at that moment i was engaged in culture, but well , she left at that moment, she didn’t see some, i don’t know, return of a rush of blood, then to these dead organs, well, yes, 100 years old, she would have turned 100 years old, i think , today it wouldn’t be so gloomy, look what, what a mockery and fate, she learned to drive a car, many, by the way, very famous people, great ones , worked part-time.

at the end of the program to talk about her love for her homeland, she dedicated a lot of poems specifically to love for her homeland, this for her was something inspired, something real important in her life, i would like to read, and where does the strength suddenly come from at an hour when it is black in the soul, if i were not a daughter of russia, i would have given up long ago, i would have given up in forty -one, remember the barrage? don’t tear my soul apart with war, i just don’t know a purer , sharper time, for the homeland of love, only love gave people strength in the midst of a roaring fire, if i didn’t believe in russia, then it wouldn’t believe in me. oh, what a pity! what a pity for all the people of this

generation, it’s a pity for those who perished earlier or later did not endure all these hardships of the post-war time and everything that happened, how sorry i am for the women, how sorry i am for the men, how sorry i am for the children, and how i still want to glorify the strong ones who survived, but they left us with the most important thing, faith in victory, faith in man. faith in the future and our art, a poem that we can re-read, and we get these emotions now through them, we can touch their picture of the world, thank you very much, thank you very much larisa for calling, it’s a great honor for me that you came.

hello, this is a theater podcast and i, its presenter is 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 the secret of his popularity is, how individuals and institutions become in general. brands that define the image of an entire country abroad, is it possible to promote new names, including theatrical ones, in the current international context? we’ll talk about this and more, we’ll talk to the special representative of the president russian federation for international cultural cooperation by mikhail efemovich shvidkiy. hello mikhailte, alexander sergeevich pushkin is one of the main cultural brands of our country. they know him, they understand him.

but alexander sergeevich pushkin, i think i ’ll now say the most important thing, 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 mikhail ivanovich glinka, he lived in germany, died in germany and... in

this sense, i think that the world learned about pushkin through musical works, no matter how strange it may seem, the fact is that pushkin, like... who is the founder of new russian literature, he is very national, but 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, than anton polchekhov, and he is the creator of the russian repertoire, pushkin is the creator of russian literature, a new , new language, completely new. 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 ways. maybe 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 they study russian culture, russian literature, where they do not study pushkin, but it seems to me that he is primarily a deeply national writer, and this does not mean that dostoevsky is not national or tolstoy is not national, but they live in a different time, this time. and so on and so forth, there are many reasons, i won’t explain now, that’s why mahad magandi comes to see tolstoy, that’s why they say about tolstoy that

if he had been alive, there wouldn’t have been the first world war, that’s why chekhov and shakespeare, two the most popular and frequently staged playwrights in the world, therefore tchaikovsky. more important than for everyone else, i repeat once again, this does not at all imply its global significance, if you turn to nabokov’s lecture on russian literature, then everything is like another question would be the quality of translations, because it is difficult to interpret,

oddly enough, and i think that there is some kind of problem here, but it is also an amazing thing, pushkin, who in general... never traveled abroad, as we know, well, moldova, well, yes, and odessa were not abroad at that time, it was, of course, the repository of such a world cultural tradition, just read boris godunov, where all the reflections connected there with shakespeare are obviously completely, just remember . i already remembered byron, you can remember another wonderful one - the scotsman walter scott, it is enough to remember the songs of the western slavs, and so on and so forth, to understand that pushkin was a receptacle of world culture, unusually educated, unusually deep, unusually

subtle. well, okay, but how can one explain this comprehensibility of pushkin, the fact that he is translated, the fact that he is studied, after all, this requires, as it were, knowledge of the language. well, you know, i think so anyway. pushkin , i repeat, the discoverer of the new russian language, the creator of the new russian language, therefore a new russian literature, if there were no pushkin, there would be no one else, neither gogol, nor lermontov, nor dostoevsky with tolstoy, there would be no one, pushkin in this sense with his amazing, he was an unusually emotional person, passionate by nature and so on , while some kind of great renaissance harmony lived in him, if you like.

as they said in the old days, that translation is like a woman, if it’s beautiful, then it’s wrong, you see, and if it’s true, then it’s not always beautiful, so we read there, say, faust in parsnip’s translation, understanding that there are some discrepancies with what goethe wrote, still, transferring it into the native language requires a special, special blow, 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, but it’s important because there, well, there were great translators dickens, russians, yes, i found one of them, it was pomirantsova, when every word was discussed, when every turn of speech was discussed, i also found kovaleva, about whom they said that her. russian version is better than english kurt vanegut many times, and so on, there was ivan kashkingeni and the translator there hemengue, this is a special understanding of the country from the language that you are translating and at the same time an understanding, first of all, of russian culture, because it is always very difficult to find accurate idioms, idiomatic expressions that do not match, humor doesn’t match, some things don’t... catch, pushkin has good translators, of course, and in countries like

japan, yeah, yeah, he translates into japanese and into chinese, i can’t evaluate them, but they say that there are translators from chinese to japanese who have practically made the japanese and chinese readers fall in love with pushkin, in general it’s good when poets are translated by poets, when great prose writers translate: a correct translation. there are many things that, in this sense, make a poet recognized in another

culture. it is very important when an author, recognized in another culture, translates a foreign poet, playwright, prose writer, then with his name he also illuminates his recognition to foreign-language readers. in general , the russian school of translation, russian school translation, this. he translated rasul gamzatov, that’s all we read, well, in general, to a large extent,

because there was another translator who translated gamzatov, but grebnev was one of those people who kind of did it, he was a genius , rasul himself, like his dad, was also a national poet, but translators made him for the russian reader. it is important to travel around russia because to know the country in which you live. the chelyabinsk region is a unique place, there are more than 250 lakes on the territory there are more than 10 national parks in the region. karelia, oh, it is beautiful, there is beautiful nature, the cleanest rivers, large forests, delicious berries and mushrooms, nature. irgaki park, come there to ski and relax. kuban is known for its

cossack history, sevastopol, it captivated at first sight, the beauty of baikal, and kamchatka, sakhalin, it’s all fascinating, my favorite place in russia is all of russia, travel around russia, tell me, if i’m talking. about the symbols of russian culture abroad today, yes, say brands, i am not yes you just recently talked about this, that the list of such brands today... is quite limited, if you take a random foreign reader or viewer or listener, then this list will consist of the bolshoi theater, mariinsky theater, tretkovka, hermitage, pushkin museum and a whole number outstanding russian performing artists, but this list is quite

conservative, if we talk about such commercial tours, and about the establishment of the soviet ... union outside the soviet union, then, well, you’re probably right, although, maybe not completely, well, until the year thirty-seven, 1937, soviet theaters traveled abroad, and these were theaters that were supposed to demonstrate that the bolsheviks were not hostile to great art, we are talking now, russian ballet, russian the painting that dyagelev carried was a classic, there were no classics. then he brought cutting-edge art, and strovinsky worked with picasso, he once wrote scripts for russian ballet there, and so on and so forth, he assembled international teams, the most modern artists who sometimes caused such a scandal, a scandal, and why was it so popular then, all these ballet rus, everything connected

with the moscow art theater tours, because they opened up the world. new, it was, and not only, excuse me, dyagelev brings, these russian seasons, when he begins, the very active formation of a new political life begins, the entente is taking shape, france is getting very close to russia, paris perceives the russians , remembering that alexander i did not allow france to be destroyed at all after. napoleonic wars, it was he who insisted that france was still such a big country and monarchy, yes, they remembered this, this is also an important point, every nation has its own memory, in the mid-fifties, when such extensive contacts with foreign, well, maybe not so

extensive, then it was the bolshoi theater, 1956, london, yes, the mariinsky theater. soviet circus, yeah, symphony orchestras, individual performers, yeah, you know, as he said that like there was such a genius, sol yurak, yes, yes, a genius impresario, who he took soviet groups, there was a big theater there, he says what soviet-american cultural exchanges are, well , this is when jewish violinists from america go to russia, jewish staplers come from russia. to america, well, in a sense , musicians came who spoke the same language, of course, and brilliant performers came, bernstein came, eurgen ormandy came, the chicago orchestra came there, balyanchin came, also from russian roots, by the way, well, look, when we say

big theater, it’s grigorovich’s ballet, for example, the sixties in the late sixties, which were very modern. who reviewed a lot of people there, the same swan lake, let’s say, i don’t even say spartacus, which traveled, there was modern art, in this sense, there is, say, the moscow art theater, which went to london in the early sixties, yes, it was in my opinion, well, it wasn’t the beginning there, the mid-sixties, he lost because he was bringing classics, which were very popular, by the way, after these tours, conversations began about what was needed, you should call efremov, yeah. yes, yes, but , nevertheless, they really know those large groups that were promoted by the then state concert, again, the names were brilliant, rastopovich, vishnevskaya, i don’t say atlantov, milashkina, and so on and so forth, marinsky’s ballet grapes there, there is

one more thing, the fact is that this is all of me. the time, so to speak, was so disturbing and disturbing, there is conservatism of the public, yeah, well, for example, now the art theater tours in japan were successfully held, yeah, but mkhat is an understandable abbreviation, gergiev, a clear name, they loved temerkanov, they want to see those they know again, and for them, they know that this hello, man... this will be the pleasure that they once received and want to get it again. it’s very difficult to promote contemporary art, because i always talked about what we should show to modern russia.

theater to a greater extent, again, what we want to show, you know, this is also a very important matter, because we, after all, russia today positions itself as a country traditional values, conservative in many ways, but at the same time actively developing contemporary art. the fact is that contemporary art in russia, it is one way or another connected with tradition, all the same, there used to be a russian avant-garde at the beginning of the 20th century that caused a certain horror, read what overchenko wrote, for example.

this is a reflection of today's russian reality, yes, people want modern art, but they like to be surprised by what they know. the fact is that we have, for example, conductors who, a lot they devote time to modern musical art, the same yuri abramovich bashmet, in each concert there are one or two new works, in advice, the fact is that this is a matter of public policy, if we speak at all. so straightforward, yes, in soviet times not a single concert was complete without one

or even two new works being present in it, when the state orchestra or the orchestra of the leningrad philharmonic went abroad, they were told bach, beethovin, tchaikovsky, please, festive kuy, keipergenova, be sure to include in program, otherwise we won’t let you out, well, on the one hand, yes, but on the other hand.

that a tour is not only at the invitation of one minister of culture, the morinsky theater goes there for two performances or for five or there is a new opera theater, but it is that promoters appear who take you to 10 concerts, 15 performances, 20 performances, so was now, say, with anna karenina, and then this is anna karenina, who...

in none of the new states, in none of the new states in any country that was formed after the collapse of the soviet union, no, no, there’s no way to come and tour for money for a long time, it won’t work, we need sponsors and we need the state, memory. zavorotnyuk. we

remember a wonderful person, an amazing woman, a colleague, a friend. anastasia zavorotnyuk, seventy-first year of birth. she didn’t feel very well, everyone thought it was just a nerve injury. they went to check and found it. that is, you can say, practically yes on your birthday. i noticed that she had a new one on her chest, new pendant, rt. i turn around and say:

a person can only in art, only art can defeat death, on saturday on the first, and if you still start from the beginning, yes, pushkin, gogol, glinka, whose anniversary is also this year, right from start the stoves, this is exactly the path we took with europe.

conditions it will be very difficult for us, 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 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 are staging, excuse me, quiet don, an opera performance, you understand, yes, they are staging.

in india everything is different, a huge country, one and a half billion people, different, there are few platforms for museum exchanges, there are only...

and so on, well, different countries, they require a different approach, it’s a rather complex story, so, well, the world is big, as they say, here you need a certain serious flexibility, despite the fact that you will understand that there are also tasks such as promoting the russian language, and so on, and so on, and so on, educational projects, because in general, in order for the public to perceive russian culture abroad, it is necessary that there learned russian. so that some are graduates of russian schools, universities and so on, this is also very important, it seems to me that this is such a serious story, needs need to be formed. you are the founder and artistic director

of the moscow musical theater, in addition to the fact that you license some works, to a lesser extent than what you see on the poster, you create your own musical, you create a russian one. tell me, what do you think, given the current moment, yes, you feel that there 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 theatrical landscape, we shouldn’t play western for one simple reason, it’s no coincidence that in the last 10-15-20 years...

they staged it, it was staged even before us, there 12 chairs, staged by two captains, here is the tragic story that we know at dubrovka, these were russian musicals, of course, but there was no theater, a musical that works like a stajon opera, we play there 20-25 times, pause, put a different name there and so on, i think this is correct, well, you created a system, we created such a... yes, yes, history, because staging a licensed musical is not interesting, but for me, uh, this is a business, and i’m not in business , this is a completely different story, for me this is an opportunity to create russian musical and get

pleasure from it, when you are from the idea of ​​a line that hasn’t even been written yet, something is spinning in your head, you think it would be nice to try like this, like this, like that, like that, and something suddenly works out. we staged only one well-known title, this is the princess of the circus, and then we remade it radically, with the permission of the copyright holder at that time, it was kalman’s daughter, ivonka, an absolutely wonderful woman, we then did it with the canadian theater with the canadian circus, we did it all together, they rewrote everything, but the main thing is that the action of the original takes place in the stanislavsky circus, in general in st. petersburg, here it all happens in france and the intrigue is written in a completely different way. but this is the only name that is known, we create everything else ourselves from beginning to end, i believe that in principle, if we are talking about that, drama was also not born in russia, i don’t want

to offend anyone, and yes, drama opera, why won’t there be, can’t be - a russian musical, i don’t understand, but it’s absolutely, no, well, it’s the same pattern is where we started. but we look at one criterion because , again, moscow st. petersburg is not associated with commercial art, we do well with high art, like it or not, they come to moscow.

then it means to the moscow musical theater, but if we speak very seriously economically, look, to new york, where broadway is such a theatrical heart, despite the fact that it exists in broadway broadway, it’s still a theatrical heart, yes in new york, well, these were the numbers before covid, uh, about 46 million are tourists, of which, as drivers say. will laugh, about forty

is domestic tourism, 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, to the metro opera, but that’s all they know that they need to go to broadway and watch some fashionable musical, but here it means that they need to go to the big theater, and this logic is simply, a little different, although i can’t complain, you know, here we are in may, we 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 see the circus princess, but that’s not what i mean , i’m just saying that, in principle, it’s a russian musical, well, i’ll repeat it again, russia is a country in this sense

capable of choosing any genres, now i ’ll tell you something else, yes, but have you ever heard anything recently that who -he wrote a new operetta, no, no, everyone is writing, everyone is already writing musicals, that’s the same thing very peculiar, i haven’t even heard that an opera has been written, yes, no, well, operas are still written, yes, from time to time, but no one has written a new aperetta, despite the fact that go tell me, moscow cherymyshka, which is so fine. the 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". hello, the program is sunday time about events of this day of the past week. specific peace plan: the conditions are very simple. ukrainian troops must be completely withdrawn from donetsk. lugansk people's republics, kherson and zaporozhye

regions, not for a while, forever. this is not about freezing the conflict, but about its final completion. the opponents of the show have zombies and swiss pshi, the russian army is in action, straight forward, really handsome, in training. defenders of the fatherland, personnel reserve. summons for ambulance! under one broom and the old man took me to the iskomat together with the children and the dog, and nato doesn't need ukraine, our people are in havana, wow, a russian submarine in cuba, right now,

a refreshing scene, like something out of the cold war, a message that sounds very clear. restless on the beaches of miami, the brightest minds, no one has thought of this yet , but we have already done it. the most golden hands and hearts. thank you very much, thanks to the doctors on their holiday. so, a cessation, not a freeze, but a complete end to the ukrainian conflict. russia has proposed a specific plan. negotiations for conditions reflecting both the current front-line realities and the state to which the west has already brought world security and does not stop escalating it. vladimir putin explained in detail what exactly we want. his choice of place for this performance carries a separate meaning. anton vernitsky for more details. the meeting of the president with the leadership

of the ministry of foreign affairs as an indicator of russia's patience. it’s not for nothing that vladimir putin , when opening it, recalled that last time here. which enshrined the principle of the impossibility of starting a nuclear war, and nato - a treaty excluding further expansion of the alliance to our borders, as well as abandonment of attempts to include ukraine in it. what did the united states and nato do in 2021? they pointedly abandoned the agreements, turning ukraine into a springboard and ukrainians into cannon fodder.

as soon as they declare in kiev that they are ready for such a decision and begin a real withdrawal of troops from these regions, and also officially notify about the abandonment of plans to join nato, our side will immediately, literally at the same minute, order a ceasefire to begin negotiations. i repeat, we will do this

we will, of course, immediately and at the same time guarantee the unimpeded and safe withdrawal of ukrainian units and formations, let me emphasize.

agreed back in the course of the istanbul negotiations in 1922, everything about demilitarization was clear there, everything was spelled out, the number of this and that tanks, everything was agreed upon, of course, the rights, freedoms and interests of russian-speaking citizens in ukraine, new territorial realities have been recognized, the status of crimea, sevastopol, donetsk, lugansk. people's republics, kherson and zaporozhye regions, as subjects of the russian federation. in the future, all these basic fundamental provisions should be recorded in the form of fundamental international agreements.

the fact that not the entire collective west, to put it mildly, outright rejects putin’s proposal, is shown by the words of us economist jeffrey sachs, recognized by times magazine as the most famous in the world, he is one of the three most influential economists of the last decade, by the way, he is one of the developers of american policy and shock therapy for russia in the nineties after the collapse of the ussr, that is, a person who clearly realizes that it is unrealistic to tame russia, as the united states did and is doing with some states. i don't want my family to be in the middle of a nuclear war. they still believe

that putin is bluffing, they continue to believe in their economic power, they are playing. putin said: no, for you this is a game, for us this is an existential question. they thought they could do it. i spoke with one senior official who was confident that russia would stand up.

the constitution of ukraine does not provide for the possibility of canceling or postponing

presidential elections. consider ukrainian legislation.