really remember this festival in 1957, and such a feeling of freedom. since then i

have never felt in space again, and the blue bird was such an island of some inexplicable freedom, people gathered there who could realize themselves in this space among people who hear them, understand them, want to understand, outstanding soviet musicians worked there, in any case, which many don’t even remember anymore, as a drummer, i worked, participated in sessions with them, but for me it’s like that, it’s me so now i’m saying, in fact, i just touched, was nearby and participated in some way , at least somehow, but i would have been pleased to just bring a drum or a trumpet.

a person who plays jazz music, for example, or who is involved in jazz or jazz culture, because being a jazz person is an internal state, this is a state of co-sensing another, this is a state of being inside a common language, but there are people who simply know how to play jazz harmony, and it happens and has happened that people...

the year i took up photography, and i met with a photographer, a tugush operator, and thanks to this i became acquainted with photography, one day he and i decided to photograph the pantami studio of evgeniy yakovvich nezolov on volkhonka, when we got there, i was so amazed by what was happening there. inside, not so much what they were doing, but some kind of atmosphere that reigned there, and i really wanted to somehow enter this atmosphere, generally live in it, and i begged evgeniy klivich to allow me to attend rehearsals, he allowed me, and from then on i began to attend these rehearsals, i i came to all the rehearsals, sat... in a corner

somewhere and somehow watched what was happening there, it turned out to be an interesting thing, that what they did there is what they did. the fact that they are the elements that they learned by heart, i seemed to be living it all from the outside, as if working inside with them, but i had the feeling that i had already understood the principle of movement, in fact, this is the main work , which i do is the philosophy of language, the philosophy of rhythm and the philosophy of plasticity, this is still me, this is my main thing in life, then one of the... members of this pantamime group, i found out that he works at the sherling theater, yuri borisovich sherlinko, this is a chamber jewish musical theater, and it so happened that i ended up in this theater, and

there i began to study ballet , there people were practicing ballet professionally, when i came there, there was a barre somewhere on... i had never studied ballet before and i think that it was probably very funny from the outside when i started studying tandu , batman, highway, fosse, roleway, but since the machine was very high for me, then i just took a chair and put it in the middle of the hall, in the middle i started... studying uh, well, for six months, in my opinion, probably, uh, everyone was dying above me, created, in my opinion, to put the table in the middle , this is a serious ballet statement, yes, yes, in general this, apparently, is ballet in the middle, this is considered a higher level, as it were,

than than the barre, since there is no longer any support and you rely - yourself on the floor, on the air, and.. yes, and this, apparently, somehow hurt a lot of people, maybe confused them, but nothing, through for some time, for some reason they stopped laughing, after some time something began to work out for me, i must say that i am very grateful to both sherling and leonora evgenia vlasova, because when i didn’t believe in myself at all, i just i was absolutely sure that... years and i are completely incompatible things, after the sherling theater, i again found myself without work for some time, then they invited me, galya kolomanok was an artist,

an artist at sherling, she called me and said, valera , would you like to star in lithuania, a film about churlionis? ismayatsk film ballet, i say, i want it, because i have no money, no work, i want to eat, i have a family, i went to lithuania and churlinyan’s film was shot there, the director originally had that title, well, not so long ago, i found out that a musical consultant...

that my texture does not seem to fit into the marxist-leninist ideology, uh, somehow we with the marxist-leninist ideology, apparently, are entering into some kind of contradiction, difficult to explain, i met on this film with... with the actor, after filming i grisha gladiy called and offered to help him do his course work, well, i didn’t

refuse, there was time, and we did the work of hanging the prince rack and... grisha’s boss seemed to like it, and grisha’s boss on the course was anatoly aleksandrovich vasiliev, director.

this is that i study the philosophy of language,

the philosophy of rhythm and the philosophy of plasticity, i have a deep feeling that the russian language is a unique formation, unlike western and eastern languages, like chinese or hebrew or sanskrit. germanic group or finno-ugric group, in which have a rigid structure and which does not allow these languages ​​to develop, this structure is like the structure of a diamond, due to the fact that these languages ​​do not develop, as if rigidly fixed in the structure, they are constant in their structure, then the writing of these languages... has the rank of law , as it were, the status of the law, well, for example, well, this is what is written by

confucius, a step to the side is death, or what is written by mauzun, a step to the side is death, what is written in the torah or the bible, a step aside, well, death, sin, death, i say sin, the only language in which, as if with the same code or words , you can think one thing:

the state language, the language of science, the language i think that if, for example, we introduced state relations, the language of culture, for example, some german language , language...

and give the german language to science and i think that we would immediately move sharply, our civilization, our culture, as if russian, it would not be, well, so... but what is called the soviet union, then, what is called, i think that it would be sharp, we would make a leap, because the language would would structure thinking, and we wouldn’t, it doesn’t allow you to chat a lot, a language other than russian, it makes you think because it’s structured, that is, it

forces you to be inside the structure all the time, structure, not to leave the structure, it doesn’t allow this. and this already needs to be thought, but if we talk about this, then i can talk for a month, if only there are lunch breaks, then i can talk for a month, i can talk for a year, but that’s why it’s very difficult to talk, then it will be just a book, only speaking, i want, so that there is some kind of integrity, so that in any case for whom it is intended, so that... he they entered into this understood, i hope we will extend and continue our meetings, thank you for this interview, goodbye, thank you, goodbye, i'm fighting, just because i'm fighting. on june 10 , people's artist of russia valentin smernitsky, a legendary partos and beloved actor of several generations, turned 80 years old. i played

shakespeare, gogol, and chekhov, in the theater i had such serious roles, always a talented actor. in family tragedies and personal happiness. my father was very ill, my mother had no time for me. i proposed to him myself, and he did not refuse. grandfather, the coolest, oh, exclusive with dmitry borisov, premiere, tomorrow after the evening news. thank you, we

would like to dedicate the song everyone who came here tonight, how many souls do you try to hide? in the world of illusion that's covering your mind, i'll show you something good, oh i'll show you something good, when you open your mind,

you'll discover the sign that there's something... you're longing to find out will take away all th, the miracle of comes your way again, cool is the night that covers up your face. feels, tender is the one that wipes away your cheeks, there must be bitter breeze to make it sting so viciously, they say the greatest can hurt the most proociously, i'll show you something good, or

i'll show you something good , when you open your heart. what you can make of you start when your crumbling world falls upon the incle of all the miracle of love comes your way again the miracle.

the miracle of the world, you'll take away all the way. miracle love comes your way again, take away,

the world.

ball of the vampires, rosemary's baby and several other nerve-wracking films made the name of this man known throughout the world; perhaps, he is not known only in the soviet union, we decided to correct this unfortunate oversight. so, director, actor, screenwriter, roman polyansky.

damn, how old is it, it’s left to me, she’s mine too, she’ll never know.

then i had small roles in several films, including andrze weide. and i studied at the film school in loz, 5 years. then after school, as i said, i made some short films. one of them was called "two in the wardrobe." he was sent to

brussels for the festival. there he won a prize, which gave me the opportunity to go to the west, where i later began to work as a director, i started in london, my first film not made in poland was called disgust.

langsung langsam.

after the united states, i returned to europe again, a complete list of my films would probably bore your viewers, it’s a pity that my films found here. with the exception, perhaps, of the test, it seems they showed here with nastasikinsky, i felt very squeezed and insecure, i was afraid of working in front of the camera and in front of everyone who came up, he did a lot to strengthen in me the feeling of joy from work. when everything is forgotten , all that remains is faith in yourself, he is like a member of your family and played a very important role in my life, a wonderful person, in fact, it is

very nice of her, i can say the same about her, it was a pleasure to work with her .

on the outgoing wave of fashion for everything russian, the american film company larga international completed filming of the film under the working title icons. the film takes place in the criminal world of perestroika moscow. detective stories about the misadventures of a young american and his russian girlfriend are dashingly twisted, equipped with all the attributes of alyas’ life, icons, vodka of the police and even a mafioso named kurilov. there is hope that the participation of soviet performers.

all right, go grag. natasha, perhaps you are the first soviet actress, who is starring as the female lead in an american film, how does that make you

feel? firstly, i am not the first soviet actress to star in an american film, perhaps the first, if you mean, i mean natasha andreichenka, who filmed. month, so that i can tell you every day step by step, every minute, every second, what i experience on this day, a very long question, what do you think is the main difference between working in soviet cinema and american? language only? no, not only, of course, a sense of self i, my pride, talent, of course, the ability to step on my own throat, sometimes, what i have to do there much more often than americans, unfortunately, is it russian? planet of the americans, that’s it, that is, you

experience some segregation, yes, yes, yes, yes, yes, you understand what’s the matter, there’s no need to say much, in any case, you understand, this film is through the eyes of the americans, that’s it, i’m okay it is said, natasha, that the majority of viewers in our country and around the world perceive.

how did you perceive russia? i haven't seen her much. i i was here 3 years ago, just a few days, looking for a location for location shooting. and this time i am limited to the shooting location and the hotel. so i can see most of the oktyabrskaya hotel from the fifth floor. but that's not much.

it is common knowledge that the situation in the country is now complex and unfavorable. it’s hard to see how people face enormous difficulties and cannot find the simplest goods. complex relationships, difficulties in almost everything. tomorrow i return to paris, where we live happily, without problems. i have a heart i’m torn, but i sincerely hope that something will happen, we will all pull ourselves together, your life will become better in the future. the action

takes place in paris, in the present day, but it is something of a love story. saturday evening, here i go again, i'm going to go dancing, i'm putting on my boots and the goal is knocking , i'm locking my door for... night factory, it's terrible heat outside, but we'll

dance, bude, booge, give, i love, bude , i love , will be, will be, i love, will be, i dance, every day, that’s what’s wrong, today i’m lonely, that’s what i’m doing. onny call, i'm calling you, i say hi to you, i haven't seen you for 40,000 years, and if you don't know what to do with the evening? well, why don’t you and i go dance, because you love, woogie, woogie, you love, woogie, woogie, you love, sick people, you dance every day, the disc is dark, the lights are flickering,

we dance, and they dance, and if you are tired, then sit down, but not for long. today we present to you another new section, it is called video erotica. together with film theorist mikhail yampolsky, we will try to conduct a session of psychoanalysis of our society, turning to the topic of sex in soviet cinema. tsemen, semyon and.

here, marvel, why, marvel, marvel,

now soviet culture and soviet cinema are discovering eroticism, a sphere that was always closed, taboo. although i think that this is not quite the right feeling, because there cannot be cinema without eroticism. cinema is the human body that is present on the screen, and the human body is always in some sense associated with erotic sensations, but until recently soviet cinema interpreted this, this topic, in a unique way. it could be said that there were two approaches to erotica until recently. one approach, i would say , is this: a woman is not the object of a man’s desire. she is the embodiment of some kind of primordial element, this theme comes from the thirties, it is very well expressed in dovzhenko, in films on a collective farm theme, where such incredibly lush women, full of eroticism, appeared who never became the object of a man’s erotic passion in reality.

sphere, while she translates eroticism into the sphere his own, so to speak, interest and his own existence of the soviet man, with all that stuck to eroticism in the enemy camp. uh, an element of criminality, vulgarity, everything that, so to speak, was so characteristic of the idea of ​​the enemy and

why these sexy girls were introduced there, all this sticks to these women’s bodies in the context of soviet life, the boy boba went for a walk, the boy bo - boba went out for a walk. and the wind blew into boba from the alley, he tore boba’s hat off, boba, where is your hat, boba, what will dad say, boba, boba, daddy knife! took it out from under the sofa and put it under the suitcase, dad took out the knife from the sofa,

put it on the suitcase, some kind of criminal aura, a criminal aura constantly surrounds the female body in soviet films, and this is largely due to the fact that with these from old ideas into our consciousness today, attitudes towards sex as something positive or negative are transferred. we still cannot understand that sex and eroticism are an organic, normal component of every person’s life, it is always interpreted in certain ethical categories, categories of condemnation, or vice versa, but it is always something that penetrates our culture today with a certain plus or minus sign. with a certain negative or positive attitude, and this seems to me a sign of the incredible infantilism of our culture today, which cannot

recognize the naturalness and right of eroticism to exist outside of ethical assessment. i think that the enormous significance that little faith had for soviet cinema is due precisely to the fact that it is a film without ethical assessment of the heroine’s behavior, for her this is a normal existence, she sleeps with a man not because he is a good man or a bad man.

the difference is that they were so happy for me, as if they had been waiting for their whole lives, and i told them that we would have a child, and the most pleasant thing for me, but at the same time understandable in what is happening in today's cinema, is terrible vulgarity of the presentation of eroticism, eroticism is not passed through certain cultural codes, it is presented as - so to speak, at the level of some almost completely physical vulgar objects, and i know that for many viewers who are tolerant of erotic culture, many soviet films almost cause a vomiting reaction, so to speak, because the body is not presented as an erotic object. it is presented as an object of some animal drive, as an object of some physiology, hence also a very strong element of violence, unaestheticism in relation to the body. in today's

soviet cinema, erotic scenes very often unfold in an aggressive manner. this the moment can really leave us, make us uneasy. i think that to a large extent this reflects the general status of our consciousness today. not to mention the fact that society in general is, so to speak, in a certain degree of increased aggressiveness. the point is that there are things. which we are terribly lacking in general, and what has been absolutely evacuated from our lives for a very long time, i mean the very concept of pleasure. pleasure is a key concept associated with erotica, but not only with erotica, but with art in general, because in in the end, any work of art is intended to give pleasure to a person, there is a closure of this topic in general for soviet culture, which has become largely a sadomasochistic culture, this is reflected.

you can only make love if you are forced to make love,

in the eighties, as you know, there will be a number of factors at work that complicate economic development, well, what are you doing, don’t, i ask you, don’t, damn, do n’t , no need.

you'll go to bed, but no, i won't, that's it let me go to another company, and women, what are you doing, essentially - the same thing happens to a woman that happens to a product in a store, a product in a store, presented, so to speak, in a western window, always tries to be seductive, always tries to appeal to the pleasure that it can bring to a person, a product in a soviet store.

that's all, the program was hosted by konstantin arnst, goodbye.

hello everyone, this is a podcast about the culture of life, today we have a topic on how to arrange a small apartment, because it seems to me that in our in principle, a country of small apartments, and today i have amazing guests, a legendary simple man, alexey ginzburg, the grandson of that same moses ginzburg, one of the brightest constructivists, architects, who built the people's commissariat of finance house, and alexey, in fact, is an architect himself, and he took

i restored this house with my own hands, and now it is a masterpiece, not from... 1937, but in general the khrushchevs, in a sense, are the heirs of the ideas of constructivism, which, just in case, is also called bauhaus and international style, its most intriguing and short-lived manifestation is functionalism, constructivism was basically absolutely functional, well, it’s just that the name has already been assigned to it, because there were also groups of functionalist architects and... analysts, now that ’s all it is customary to perceive constructivism under one such umbrella brand, there were many groups, no, it was one hundred percent functional architecture, functionally determined. well, khrushchevkas are

the famous apartments with four or six meter of kitchen, combined with a small toilet and a bathroom, small straight rooms, there are 8-10 m maximum, yes, but in principle this is already such a wildly budgetary event, but constructivism itself is not... in fact, there are more apartments in naraconfin than in in other khrushchev apartments, there are different tiers, different types of apartments, we are just used to cells like f, 37 m all the time, but now 37 m is such an absolutely normal format, that’s what we are designing for today’s

business class, this is for modern man is absolutely accustomed to why the people's commissariat of finance, aka absolutely modern, and what is included in it is our life today, then it was visionary, now it is an absolutely understandable way of life for us, but the social program of the people's commissariat of finance is , of course, much more complex than... the khrushchevs and what they offered constructivists in the late twenties, this is to create such an absolutely comfortable environment for a person, an environment as a whole, not just a house, an environment, so they called it a communal house, not a commune house, but a communal house, that is, a house where there is, in addition to all household services that are also very familiar to us now, and there it was like the first one of the first mechanical laundries in moscow, a canteen where you could buy food, a gym where you could buy food around the clock or not, not around the clock. this later came now, that is, people ate exactly until 8:00 in the evening, all the people, people bought food daily, brought it to their apartment, where they had their own kitchen, and could eat it there around the clock, cooked it wasn’t available

24 hours a day, but you could eat it any way you wanted, therefore, space, public space, enormous diversity, was created by a community, a house is like such a social programmer, or as western researchers called it at one time, a social condenser, social condenser. public space, that is, to create a human environment, to create a habitat around an apartment, a small apartment in itself, this is a corner where you feel absolutely protected, fully equipped with everything you need, but besides this

, there is a whole world of environment around, which well we are now, as it were, residents of the city , including the park, including the space under the house, these flat roofs, this is all such a living environment that seems necessary to us today, so somewhere it turns out that... like communal apartments, well, i i mean these standard communal apartments, that this is simply the best place for socialization, well, in some way, well, no, well, no, of course, you know that after the war, that is, when the first generation of residents left the house for various reasons , half, even most, probably in thirty-seven or thirty-nine years, and the rest left for evacuation in forty-one, returned already in forty- three, yeah, after the war they began to divide it into communal apartments, here’s an apartment... and what area is this? well, 100 m, this is one of the largest apartments at the end, semicircular balconies on the south side, three families were settled there, i talked with the man who

lived there, who was a representative of one of these three families, he told me about this life, it’s incredibly interesting, but it had nothing to do with either the people’s commissariat of finance or his social program, that is, it is interesting to communicate with people, but to imagine even three families living in a hundred-meter apartment, this is what they would say now. well, yes, now there are house chats that show us that all friendship and socialization ends when extra parking space is discussed, well, this is the norcomfin house, and the project drawing, this is the project - a cell f of a one and a half story building, where you can clearly see how the space transitions, flows, and the volume is visible, this color scheme was already laid down from the very beginning, because she also enlarged this space, made it much richer, this was very complexly invented not for beauty, but solely from a rationalized, analyzed impact on a person of a color scheme, in the house, then live, when we were engaged in its restoration, these color solutions became even richer, each wall had its own. shade, we, so to speak, took them out

from the inside using conventional examination devices, and this is very interesting, but here we see this space, exactly that which shows how a small one can be made into a big one, this shade of the ceiling, it’s like a color assumed to be one to one, but some kind of color scheme was developed, these were the first steps in building a house, when we examined, for each apartment changed a little, there were no two identical apartments in terms of painting, that is, an experiment... they were clearly already in the process of finishing, they practically made all the apartments individual, i’m just wondering, i have a practical question, that is, here, for example, this shade of the ceiling is not standard, yes, because it is standard, it is white, it seems to work on its own doing something, or is it somehow only combined with all these colors, i don’t know what expands the space , improves the mood, in general, one of the ideas was that if the floor is dark, the ceiling is dark, the walls seem to move a little, the walls will be light, but this was one of the ideas, in the end during construction. had another, when those

surfaces that were facing the afternoon sun were painted in warm shades, and those that turned into cold shades by the morning sun, bluish, gray, there was a set of colors, there were about 16 shades of different colors, which were used in different combinations, there was just a photograph of this cell after restoration, that is, what it looks like now, by the way, here is a kitchen, a one and a half meter kitchen element that we designed, well, there should have been a kitchen in this place, in a house on gogoleevsky and they already began to do it even then in the thirties, not yet on komfin, but there were still gas stoves in these places, shelves, kitchen tables stood in these places, we simply put a modern kitchen element there, even with this built-in, built-in air conditioner above the kitchen, so that it would not be visible, we decorated it, well, in this style, in which the house was made, in fact, the height you see is 3.75, it already gives a completely different feeling, well, of course, now it’s already difficult to do that in modern houses.

even from the point of view of our fire standards, one-and-a-half-story combinations are like this, when there is one and a half floors on one side and two on the other, so that it is convenient to wash, yes, it is a single element, it is all very technological, well, here is the bathroom, a bathroom from the people's commissariat of finance, where we generally did not try to create such caricatures, i don’t know, toilets with chains or what the industry of that time could offer, it lagged far behind the authors’ plans, so we did not want to restore such a caricatured way of life. but the tiles on the floor and the white tiles on the walls, they are, in general, specially laid out in the same way as they were in the apartments themselves at the beginning, and the furniture in the bathrooms is extremely minimalistic, because the authors’ ideas were about a simple, aesthetic, but very simple, laconic environment, and what is this? this is a washbasin that we came up with ourselves during the restoration process, since we directly moved the toilets in small apartments. from the restroom directly to

the bathroom, making it combined right there until