despite the fact 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 the positive, so that the whole episode is watchable alive, you can just dance rock-roll, you can just, i don’t know, make some kind of cheerful cossack dance, uh, a lot of life-affirming music, but it doesn’t connect you from the point of view of the hero’s empathy, you applaud in the audience, bam, bam, like that for you to have this happen here happens only in dramatic numbers, but of course it’s impossible all the time, here we even agreed with the judges in the summer period that support the numbers of the guys who were agreed upon by the judges ilya yadislavich, but i heard something different all the time, it was on a general basis, we support funny numbers, we support something, after all, i brought him to light. whose program did you like

that you didn't have a hand in in this year's russian challenge? well, this is of course masha with lyosha, with the hedgehog in the fog, because again, well, again , it’s a dramatic number, but these words and this message, of course, seemed to work, by the way, i’m surprised, in principle, pyotr gumennik had a very interesting idea.

work, it is very important to continue the story throughout the entire act, it is much more difficult to start, but a clear story, we outlined at the beginning, then plus or minus movement into accents, they should not just be accents, they should pronounce every movement, and here there’s a little bit of history here, after all, the separation of the plot of the issue, then technical richness, sometimes they hit the accent well, sometimes they didn’t hit the mark, plus or minus. and this is the way out, probably this is what i ’m trying to do, what i pay a lot of attention to, 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, this is all a very important process, after all, while everyone is chasing this very...

literary idea, here we have an idea , but we sort of told it, the first 20 seconds, then we went faster, in general, of course, amateurs are in a hurry, and why do professionals win against amateurs in the russian challenge tournament? basically , it’s the professionals who win so far, if we take two seasons, they are no longer in a hurry, they already know how to work with a pause , they already know how to stand, wait, the amateur is in a hurry, they really want to do it faster at 1.00 elements per second. to invest, our guest today is a person, without whom figure skating would probably not exist in russia, ilya verbukh, i’ll go back a few steps, because i really wanted to ask you about one moment, usually when an athlete finishes, gradually, that is, it’s already resting on one’s laurels, with rare exceptions, it seems to me that two couples, one dancing, russian, one sports, i'm talking about wiki, of course.

program, but still there was a lot of sports there, so when they came out you couldn’t take your eyes off it, by the feeling, by the fullness, when they don’t renounce lovingly, these are indicative numbers that we all remember very well, which are before our eyes, for me navka kostamarov skated an order of magnitude higher than they skated in sports, few do so, to me, i would probably sharpen the question here a little differently, if possible, here ... there is a certain

feeling, for some reason, many figure skaters, i have a big complaint about them in this regard, as a person who conducts a large number of ice shows, as a producer, that ... especially among the modern generation, not your generation, not the generation before, has the feeling that everything we it’s necessary, we did it in sports, but demonstrations, well, we can jump a couple of triples, in general, take it, we’re already going the way we’re going, not really someone continues to develop himself, continues to search, here’s dimka oleev now sal, that's so bravo, yes, but basically the main position is that we have already won everything and... probably this comes from the audience, because the audience has spoiled them, they accept everyone beautifully, they love everyone, we are all loved, but where are these dances that i don’t know, bobrinsky cowboy, but it’s been a long time since i looked in, yes, who continued when champions, even in demonstration performances , looked for images, found different forms, learned

new elements, tricks, some unique elements, mainly at demonstration performances now people... withdraw dividends, and i believe that this is a huge part of the continuation of your career, where you have to develop yourself, find new ones, especially since you have time, you don’t have to chase quadruple jumps at exhibitions, well, at least two or three triple jumps, well, show us, we have some right away, that is, at we jump all over the place, and then we fight for one triple at exhibition performances, i think this is wrong, well, it somehow becomes especially noticeable in...

a person and he is, yes, he can try anything, this is history, but on the other hand, how do you write down in the contract the number that will be won viewers, can you write down, i need three triple jumps there, well, yes, three triple jumps, there is a triple throw with pair skating or two high lifts, in principle, i think that this would be correct and maybe even the rules of the game will be clearer to everyone , in general, i’m always for contracts, i’m for contracts. in the 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 and yours, because i am not a coach, your insecurity in in terms of the fact that at some second the person in whom you

have invested most of your life, your knowledge, your skills, goes to withdraw dividends with another person, well, this is understandable, everyone has their own destiny, but you must... is to receive compensation, including financial, and compensation for your time, then you understand that by investing, one way or another, you work for yourself, for him, and for the country in the end, but everything must be compensated, and for me it is compensated by the coach who took the ready student or the club that hired this coach, that is, everything is quite clear here, well, you are already buying practically. finished product, compensate, who made it? returning to your direct line of work, your favorite ice show, don’t you think that this level is about what we they said that it is declining, yes, in the execution of elements, the attitude towards programs, it also suffers due

to the fact that now you have a lot of competition, including because there are a lot of different tours, a lot of shows, a lot of people who do this, etc. .. there’s no way to stand, well, do you agree with this, or maybe i ’m wrong, athletes should not depend on the fact that they are 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 myself, for my name, so here, probably, here i’m probably not with you i agree that this is discouraging, but another thing is that you simultaneously touched on another topic, the fact that everyone skates everywhere and... practically no show has any kind of exclusivity, i,

of course, remember it as golden century, when we were alone, and for the first 12 years, in general, we were absolute monopolists in this market, including i had such an agreement with the guys that they would perform only in my projects, and i, in turn, give them a large amount of work, in general, we all stuck to this, and objectively different there wasn't much work. so everyone kept, 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, 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 band to have its main headliners assigned somewhere, well, how do you go to link. and you understand that there you will see this galaxy of artists, you go to the theater satyrs, you understand that there will be their own, and

there is also such competition between, everyone thinks about how to make their project better, this raises everything, when there is an absolute migration of everyone and everywhere, this is probably not good, but this is now a given, there really are a lot of shows, we are basically 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 than not it closed altogether, i think that in any case we will also have the moment when the interest in such a large number of ice projects, one way or another, well, will gradually drop, two or three projects will remain there. well, we continue our conversation with ilya. overbukh, it seems to me that there is some fault here, because if

we are talking about the creation of stars, now i told you 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 of sochi in your show, well , it’s impossible, even everyone came, but you always have you stuck with the 2006 champions and still do for the most part. i took off, we traveled together in the same buses, slept in sleeping bags, we

grew up, then you understand that new champions appear, such as there, already twice and so on, there is vika, well, there’s such a galaxy, but here it turns out the 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, you understand, and for i understand, there is a certain market capacity , but it still consists of it has a commercial component, there is a certain amount of money that is paid there, you determine the payment of artists, there is conditionally 2 million rubles for a show, you have to pay everyone, you can’t say, well now i’ll pay three, i can’t get them from anywhere, because... 10 champions, yes they came, but

no more come, the market capacity is not increasing, it turns out there’s no place to get money from, that is, you want, you want to collect everyone, you want so that you have everything, but everyone needs pay for this performance, so you 're in a dilemma, or should you say guys, thanks for everything, but now i 'm working... those who sell more, because naturally the audience always wants fresh champions, they want, they love with the pleasure of those, but tickets are bought for those who won just now, and this... and the law, and you say, guys, this is how it is with me, or let’s reduce all the fees there by a third for you and so on, this is in general , this is some kind of endless story, so i’m squeezed, i partly between the truth - mine is somehow 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 truth, that’s for sure. among the guys, and here, but objectively, with the number, you said correctly, eleven champions there, and in general how everything has grown, with the surge in popularity, which of course occurred largely thanks to women’s single skating, when a huge army of more fans came - completely different, one i wouldn’t have put on a show anyway, two or three would still have appeared, here in general i think that now... somehow the market regulates itself. we all have a biological age at which you sooner or later stop skating in ice shows. and aren’t you afraid that when your cast, which you love so much, which you, with whom you slept in these common sleeping bags on buses, just at some point all

the other new blood, too, which you are talking about, will remain dismantled . you say golden words, of course, ride with those already whoever took them at one time travels with them in these sleeping bags, sooner or later, everything somehow ends, passes, then the question is already there of honesty, and throwing and so on, of course, i ’m a business person, i attract, i’m still i honestly don’t suffer from the fact that if we now take a recent show there in st. petersburg, lyoshka yagudin and tanya tatmyanina performed there, but misha nagalyamov also performed there, and...

we are all followers of others, of course, all my theatrical movement is followers from tatyana tarasova, just like me always i say that it was precisely when i saw their performance at luzhniki, when i was very little, including even then they were

together with igor bobrin, and for me it was right then that it was postponed for me that i should come to these performances. that’s why we all just continue everything, we all go after each other to the same, basically russian cities, to the same big 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 conditionally yaroslavl, vladivostok, perm will withstand this, no, how many times a year can he come to an ordinary show, i think that basically no more than two. i think that there is a constant rotation, probably we were a little lucky in terms of handicap, but we are talking about those notorious ten years, starting somewhere like you rightly said, where the fourteenth from 2006 to the fourteenth year, there are even eight it turns out years, we were monopolists, we are this show, we came once a year, i

rotated it a lot, no more than once a year we we come to one city so as not to overfeed , so that there is no feeling, but during this time we have... formed the gender of people who, i can’t say that they are fans there, but they are like some kind of reflex , come, yes, there is a tradition, yes, we are getting old, they are getting old, we are getting old together, these are still moving, and these are still performing, yes, this is a little old school, such a club, yes, but it is a working one, as they say, that is, the audience ages along with you, you know, like now almost everyone who tortures... well, i try, they try, they want take an autograph, they apologize a little, they say, we’re taking this for our mother, that is , we don’t really need to be with you, but your mother loves you so much, she loves your project, here we are...

big public events and isn’t it petty is figure skating already for you? thank you very much for telling me 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 figure skater is there already, well, this just for i am now even more than ice and ice like that. i’ve become a bit of a hobby on the side, 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 for me they are very important, and even, probably, 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 that... such a drug, when you have more than a thousand people you, well, don’t subordination, well, in general they depend, you depend on your decisions karabas barabas, you also like to manage, well, i like volume, i really

like volume, large volume events, this experience that you get off the ice with staging huge public events helps you need to win year after year in the russian challenge, because for example, well, it’s not only at the russian challenge that you put on brilliant performances, yes, that is , maybe you pick up something and then bring it into your ice work? thanks to glacier, i, roughly speaking, filled this hand productions, because every week you do 10 numbers there, but you yourself skated in the ice age, and what we have in common there with you, what i really like about you, when i invited maxim to skate in the ice age with a partner, you came , looked and said: “well, we definitely are.” i’m not so interested, yes, that’s how it was, that’s it, that’s cool, in the end this partner won with a less stellar partner, and if i, maybe this was the first time for me, of course, i would have

agreed, but when i was already a friend of roma kostamarov, lesha tikhonov, and many others guys, i already understood that with what eyes they looked at me during this viewing, i realized that i couldn’t do this, so, returning to linikom, this is a huge school, you get better, you... the guys pass , plus you take so much from the actors who come, they don’t know how to skate, but they know how to think, they offer a lot of ideas, you pick them up, add something, see, analyze where you missed, where you overextended, where you left, of course, it’s always hard there that you repeat yourself, but in any case, colossal a school that any director can dream of, which i received precisely in the ice age project, then, struggling for it, i became testy in these. well, i just wish you

some new big performance, because your performances are always special and maybe you have some plans to stage something new and interesting, thank you very much, here i have plans, we are now doing such a really big job , am i afraid to stare or is it with us now? and i want, of course, to do a big program, a long stationary one in moscow, but well there’s such a small hall where people come, and it seems to me that there is such a great demand for this now, i won’t make a program for them, but we are working in this direction, however, i think that there could be absolutely this, what were you talking about, and rotation, and some play for a week, others play for a week and... little by little there’s enough room for everyone, well, let’s ride, i think we’ll end our conversation on this note, it was really very interesting, thank you

very much for finding it in your busy schedule time to come visit us, i’m very glad, thank you very much, thank you, it was a free program podcast, my guest was a real figure skating guru and not only ilya overbukh. hello, dear friends, this is the life of the remarkable podcast, i’m with you, its host, writer, alexey varlamov. july 10 marks the 150th anniversary of the birth of the wonderful sculptor sergei timofeevich kanenkov, we will talk about him today, and my guests in the studio... will be the heads of the museum of sergei konenkov’s workshop. museum this one belongs to the russian academy of arts, svetlana leonidovna bobrova. and

the director of the moscow yesenino museum, oleg yuryevich robinov. hello, hello, alexey. svetlana leonidovna, we will probably start with oleg yuryevich, because it is clear why you are present in this studio. as for oleg yuryevich, there is some intrigue here, why are you why yesenin? please tell us about your relationship to our main character? well, yesenin was there too. good friend to sergei timofeevich konenkov, and sergei timofeevich i am a great-grandfather, great-grandfather, that is, you are konenkov’s great-grandson, yes, along which line can you restore your genealogy? yes, my mother, alla kirillovna kanenkova, she was born in the very house where the sergei timofeevich creative workshop museum is now located on tverskaya street, gorky street then, my grandfather kirill sergeevich konenkov, he is the son of sergei timofeevich, and there was also an eldest son

mark , but he... died in infancy, and soon after mark’s death, my grandfather kirill sergeevich was born. well great. tell, please, konenkov lived a great life. there are many different myths, very different legends associated with this life. now, if we separate facts from myths, what do we know about him for sure? well, in fact, in general, in my opinion, if we talk about any life, there are always myths and legends, they are intertwined with life. his biography is really amazing, probably most often when we hear about konenkawe we turn to the book my century, this is the century he lived and this book of his memories is one of his books , yes - his autobiography, but you can give it away secret, did he write it himself or did someone help him? yes, he wrote it himself, he was a journalist,

michkov’s literary record. the recording is probably kept in a museum, no, well , the publication itself was already published in the literary record of alexander bachkov, that is , the publishing house politizdat published these books, well, in principle, during konenkov’s life, but it’s strange why it was politizdat, that’s interesting, by the way , perhaps not all of his memoirs have been published in connection with this, but maybe you? the fact is that, unfortunately, we do not know the original manuscripts kanenkogo, he read his memoirs, and yuri aleksandrovich bachkov wrote down konenkov’s memories, but the notes were not preserved, unfortunately, they were not preserved. okay, let's go back to his biography, so he was born into a rich peasant family, so to speak, well, at least in a non-poor peasant family, still not quite rich, an ordinary peasant family, the only thing is that it was a large community,

a village . they did not have a surname, having received freedom they simultaneously received the nickname horses, fellow villagers said about them, what do they need horses for, they themselves are like horses, so the first surname was horses, their children, small horses, horses, and so the surname konenkov was born, konenkov was very proud of the origin of his surname, and then the peasant son sets off to conquer the capital, that’s how it was, not quite, he studied in broslavl, barin’s son was just going

to study, and sergei timofeevich was taken. like his companion, a boy of the same age, he successfully passed the exams, they prepared for the exam together, passed it successfully, then headed off to moscow to the academy of painting the stink from the patronymic, but this was not enough, the most important thing was to overcome the order of my relatives, who said, as i understood, yes, it is good to have a literate person with a high school education, but a sculptor is too much, that’s it. ..

who is free from all western influences, therefore he presented himself wonderfully, presented to volnokhin by young sergei konenkov, as a man from the people, untouched, virgin, not spoiled by western culture, just what was needed, yes, and he was accepted, he very quickly went through all stages of training, in the end he received a large silver medal for the sculpture stonebreaker, which was soon acquired by the tretyakov gallery, you understand the scale, he said, when he was driving along the road just to moscow, he saw... how people crush stones making road, this is his impression of the road to moscow, he realized it in the sculpture stonebreaker, so for this culture he receives a large silver medal, which before that he can live abroad for a whole year, he studies

western european museums, of course was in the raden museum, that is, he studied the sculpture of raden, but most of all he was struck by michelangelo, he was stunned, the next work from a student’s work that he created within the walls of the russian, imperial academy of arts was the famous figure of samson, which was inspired by michelangelo’s slaves, well, this is like the next page, this is this, yes, this samson, but samson himself was it true or not that he was destroyed, no, no, this is a slightly different story, the fact is that after graduating from the moscow school, konyunkov leaves for italy, where he meets with a teacher at the imperial academy of arts, miklemish, a famous sculptor who was famous for collecting talented people.

on the classics, the prevailing style of education at the academy of arts at that time, this program was naturally connected with classical neoclassical sculpture, and when the time came for the diploma, konelka closed in his workshop, not even viklemisheva was allowed to create the sculpture that, in his opinion , , must amaze everyone and overcome all established norms of classicism academic requirements, he creates his famous samson, here he is in front of you, chained samson. naturally, the models were internal for him, he saw the slaves of michelangelo, in fact, this is a manifesto, he says, i am michelangelo, i can do the same as michelangelo, and this is exactly the manifesto, i am michelangelo or the manifesto, i am a revolutionary, i am for the revolution for liberation from the revolution

, of course, of course, but with his mood and his vision, this is 1902, through several trivolutions of 3 years, well, actually wonderful scene, i see beklemy. how not to do it, for now there is no politics here, it will be a little later, politics will certainly be a little full-thinking too, the first proposal to expel the walls of the academy for such freedom and denial of all academic norms, for nihilism,

the kuindzhi archive and ilya efimovich repin fought for kanenkov and thanks to these great artists, he received the title of free artist, whether the sculpture was destroyed or not, he returned to moscow and rented a studio. on arbati soon receives an order from ivan dmitrovich filippov for decoration the cafe is bulyshnogo which is the filippovskaya bakery of tverskaya and kanenkov told him so to speak about this wonderful samson filippov was inspired and said great in the center of the cafe there will be samson konyunkov. konyunkov turns to the academy, where he is told that the sculpture was destroyed by taking the owner’s address, of course, this was deceit, so it could be found. 30 or 40 years, but he lived 100, and we need to fit these 100 years into our format, but it’s not that long, so let’s move forward, so, konenkov and the revolution, in short

905 and 917, olegich, there was a famous barricade on the arbat, which was commanded by konyonkov, as i understand it, why did he not like the tsarist regime, which favored him, gave him an education, gave him honors, what did he want? well , i can’t say he was a blessing, but no less wonderful, and when they always tell me that the christening could not achieve anything in any way, then i cite the example of the story of the god, so what did he want then? i once said that a worker does not need, does not need a good life, he needs, needs to be the master of his life was the barricade, creative people, this barricade, which, as i understand, was never broken, just as the artillery attack of the semenovsky regiments was not subdued, as kanenkov said, only no one did anything, no one put him there, he was not repressed for this; the merchants hid him.

in 1923 he leaves for america and stays there

for more than 20 years, and he does not leave alone, but leaves with his young wife, this is his second wife, margarita ivanovna, the surname varantsova, in my opinion, was, yes, she was from sarapola, a wonderful city on the banks of the kama, so, this is the most mysterious, actually the external plot, sergei timofeevich was invited by the committee for organizing art exhibitions and tours at the all-russian central institute in order to... join the exhibition committee, the exhibition was supposed to be shown in the united states of america, as it were, the best work of modern russian art, young soviet art is not at all young, the works of recognized artists, the world of art, the work of serebryakova, the magnificent work of kustoeva were presented, that is, all the best that was created silver age, there were also modern left-wing artists, that is, the whole spectrum, the whole palette.

he was in demand immediately, that is, the americans

really had to give him a boost after a year.