directly publicly, so that sasha doesn’t think, zhulin, that i’m going to catch him there, i directly ask you, let me do a demonstration dance with them, and if zhulin offered you such an option, that you bet next year on a russian challenge for kotselapov’s number, but you don’t raise the question of money to anyone anymore, or is there already a question of money, but so far something with money is not very good, you are always not very good, everything is fine, this is a jewish yes.

in all the rest, well, we are just looking for ways to neutralize alexei yagudin, because not everyone is happy with his constant victories, i repeat that for me this is lionel messi, who will receive the golden ball every year, maybe we will succeed, thank you for actually talking about the fact that you can win more than once, lesha, for real outstanding skater, and the fact that it's not so easy to really find those elements, because of course, well, the base.

right here he seemed to let go, like a child who is jealous anyway, well, he’s like yes, yes, please, i just want you now, i need it now, that’s what, and what here? you know, and every time i’m alyosha, well , like lesha, and he, of course, didn’t let me run through all the others, find this solution, find a topic so that he could talk and take away the story. i think

that lyosha should beautifully give others the opportunity to win next year, he showed himself perfectly, he is above the fray, or maybe he was just distracting you so that others wouldn’t create masterpieces, well, he wasn’t distracting, i don’t think he was like that, he just wanted it, he really really wanted it very much, and this story, in principle, is like that it turned out that when liza tutamysheva called and also sent music, i realized that we, in principle, are practically the same as lyosha, only well, recordings. we have poems there , there is an instrumental here, i’m sure that lisa too, i think that of course, ideally, yes, i don’t know what lyosha will tell me after this, but ideally, of course, the first two places could be divided and the judges could already get your bearings somewhere on the third judge, it was clear that, in principle, the two of them had gone into the lead and it was possible... but this is the judge,

so not from figure skating, so that they don’t could navigate, and this is great, in fact, i think that there was even such a key story there, in fact, boris reifman decided everything, because he, feeling, gave first place to liza, i remember, but in order to even out, he should not have given a single point to lesha, you are touching such, touching such a serious literary source, such a hero, this is a very difficult dangerous and responsible path, so you are the only one who understands, at the beginning of this path, i wish you success in comprehending this this way, because...

here lyosha took those points, when it was already clear that everything was already done, and that’s just it, but in general i want to say, to me, like a person who puts well, i’m just in i bow deeply for the jury that has already been sitting at a russian university for 2 years in a row, this is fantastic, in all 16 years i have never managed to get boris eifman to get a jury for the summer period, although we constantly... and we did this, because of course such a peak, that’s just enough of him, of course alla segalova is outstanding and the actors are everything, well, for me of course, i try to look at everything through the eyes of boris eifman, but for me this is such a supreme commerton. tragic

or lyrical numbers, they are much better appreciated, more in demand by judges and spectators, than cheerful, positive numbers. funny, maybe, what topic would you suggest for the next russian challenge, in order to satisfy everyone, so that this scale at least swings, okay, it doesn’t stand level, but doesn’t tip to one side, this is the eternal problem of the ice age project, always uh dramatic numbers, winning numbers are life-affirming , yes, they are funny, superficial, just about happiness, so since i direct the entire episode myself, and even when you don’t look... that sasha zhulin is working, we don’t care, i say that there should be at least two life-affirming numbers, so that in total i have two, you have two, we should have four numbers about positivity, so that the whole episode looks alive, you can just dance rock and roll, you can just, i don’t know, do

some kind of... then a cheerful cossack girl, a lot of life-affirming music, but it doesn’t connects from the point of view of the hero's empathy, you applaud in the audience, bam, did you like the program from those that you did not have a hand in in this russian challenge of this year? well, of course, this is masha with lyosha, with the hedgehog in the fog - because again, well, again, a dramatic number, but these words and this message, of course

, it kind of worked, by the way, i’m surprised, in principle, pyotr gumennik had an idea that was very interesting. in my opinion, i’m surprised what the jury is like, they somehow didn’t note at all, there are some other directors, what do they have enough in order to win, to win against overbukh? i think that very often many, well, it’s like the first mistake of those who look at the idea that we’re going to put it up now, i don’t know, i don’t want to offend anyone, but some kind of prop, it’ll save us, that ’ll be all , so we kind of made an application, then we went again. work, it is very important to continue the story throughout the entire act, it is much more difficult to get started, but the story is clear, we outlined it at the beginning, then plus or minus movement in accents, here they are they shouldn’t just have an accent, they should pronounce every movement, and there

’s a little history here, after all , the division of the beginning of the number, then the technical richness, sometimes they hit the accent well, they didn’t hit it, plus or minus. and the way out is probably this: after all, i’m trying, to which i pay a lot of attention, and why did you take her hand, why did you take it, why can’t you take it by the shoulders, it’s too rude. put your hands down, raise your hands, press, hold, let go, no, rude, again, bad again, we stand for a long time, we look, it’s all very like that the process is important, after all, while everyone is chasing this very literary idea, here we have an idea, well, we kind of told it in the first 20 seconds, then we moved faster, in general , of course, amateurs are in a hurry, why do professionals win...

happens, well, i think that tatyana navka and roman kostomarov, after sports

, skated better than they skated in sports, they have an outstanding free program, and carmen, well, and an oriental, oriental program, but still there was a lot of sports there , just like that, when they were already leaving this it was impossible to take your eyes off, by the feeling, by the fullness, when they do not renounce lovingly and... the modern generation, not your generation, not the generation before, has the feeling

that we have done everything we need to do in sports, but indicative , well, we can jump a couple of triples, in general, take it, we’re already going the way we’re going, not really someone who continues to develop himself, continues to search, for example, dimka aliyev is now doing a somersault, that’s so good, yes , basically, the main position, we have already won everything and really... it’s probably from the audience goes because the audience has spoiled them, everyone is received wonderfully, everyone is loved, we are all loved, but where are these dances, which i don’t know, the bobrensky cowboy, but it’s been a long time since i looked, yes, which continued when the champions were still in demonstration performances we looked for images, found different forms, taught new elements, tricks, some unique elements, mainly at demonstration performances now the people

ended only then on the ground, a career that... continues, you have to

confirm every time you go on the ice to conquer everything new and new viewer. how realistic is it in russia to make contracts that would oblige athletes to show a high level at your shows, for example, on your tour? uh, well , we have our own mentality, we are afraid of contracts, we seem to trust everything, yes, it is considered to be humiliating, contract history, but probably in general, it would be more honest for everyone parameters, that is, there is a certain base, it is clear that a person can feel differently. does not mean that there should be there, it happens, it goes, maybe at least attempts are made count, not count, but some kind of story, because in general, if you take away all the lyrics, then you, uh, now i’ll say a terrible word again, you buy a service, a service, a person’s performance, and he’s there, yes, that’s it he can try, that’s history, but on the other hand, as you

write it down, there’s a number in the contract that the ski audience will win there. “i need three triple jumps there, well, yes, three triple jumps, there’s a triple throw with pair skating or two high lifts, in principle, but i think that would be correct and maybe even everything the rules of the game are clearer, i’m generally always for contracts, i’m for contracts in case of transitions from one coach to another, the fact that this topic was often discussed, now everything has calmed down a little, because there is no loud transition, but this is also a very important story your..." well, because i'm not a coach, your insecurity in terms of the fact that at some second the person in whom you have invested most of your life, your knowledge, your skill, goes to withdraw dividends with another person, well this is understandable, everyone has their own destiny, but you have to for it receive compensation, including financial and compensation for your time,

then you understand that by investing one way or another you are working for yourself for him for... the country in the end, but everything must be compensated, and for me it was so compensated by that coach who hired a ready-made student or the club that hired this coach, that is, everything is quite clear here, well, you buy an almost finished product, and compensate who made it - returning to your direct line of work, your favorite ice show, not do you think that this level of... what we said is falling, yes, in the execution of elements, the attitude towards programs, it also suffers due to the fact that now the competition is very high, including among you, because a lot different tours, a lot of shows, a lot of people who do this, athletes skate absolutely everywhere, in principle there are no exclusive relationships, well, one won’t take it, the other

will take it, so strain, i don’t really have anything special to add, you can’t resist this wave ... there’s no way to stand, well, you agree with this, or maybe i’m wrong, athletes should not be invited or not invited, there is a name, your name, and you go out, and the price of the name speaks of internal responsibility, responsibility for yourself, for your name, so here , probably, here i probably don’t agree with you, that this is discouraging, and another thing is that you simultaneously touched on another topic, the fact that everyone skates everywhere and practically... not one show has some kind of exclusivity of its own, but in my time, of course, i remember it as from the golden age, when we were alone for the first 12 years, in general we were absolute monopolists in this market, including i had an agreement with the guys that they would only perform in my projects, and i, in turn, give them

a lot of work in general we all stuck to this, and objectively there wasn’t much other work, so... to hold on to everything, now, of course, it’s impossible to keep someone, you all get into a position, everyone says: guys, i’m sorry, but we need to earn money here , here, because of this, of course, and, well, the audience wins, they see everywhere, but still, of course, i would like, ideally, i think, as a producer, as a director, of course, i would like for each team to have assigned its main headliners, well, when you go to linkom, and you... i understand that there you will see this galaxy of artists, you go to the satire theater, you understand that there will be your own people there, and there is also such competition between everyone thinks about how to make your project better, this raises everything when there is an absolute migration of everyone, everywhere, this, probably not good, but this is now a given, there are really a lot of shows, we are, in

general, going through all the stages that once took place about 20 years ago in the united states of america. we all know that this was followed by quite a lot of stagnation, more often it was closed altogether, i think that in any case, we are also waiting for a moment when the interest in such a large number of ice projects, one way or another, well, it will drop little by little , two or three projects will remain there . well, we continue our conversation with ilya. camel, it seems to me that there is some fault here, because if we are talking about the creation of stars, now you told about everything that is being done, this is the creation of new stars... we had 11 olympic champions in sochi 10 years ago, you had the only show, and where are the 11 olympic champions in sochi in your show? well , it’s always impossible, but you always

held on to the champions of 2006 and for the most part it’s still your corpse, don’t you think that someone else just needed to earn money, they also wanted to be the same like navka kostamarov, like domnina shabalin, like egudin in the end, of course, of course, but... but what a story here, here you are faced with a dilemma, these are the names you said, these are the people with whom i walked there 10 years, yes, and you understand that we came to a certain story, we won the audience, we took off as a family, we traveled together on the same buses, slept in sleeping bags, we grew up, then you understand that new champions appear, such how are the exhibitions there, already there twice. and so on, there’s vika snegita, well there you go such a galaxy, but here it turns out to be a story that you, of course, i want, and wanted, continue

to want to attract here, but then you have to say goodbye to everyone, because this is not a rubber story, max, you understand, and for me i understand that this is a certain market capacity, but it still consists of it . the commercial component, there is a certain amount of money that is paid there, you determine the payment to the artists, here it is conditionally, i don’t know, it is 2 million rubles. for the show, you have to pay everything, you can't say well, now i’ll pay three, i can’t get them from anywhere, because they come from the sale of spectator tickets, the spectators are objective, they already have a cohort of 10 champions, but they came, but they don’t come anymore. the market capacity is not increasing, it turns out that you can’t get money from anywhere, that is, you want, you want to gather everyone, you want you to have everything, but everyone needs to pay for this

performance, so you are faced with a dilemma, or should you say guys, thanks for everything, but now i work for those who sell more, because naturally that the audience always wants fresh champions, they want, they love those with pleasure, but they buy tickets for those who have won just now, and this is a... the law, and you say, guys, this is how it is with me, or give us all the fees there in thirds we reduce you and so on, in general, this is some kind of endless story, so i’m sandwiched, i’m partly between the truth of mine, somehow there’s sitting on the sidelines, one might say, with my old farts , and the so-called fresh blood, and which brings, in general, commercial components, here everyone will always have their own true, that’s certainly true... among the guys here too, but objectively, with the number, you correctly said 11 champions there and in general how everything grew, with the surge

in popularity, which of course happened largely thanks to women’s single skating, a huge there’s also an army of fans, completely different, i still wouldn’t put on one show, two or three would still appear, here in general i think that now it’s somehow. it regulates itself, we all have a biological age at which sooner or later you you stop skating in ice shows, and aren’t you afraid that when your cast, which you love so much, who you, with whom you slept in these common sleeping bags on buses, just at some point everyone else is new blood, also about which you speak will remain dismantled, you speak golden words, of course, everything somehow ends, passes, here the question is already there

of honesty, yes, throwing and so on, of course, i am a business person, i attract, i honestly do not suffer the fact that if we now take a recent show there in st. petersburg, both lyoshka yagodin and tanya tatmyanina performed there, but misha nagalyamov and markratyuk also performed there. there is no such story that the same thing is happening in the tour now, and that is, you still found this golden mean, that it was found, and moreover, the guys even somehow want to go to another show there with lyoshka yagodin, in any case, when i burst into the show there, and at that time there were theaters there, he had already kind of left, there was then the igor bobrin theater, such programs, but they are like that... it seemed to us that everything was already like this, there was some kind of moss in all this, we will now enter, we will now be fresh, i will show what kind of show it should be, it should be dynamic, bright there with all its

ideas, now i understand , that... that i'm already somewhere this flies, probably one of the guys will appear now with some other approach, who will come up with a different solution, while no one has thought of it, while we are all working according to the standard, well, plus -minus the presenters announce the numbers, the numbers are different, a little on one topic, on another, everything is narrower was invented by averbukh according to his tablets, well, we are, well, not averbukh, averbukh too, we are all followers of others, of course, my whole theatrical movement. this is to follow from tatyana tarasova, and i always say that this is exactly when i saw their performance at luzhniki, when i was very little, including even then they were together with igor bobrin, and this for me is right then i was put off that i had to come to these performances, so we just all, we all continue, we all follow each other in the same, in principle, russian cities, in the same large skating rinks, places of worship, they also come there for

competitions, and how... to sell the number of tickets and how many people do you think there are in the conditional yaroslavl, vladivostok, perm , will they withstand this, no, how many times a year can he come to an ordinary show, i think that the base is no more than two, i think that there is constant rotation, we are probably a little lucky in terms of handicap, but we are talking about those notorious ones ten years, somewhere around here, starting like you about... no more than once a year we come to one city, so as not to overfeed, so as not to have the feeling, but during this time we have formed a gender of people who, i can’t say that they are fans there, but they are it’s like some kind of reflex for them to come, yes, there is a tradition, yes, we are getting old, they are getting old,

you have realized yourself not only as a director of ice shows and figure skating programs, but also as a director of large public events, and isn’t it petty is figure skating already for you? thank you very much for saying about this, because for me this is just a huge part of life, which still goes a little unnoticed, because there is a stamp that you are a figure skater, even now ilya averbuk is a figure skater, what kind of skater is there already, well , this is just for me now even more

than ice, and only a little bit of ice. became a hobby aside, yes, i love it, i’m grateful, but my main ambitions are connected precisely with these projects that you mentioned, things that are very, very, very emotional, and uh , for me they are very important, and even, maybe, this is one of the options, when a huge number of different ice projects appeared, i searched, i began to look for my exclusivity in such stories, because this is also such... such a drug, when you have more than a thousand people, well, they are not subordinate to you, but in general they depend on your decisions, you are a karabas, a karabas, you also like to manage, i like the volume, i really love the volume, large volume events, this experience that you get off the ice with staging huge public events helps you win a year in for years in the russian challenge, because for example, well, it’s not only on the russian challenge

that brilliant productions are staged there, yes, that is, are you doing something? maybe you pick it up there and bring it into your ice work? thanks to lednikovoy, roughly speaking, i was getting my hands on this production, because every week you do 10 numbers there, but you yourself were skating pale, and what we have in common there with you is what i really like about you. when i invited maxim to ride in the ice age with his partner, you came, looked and said: “well, we’re definitely we will win."

a big performance, because your performances are always special and maybe you have some plans to stage something new, interesting? thank you very much, here i have plans, we are now doing such a big job, i’m afraid to stare or now we have it everywhere,

and i want, of course, to make a big program, long-term, stationary in moscow, well, this is a small hall where people go, and it seems to me that there is such a great demand for this now, i won’t do a program with them, but work. we are heading in this direction, however, i i think that there may be absolutely exactly what you were talking about, and rotation, and some people play for a week, others play for a week, little by little there will be enough space for everyone, well, we’ll ride, i think we ’ll end on this note our conversation was really very interesting, thank you very much for finding time in your busy schedule to come to us. to visit, i’m very glad, thank you very much, thank you, it was a free program podcast, my guest was a real guru of figure skating and not only, ilya overbukh.

hello, this is a podcast of witnesses from einstein and his leading historians. cinema natalya ryabchikova and stanislav dizinsky. we talk about our favorite, half-forgotten, forgotten, perhaps completely unknown soviet films, about who filmed, made, and watched them. and today we will talk about one of our favorite actors, who turned 90 years old. he left us just recently, this is, of course, alexander shirvint. we will talk about why we call him great, although he mostly played in films episodes, small roles. indeed, here you are. she said, a great actor, when i try to remember his roles, i always remember him , that is, we remember, here’s a film where shirvint played, or oh, look shirvint, and this applies to absolutely any films, like films by fildar ryazanov, where out of friendship, he agreed without any tests, and to play roles,

well, probably his most famous role was andrei mehkov’s drinking companion in the film the irony of fate, after which he even woke up a little famous again, so in the rest of the roles, well... yes, as if his character has names, surnames, characteristics, but we still remember that this is shirvint, and this, unfortunately, was the case throughout almost his entire film career, the main roles, he didn’t play in general, with the exception of one film, one role in the film womanizer, well, purists, maybe shirvinta’s fans will correct us and say that in fact he has a lot of main roles, but let’s start in order , we’ll tell you exactly why this happened, well, let’s try to tell you, yes, because in fact... a significant part of his life, but at the same time, of course, he is primarily a theater actor, a boy from an environment associated with

the theater, with music, a boy who knew many people whom we now call great, yes, someone was friends with his mother or worked with her or knew his father, anastasia tsvetaeva, their daughter, came to them... for example, this atmosphere is so creative, it is clear that it could not help but influence the child who ran away from school for some reason in childhood, so that go to the movie theater to watch a repeat movie several times in a row a day, a film of some type tanker derbent, as he recalls, yes, that same re-film cinema, in the building of which today the teatniksky gate is located, then, in general, it was one of the most famous cinemas in moscow, which existed even before the revolution. in this building, well, somewhere where tartas is now, right at that very crossroads, it’s actually located, and it was such a place, one of the main such cinephile places, because the age of the film is not long, yes, the citor film allows watch all the old hits on the big screen,

today, of course, there is no such problem, then it existed, in fact, from such an already forgotten selection of paintings, the first paintings of alexander shirvint shortly after his graduation from the shchukin school, but he began quite generally... cheerfully , although by chance, in the film “she loves you” from 1956, he plays, well, the second main male role, the first, the main one, plays a comedic, sort of main character, and a romantic one at the same time.

the film is being filmed retro a couple of years later, 19 century, there they generally replaced his voice, re-dubbed it, there he is shirvint, but not shirvint, vysotsky was also re-voiced at first, today it looks strange, in general, then, probably, it was unpleasant and unusual for the actors, but letters from young shirvint have been preserved to his to the wife from the film sets of these first films, they were published, so we actually know about them. where he is very worried that this is

some kind of endless red tape, that he can come to the studio, say, to the pavilion, and they won’t film him during the day, it won’t reach him turn, and these first filmings disappointed him a little, the fact that the film crew is assembled from different actors, different temperaments, generally different people, from different studios, from different theaters, that everyone could end up quarreling, that there is at least some -that, some kind of feeling of family, here in the cinema... this was not there for him then, really random people got together, did some great work, so they all went about their own business, you work in the theater from year to year , there is a friendly team, there is a repertoire, there are meetings regulars, troupes, in general, you really are stewing in one cauldron all the time, although the main thing, the main thing is to find your own theater, he didn’t succeed right away, from shchyukinsky he came to the film actor’s theater for a year, and then... he was in lenkom , has not yet found, in fact

, the theater with which his name is most associated , this is the theater of satire, but we will get to that, and we, the audience, yes, perhaps, have not seen these early films, the audience of later decades not so often repeated, for us shirvint appears on screen in the sixties, yes, and there he shows himself as a brilliant master of the episode, the very case when the actor does not need to be dragged along , waiting for the entire filming period while being created. hello, the translations are fresh, how are you doing,

felix? i live, my mother could have lived better, she wouldn’t have fallen apart, you know what the story is, you and i are paid too much in wages, but in general i think that a true scientist should receive very little, he should work for the sake of enthusiasm, maybe i think wrong , if i think wrong, let the elders my comrades will correct me, but why do i always want to say nasty things to you, toptygin? what is it for? i think for the rain. everything is much simpler: you eat a lot, evdokimov, but what is the dialectic of life? the dialectic of life is such that when horses are well-fed, they beat their hooves. felix taptygin, what a beautiful, simple name for a soviet scientist, here he appears in the film for the first time, he appears again later, and he is part of an accomplished gentleman, on the contrary, he was rather an accomplished one. she didn’t marry him, in general, yes, part of the heroine’s past life

doronina, who, for whom the present is precisely the hero of alexander lazarev, but now he appears here for the first time, everything, and we already understand what kind of person he is, how is this, what is this? by the way, the voice, it’s not for nothing that we said that in the first films they either sang for him or generally re-voiced him, how much the image of shirvint on the screen is connected for us with his velvety, so imposing, so mocking always, like in general from the company. he acted for some time at the variety theater under the pseudonym at the very beginning of his career, alexander vetrov. is it a simple matter?

pseudonym stanislavsky. actually, why stanislavsky? because, well, personally , i loved shirvint when i watched it for the first time. a long, long time ago, a film, come tomorrow, about a simple russian singer frossya burlakova, a girl from siberia, who comes, absolutely naive, to moscow to enter a music school and, uh, being late for exams, she accidentally runs into two idiots, loafers, in the corridors of this school, who introduce themselves to her as stanislavsky and nemiroevich danchenko, he says: yes, yes, yes, i heard about you somewhere, but i thought that you... still older and shirvin says: yes, yes, well, everything happens, everything happens, in general, yuri belov and alexander shirvint play two, well, lovers of practical jokes who deceive, yes, in general, he treats the young girl quite cruelly, indeed there is

a huge talent in general rodil is quite autobiographical, arranging for her an audition for a casting, a fake casting for which... there was a play by edward radinsky, in fact there was a production by anatoly efros, where he played the same role, shirvint played this felix himself, so his confidence in this role, it is also based on the fact that he played it many, many times, in fact, by this moment, by the mid-sixties, he in

moscow, at least, is a real star, and it’s not even about the cinema , that is, definitely not in the cinema, or even not in the cinema at all, not even in the cinema at all. it’s not even about the theatre, it’s about skits and it’s about various special anniversary performances, parties that took place in the actor’s house, well, what mutated into corporate parties, then still existed such a fun entertainment for the whole team, whether it was a kemetographic or theatrical skit, originally appeared at the turn of the 20th century, when the actors themselves, as if relaxing, all got together and portrayed. then this is completely out of character for them, yes, when acting on stage is not work, yes, it’s all for pleasure , and shirvin comes to the actor’s house, where such performances are regularly staged, such as the topic of the day or new year’s, for example performances, and it turns out to be incredibly popular, and there he begins to hone not only your ability

to create an image for 5 minutes, yes, but also the ability to write it and stage it, well, i would say that this is such a direct pleasure. in company with derzhavin, yes, derzhavin is a duet about which, well, like tropunka and shtepsel, they were always known on television, the eighties and earlier, of course, by the way, for daroponka and shtepsel. shirvin also staged performances, we now say stand-up, once they called it conference, well, that is, stand-up is a person who, as it were, carries the entire performance, and the conference - the one who talks in the audience between numbers, yes, but there are simply legends of such an entertainer, with...