this naumovna yanovskaya, a very talented director, her other half is kama ginkos, a director from the edge of a theater laboratory, i'm a fan of this kind of directing, so i was happy that they took me then, but the first thing i encountered were of course animals, i remind you that we are talking about how you got into the team, that's how... we had some kind of get-together until the morning, something like that, i came home in the morning, and i was renting a room in a three-room apartment, then my mother came to visit me, there was no mobile phone yet, it was somewhere around 2000, and so home phone, and mom meets me at 6 in the morning, says, dimochka, they called you in the evening from massfilm, they invite you to a casting for some tv series. bandits, something like that, i said, you

'll come at 10, i say, mom, i can barely get up, mom, where would i go, well, you lie down, and i'll wake you up, really, mom woke me up there at 9:00, i quickly washed up, got dressed, combed my hair with mineral water on the minibus, domosfilm, to the office, it says the tv series brigada, wow, and what did mom say, don't go there, so that you don't, well, and you, he says, open the door a little and to the side, say: i showed up, you invited me, and tomorrow i'll come to you as a cucumber, and today , oops, such a moment, as if i wasn't warned, so well, and so i did, i opened the door a little, the director of the sidrov brigade was sitting there, and i say: hello, so you invited me, but at the moment i wasn't very warned, so tomorrow i'll come to you, he says: oh-oh-oh, come in, come in, come in, i say, no, not tomorrow.

what are you, son, starting your film biography with insects, ask for a role with words, mom said, yes, what are you buzzing about, i said, no, that's a nickname, some kind of bandit, you have to play a bandit, that's all, and then they call and say: dmitry, we're looking for the main role of sasha bely, an actor, we need a partner, could you play along behind the camera, do you have time, i said, yes, i have time, well, and i came, well, and 2 days for 3-4 hours, well, something like 50, probably passed. actors who auditioned for sasha bely, and i was behind the camera, behind the camera just in the corner, in the dark, that is, as they say, to give lines, but at some point i had memorized, learned, well, i had already started to play something, improvise, well, and sidorov, i am not needed at all, all the attention is already there, and he periodically says, dima, here , just a little bit, move here, okay, why does he need it, well, i moved, yes, now this, and now this, now this, and periodically to me, what... gives something, i

change something, develop, change, on the second day it continued, then after the second day they say: you know, and alexey decided to try you on space, i then i say: you know, i'm so happy that you gave me the role of a fly for two episodes of a small volume, i've never played big roles in a movie, so a bird in the hand is worth two in the bush, give me this volume, which i feel i can do, but for 15 episodes one of the main roles, i may not be able to cope, i can give you a lift, so it's better to leave me as a fly, and i say: young man, you come, we'll figure it out, we'll figure it out, well, i congratulate you, because it was a great, well, not a start, but just remember, our favorite proverb, showed yourself, secure, and it worked out and you met sergei bezrukov on this film, we weren't acquainted. then you

had several and a strict regime vacation and then, well, it's clear, that is, you got caught several times, then you were temporarily unavailable, we had work together, and besides. that seryozha himself offered me to the director as a second partner, it's incredible to have such a person, they say, i would like to tell our tv viewers, it's very useful to be open to the difficulties of accomplishments, because sometimes fate can play that way with you have such a scenario that it was difficult to imagine, really, we are approaching this final moment of our program. i confess to you honestly, i love you to tears, i adore your creativity, i adore how you speak, how you sing, how you move, how you hold, i love you to tears, how you, yes,

how you, how you compose, how you, in general, valery, you, you are wrong, i well, forgive me, a little younger than you, that's it... my age, yes, they are like this, when i saw you, the bravo group, how you sang, how you played, it was, well, that is my graduation from school, my graduation from the theater institute, some big holidays there, it's always a song, name a song, a song, it was always bravo, bravo, that uh, uh, romantics, romantics, you know, recently. dim, we this song, a young man came up to me and said: "thank you, valery miladech for your songs, especially for the ldpr." i was so surprised, i didn't write anything for the ldpr at all and there weren't even any requests

from that side. and it turned out that he meant the abbreviation: girls love simple romantics, you understand? therefore, for our tv viewers, together with dmitry and... love these brave guys and trouble is not trouble, free for them, helps the star, love girls, simple romantics, us important grochiks and moriks, leave girls,

home boys, do not give them your love, do not give them. dmitry dyuzhov in the program melodies of my life, thank you dear viewers, that were with us, if you missed something, look on the website of the first channel 1tv.ru, it was a podcast melody of my life, thank you dim, valery svetkin. this is a podcast of witnesses from einstein and its hosts are film historians, natalia ryabshchikova and stanislav didinsky. we talk about how to watch your favorite, half-forgotten,

unknown soviet films now, how to find new meanings in them and how to get even more pleasure, no matter how old you are, you... probably know the incredible tatyana peltser and we talk about why we know peltser only in age roles, how it happened that the great actress became great already in the second half of her life, well, actually, not just in age roles, in supporting and third-plan roles, that is , in general, a great actress who never played, almost never played leading roles, how did it happen, for this we will have to devote quite a... a lot of time to the first half of her life, we will try to do this quickly, of course, she was born at the very beginning of the 20th century, and in fact she could have started acting in films even before the revolution, because she was the daughter of the actor ivan peltser, he just came to cinema in the 15th year of the 20th century both as

an actor and as a director, he was from that breed provincial actors who can do everything, who travel around the country, who play here... played anna karenina somewhere in the provinces, tanyusha peltser played the boy seryozha, her son, although peltser had a younger brother, who was also brought out on stage, but he did not become an actor, he went to car designers, so tatyana was created for the stage, in the twenties she already works professionally without any education, because she grew up in the theater, yes, her father taught her, in fact, she works in different theaters of the country, here and there, not finds...

in the early thirties in the soviet union, it so happened that she found herself in the theater only at the very end of the thirties, when she got to the then famous theater of miniatures, there were actresses who were similar to her in the type of talent, maybe somehow looking at them, she found herself in comedy, in the grotesque, in such a sharp character work, rina zelenaya worked there, and maria mironova worked there, but at the same time, mironova and zelenaya had already begun to act in films. zelenaya famously played in the first soviet feature sound film a road to life, she sang

ditties there, amazing, wonderful, that is , we have a memory of arina zelenaya young, yes, we also know her more as mrs. hudson, but nevertheless we can see her young. but then again, peltser was unlucky, she began acting in the forties, that is, in the theater somehow more or less settled down, they began to invite her to small roles in war films. literally episodes, she played in the film "she defends the motherland", she played in the film adaptation of chekhov, and a little more found a role already in the middle of the decade in leningrad with the famous directors koznitsev and trauberg, in the film ordinary people, but the film was not released, it was put on the shelf, and nevertheless, for peltser, this was an acquaintance with a real film director, she finally understood how to lead the role. at the direction of the director, she understood how to work in cinema, it seems to me, all her life she appreciated

what kozentsev gave her, even if the audience did not see it then, and then worked with his assistants, with nadezhda kosheverova with ilya frez, it so happened that these are two directors who often filmed her, then, well, in the theater she moves to the theater of satire, here at the end of the forties a play is staged, a wedding with a devotee. it is so popular that in fifty-third, i think, it was filmed, the play itself was staged by boris rovenskikh, and the film adaptation was made by tatyana lukashevich, there is a young vera vasilyeva, there are wonderful songs and a small role of a collective farmer, a klutz, she sings a little, she sings pure songs, that's it this is peltzer, in the play they were all so magnificent, in the year they awarded the stalin prize,

in general the director admitted that he did not attach much importance to this role, only igrapeltzer allowed him to somehow fill it with some, some new colors, to turn the role into a noticeable one of this character, this heroine, actually after this she became relatively famous in general throughout the soviet union, not even relatively, but really famous, we can see how it looked on the screen, for the last time try to put it on...

"don't worry about the family, and now you're leaving your son without work, it's not enough that i raised my hand against him, i'm a klutz for it, i'm a sgrecha, evdakeya, it's already good for him, it's already good for him"? okay, okay, well, someone will come up with something for your ivan. it's interesting that - rina zelenaya was remembered by us in small roles, too, i just want to compare them, but in roles that are based on a certain profession, then she's a turtle, let's say, even a turtle, yes,

then she's a grenyosha. a grandmother of the soviet union, who in life never had no grandchildren, not even children, but even in ivan brovkin you can see that she is a mother, she is the one who protects, she is the one who makes a fuss about a necessary reason, she is recognizable, despite the fact that she plays a collective farmer here, she herself, from a theatrical family,

russified germans, merchants, and even somewhere there were nobles, von pelser, somewhere there were. tigrov, also a small role of the mother, one of the heroines, yes, she too, she fights for her daughter, she makes a fuss, but she makes a fuss with meaning, this energy, it was inherent in her in life, yes, she was very, rather like this intelligent, intelligently, aristocratic, or something, yes, in life,

she was always smart, as they recall, she would be very old. but on the screen she is her own, she is simple, she is universal, what is it at the heart of each, well , many of peltzer's images, this is a sense of justice reflected, well, as if already by the director and actress, built up, here she is, as if this very temperament, this very scandalousness is certain, it manifests itself in this very form, yes, that she defends a certain justice, as she understands it, yes, with a fight, with a scandal sometimes. with demands, with swearing, in general, in life she did not shy away from, as they say, strong expressions, but nevertheless, in general, her character was also so difficult, because memories have been preserved of how she quarreled with directors and very often her career in this or that theater ended after, well , a showdown with the main director, who, for example, did not give yeroli, then

very often i will not say, because after all, we have little data about the twenties and thirties, here in the satire theater. when she came in the late forties, she worked, by the way, for 30 years, and these were really her stellar years. another thing is that yes, she was already under 50, and then already over 50, but there were wonderful roles for her, wonderful opportunities. peltser's biography is a clear embodiment of the development of one of the lines of russian theatrical art, theatrical traditions, in particular, well, not under the slightly forgotten, so -called korsha theater, which, well, opposed itself.

korsha, these provincial actors, actresses, directors, this is what actually formed the basis of theatrical acting, and of course, when peltser comes to the theater in the twenties, it is a completely different theater, a revolutionary theater, it is precisely mirkholdt's theater, it is sharp, even stanislavsky has to, well, somehow adapt to this, in the thirties, on the contrary, mirkholdt is in the fold, stanislavsky is at the top, but peltser again does not fit in here, she is korshevskaya, a theater of miniatures. somehow it helps her to open up, and then satire, this is it that's it, yes, it's a popular theater, they can stage classical plays, modern plays, but it's always for the audience, it's... wonderful directors, mark zakharov, yes, valentin plutchik, who is the main director there, but the main thing in this theater is the actors.

this is a podcast by lizenshteyn, in which today we talk about an outstanding actress of the second and third plan, tatyana peltser. i wanted to remember a couple of roles, actually, peltser in the satire theater, there was a wonderful performance, why do we know about this, we can to see this now, we can say no.

all the time i want to see in this, of course, some echo of the story of peltzer herself, that then she tells the story of her life, she had five beloved men, they all went to different countries, and after the war she wrote them a letter that i never forgot you, i never regretted that i loved you, so we broke up, but remember me, i lost everything, they started sending pensions, one, as she says, went to sweden, and became a member of the nobel prize committee and every month sends me my little nobel prize. and then she tells all this, they run, have fun, she kind of brings the main characters together, the role, you might say, is not the main one, but on the other hand, in general, it is very important,

system-forming, yes, there was another incredibly popular performance, crazy day or the marriages of figaro, there of course is andrei mironov, who well bathes in the role of figaro, but pelzer plays his mother, without her the performance is not a performance either, we can also see this, that's of course... in fact, there are quite a lot of vacancies

for older actresses who can play such a grandmother, and of course, i think that by inertia they start calling those who have already played a similar role in some other film, well, let's call peltser, yes, she will play everything perfectly, in fact , peltser, she is like some kind of glue that actually binds together different parts of the film, yes, she may not be the main character, but it is hard to imagine without her, well, not a kiefon, like a grandmother, but in the life of anyone grandson, there are parents, there is the one who connects all the members of the family, but she is not a simple grandmother, that's the thing, pelter is a grandmother who sings, dances, rides on the steps of a tram, climbs onto the roof, and this was vividly demonstrated by ilya fres in his film the adventures of the yellow suitcase, which in general is such a real benefit, pelzer on the screen, where it showed all her talents received and flexibility, and youth, and slimness and the consequences of yoga classes and so on and so forth. let's watch an excerpt.

i will rise, if necessary, and higher, i am not afraid of anything, we have had enough of enduring trees and roofs, boldly follow me, who is not a coward. the first entrance, the fifth floor is flooding us on the barge. i will show my iron character on my own, so please, be! tv is obliged to listen to my command, the first entrance, the fifth floor, is flooding us, what? what is interesting in

the film the adventures of the yellow suitcase is that, as they write about it, peltser performs almost all of her own stunts, well, that is, it is not just someone dancing on the roof for her, but her they raise it to at least some height, after all, and it’s not for nothing that nadezhda koshiverova, our master, yes, storyteller, director, has been filming it for 30 years, it seems that her career began in a good way at 50, yes, but after that.

a melodrama about the life of high school students, a boy and a girl fell in love, but their parents were once also in love with each other trying to separate them, they already have other yes families, here the grandmother participates in deceiving her grandson pretending to be sick, a wonderful fragment, when the grandson actually finds out that his grandmother deceived, now he is at school and i smoke. in the window, and then he will come, i will lie there to die, understand, this is forced, deception, open, open, let's talk, we will deceive you for your living good, says the older generation, and in general, as if a conflict -

the older generation and the younger generation, in the films of the eighties, although it is clearly manifested in some everyday context, the film courier, for example, yes, where we see an absolute abyss that lies between children and parents, i always think that it is in the role of a grandmother from you and did not dream, pelzer more just like herself, for some reason it seems to me that she is like this, although here she is a grandmother in leningrad with a fireplace and... plants and so on, in moscow she was a lonely woman with a two-room apartment in the actors' house near the aeroport metro station and she walked with a bag over her shoulder in the metro, yes, in fact, you could often meet her there in the metro, as the neighbors say, the neighbors saw her through the window, how she cheerfully rushes to the metro, but nevertheless, in my opinion, this is her, only the only difference, of course, is that the great actress did not die in her, in her she is just came to life, just in time, when her

time had come. you'd think that after fifty, but how many more wonderful roles, again, not only in cinema, not so much in cinema as in the theater, in the satire theater a young director appeared, mark zakharov, who began to give her wonderful roles, including in prosni siy, in the seventy-seventh year, when peltser had a conflict at some point with the main.

role for her in his films, he doesn't have many of them, but the role in the film formula of love, it really is plot-forming. come on let's watch a clip from the film, what do you suggest, to take her away from the count? but at least to take her away, to take her away, you, alyosha, are used to everything being ready-made, you have invented yourself, you understand, an ideal, on the watch, give it to you, and to read other people's poems, it's not great valor, look at your petrarch, he put his laura on a horse, that's all we saw.

and there's lyanid bronevoy, yes, a colleague, peltser from the theater, and peltser herself, who again plays not a grandmother, but an aunt, for zakharov it was peltser who was the main antagonist of the count-astronaut, it was she

helps his nephew achieve his goal, he thinks that this mysterious thousand-year-old count will help him now, but here they have already said that this also happens to us, yes, they didn’t write down all the numbers in the passport, and there we also have. born in the ninth year, and born in the tenth year, yes they swallow forks, and spoons, there is nothing surprising in this, but this armored and such - such a sarcastic - neighbor, takes pelser with others, yes, she says, so here you are, here’s a girl for you, you still want to find some imaginary love for yourself, here she's next to you, let's act, act, actually, again brings lovers together just like in the play wake up and sing, a very perestroika movie, of course, today you watch it, you're surprised at how much it suggested to people some, well, answers to questions that were in the air, a fairy tale with a moral, yes, well, like many of zakharov's films, an ordinary miracle, kill dragons and so on,

yes, and of course, for linkom already in the last years of the eighties and in the very, very beginning of the nineties peltzer is practically a talisman, yes, she is in... here in the formula of love has been playing for 80 years, yes, and she continued to go on stage almost until her death, but of course abdulov whispered words and roles in her ear when she remembered them poorly, yes, age took its toll, alas, both she and lionov, they went on stage, everything was fine, nothing had to be done, nothing had to be said at all, she herself, like a phenomenon, yes, she herself, like this whole set of her roles, which were imprinted on her, she...

we are glad to see her, here she is physically, peltser, here she is, our beloved, one of my colleagues even joked, so, it was such a joking squabble in the theater, with her quarrelsome nature, it was not always easy for her to find a common language with colleagues, someone said: tatyana ivanovna, why are you performing, no one loves you except the people, of course it was not so, she was very much loved in the theater by her colleagues, including peers and young people, but the fact that she yes...

it seems that this is all because soviet cinema is a collective cinema, so we will not shoot, initially in the twenties it declared itself as playing only secondary roles, well, again our friend ezenshtein told me, we will not be filming melodramas for three people, but we will have people, yes, we will have a team, we will have a representative of this people or this team, somewhere behind him there should be other people, that is why even there is chipaev in the thirties, behind him there is furma. and there is his petka, yes, how could we do without petka, and how

could we do without anka, there is also, and more, and more, and more, and these people should also be somewhere, yes, these types in the twenties, these actors in the thirties, that is what stanislavsky actually began realistic theater in the end of the 19th century, led to the fact that in russia one, well, this is recognized worldwide, maybe the best acting school, maybe, well, with england, well, you can, you can compete with england. but the fact that, again, in the early twenties, thirties, numerous theater schools, institutes, schools are organized, which year after year produce, produce, not the best word, of course, educate, professional, musical, dance, dramatic, tragic actors, quite diverse in their capabilities. then in geek connects, not everyone even has a place in

the theaters, that's why pelser's career was so unsuccessful in the thirties, they close, open, move, at some point in the forties she plays in the theater of the film actor's studio, and why is such a theater created at all? and this is for those who usually play in films, who do not have a permanent place in the theater, in the troupe, yes, there are few films made here, why does pelser appear on the screen. for us, yes, for the audience, in the early fifties, and because little ends in the film, they begin to sharply increase film production, and former documentary film directors like ildar rezanov begin to make feature films, shoot successful comedies, or former assistants to kozensov and trauberg, like kosheverov, like fress, finally get the opportunity to shoot independent films, well, all these films need actors, right, that's why in the fifties...

somehow arrange it, somehow start a new life, this feeling of a new life and a family

that stands behind you, yes, it is in the one in which i live, in the cranes are flying, and in all these wonderful films of the fifties, sixties, then, of course, the younger generation appears as the main one, a child on the screen and so on, but again, yes, a child needs a grandmother, children's cinema, here you go, who could the actress play, say, in the thirties in a film? the history of russia, but the time of literary adaptations, again, here in peter i, it does not seem at all that like this peltser, yes, here are historical roles. as if not hers, well listen, after all, this era, so to speak,

is heroic, which required heroic works on the screen, and peltser's roles, they are more everyday, more down-to-earth, and directors who work with such material, they appear in soviet cinema already in the 50s, sixties, seventies, when it is necessary to tell some, including chamber stories of one family, not a family through eras, but a family here now with its problems that need to be solved even like this.

colleagues, her friends, acquaintances, yes, people who simply saw her in the theater, this energy is transmitted from the screen, perhaps, simply cinematography had to technically somehow also reach this energy, yes the camera movement is freer, the film is more sensitive, going out to nature, where she would dance on the roof on some built in the scenery of this very roof, it is necessary that the sky be visible.

the main skin seems to me from the lesser known films of kashiverova prizum you will probably never dream of yes about how people deceive each other how they treat each other with the best intentions with the best intentions of course here is just this multifaceted one babushkinnost i came up with a new word tatyana peltser is embodied in all its fullness this is what we will advise and this was the podcast of witnesses ezenshteyn. we talked today about the wonderful, great soviet actress tatyana peltser. all episodes of the podcast of witnesses lizenshteyn you can find on the website of the first channel.

hello, you are watching precious. stories, my name is ekaterina varkan, today we decided to talk about gogol nikolai vasilyevich, for an interview, such a serious one, i invited a wonderful russian writer, vladislav otroshenko, he is generally a brave man and has been studying gogol for quite a long time, for example, i am afraid, he has a whole big book, it is called gogaliana, it contains essays, generally dedicated to this mysterious master, artist. but i would, for example, say that this is a collection of incidents and curiosities associated with gogol, such a cabinet of curiosities, well - i would say that this is probably a collection of gogol's quirks, but these quirks - of course, on the surface in the depths, and we will talk about this, lie some things are more, more important, well, in general

, with gogol it began in early childhood, a whim, during his studies at the gymnasium, there are very interesting things happening there, connected with gogol's future, what he wrote about, well, let's remember plyushkin, when there is this passage about old age, old age in the old soviet landowners, where he depicts old age, so this gogol, being a teenager, a very small boy, during one of the performances, he goes on stage, plays an eighty-year-old man, he plays so that everyone gasped, just there were parents, there governor, there are a lot of officials there. and after that, his schoolboys and friends nicknamed him the mysterious karla, and then, when he was already traveling around europe, he had this gimmick: