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შეგეჩირი მე, შენ გენაცვალე, on ntv, workshop of theatrical crafts, scenes from the play, soundtrack.

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why, but they have declared a hunt for you. so this is my war. special battalion from monday at 22:15 on ntv. well, now i want to invite to this stage the heroes of this celebration, the director of the play andrei shchukin and producer alexander zhigalkin. the first question is of course for andrey, but how did you come up with this? tell me how to classify your performance, is it a musical, what is it really? this is a long- forgotten genre called musical eccentricity. remember, in the circus there were numbers where clowns played with different instruments and from this they built all sorts of other genres of juggling. this genre is quiet. somehow he left, now he, here we are somehow, thanks to sasha alexander, he acted as

a provocateur, he says, come on, this is interesting, what we once did at the institute, when sasha was studying, 100 years ago, 100 years ago, but sasha’s provocation was a success, because the number that you will see towards the end of the play, related to enemas, is his work, which he, so to speak, gave us this performance, at that moment we began to do a flight performance, this... it was such a circus-musical story in which we, we have been doing it for probably 10 years now, this work, we are all somehow stalling, sasha once again asked, well, when will it be , i say, well, here we are approaching this , it will be soon, he says, let’s try to do such a provocation with musical eccentricity, with various kinds of hooliganism, and we included part of the works that were there, as if in this work in general , the story turned out to be quite unexpected for me, who has been living there for the sixth year, probably , and how... attracts the attention of the audience, i need to literally say two words about the fact that sasha is one of the managers of the actor’s house,

who warmed us up, because as you know, this is a banal story, courses, who end up in theater institutes, very often want to be theaters, the unusual thing is that this course, most of which, so to speak, you will see on stage today, are guys who were recruited with a certain cunning, these were people with basic... some kind of professional education, they were either circus people, or musicians, or vocalists, this is the gitis stage, the course turned out to be special, unlike anyone else, well then we wandered naturally around moscow, no one needed, then completely unexpectedly sasha and igor they said, well, let 's try, we've been trying within these walls for the eleventh year now, thank you very much, sasha and igor, but i want to say that i was at an exemplary performance, i was truly blown away. it’s so good and unusual that i was at this performance once,

probably at seven, to you, san, i have a complaint, because by and large no one knows this performance, some producer , where is the advertising, so welcome, we sawed, sawed and finished up to you, because you the whole country is watching, i can’t get a better advertisement. this is my friend, thank you, well, let's watch the numbers, alexander zhigalkin, andrey shchyut, brothers, go play and sing.

i'm sorry to say two words, i'm sorry. i just wanted to warn the public that, of course, taken out of context, these numbers may not always be clear in terms of the plot, which exists, so when you watch the performance as a whole, it will be a more transparent, understandable structure, now we are only showing fragments, thank you, andryush, but tell me, how do you select the composition,

your artists come to you and say: there is a motive like this, we now he's under enemas and it's like a bang. usually this is exactly how it happens, in general, it was not by chance that i gathered musical people, i really love music, but i’m not a musician, not a singer, i’m a director, and i, how should i say it, wanted to watch it somehow through the prism of theater to music , instrumental art, musical selection, i rely to a large extent on the guys, on their taste, very often, well , naturally, adjusting something, the fact that there are a lot of classical works in performances -

i have a question , are you going on tour with this performance? it happens, tell me, do you carry tools with you or are they in trash heaps, well, i don’t know. other cities, but in moscow markets they already knew me by sight, they already said, come on in, so, so yes, i’m interested,

how do you explain the structure of this musical instrument, passing through the frame at the airport, we, god bless us, now have a nail insonator, somehow... they ask you to pull a nail out of a board or not? now we practically don’t take them out at all , only when they become loose, but before we hammered them in before the eyes of an astonished audience,

in general, we still hammered them in rhythm, that is , we had three or one blow there to hit it accurately so the nail so that it would fit into this notch, but it was too in the halls, can you imagine, such an elderly pianist comes out, starts, and then it’s crazy, i learned how to sharpen nails, i know how, why should i? this is not needed at all, i don't know, thanks.

singer and dubbing actress, speaking in different voices, show me, show me, something, well, i mainly occupy the niche of children's cartoons, i don't know, well, something like, who is

this here? what, i knew that you would come to our performance today, well, something like this, anastasia slepchenko, andryusha, tell me, how are the rehearsals for the performances going, we need to find the sounds, we need them to somehow fit it into the performance, into the number, the search for sounds - on the one hand, this is very difficult, long, the performance took a year to make. the most fun thing is exactly what i usually do, so to speak, i create some kind of action out of it, this rough work, of course on the guys, they brought me god knows what, that is, they brought such sounds that sometimes you you don’t understand what will come out of this, we jointly selected both the pitch and the quality of these sounds, by the way, here’s an interesting thing that’s here there are both instruments and simple objects, we realized at some point that

it is quite difficult to create a musical form only on... objects that are not intended for playing, although there are also such works, but there are not many of them, so there are also instruments are traditional, this is a search, yes, rehearsals are fun, most often, but the fun, as a rule, begins when we need to finalize this process, but tell me, is there some kind of logic in the choice of material, there is logic, of course, first of all it should be works that, on the one hand , are recognizable, on the other hand... you know, there are musical works that can be listened to indefinitely, so in the classics, in various other works , this is exactly what was sought, for me this is a song by evgeniy shulimovich, okay, alexander zhigalkin, director of daddy's daughter, workshop of theatrical crafts.

love me or leave me or let me be lonely , you won't believe me, but i love you only, i drive you lonely than happy with somebody else, you might fight the night time, the right time, night time is my time for just reminiscing. regretting instead or forgetting with somebody else, i want your love, but i don't want to borrow to give it today and

give it back, give it back, tomorrow. 'cuz your love is my love and nobody else, love me or leave me or let me be lonely, you won't believe me, but i love you only, i'd rather be lonely then happy with somebody else'. there is no one unlates that someone is you, i intend to be independently, love me, leave

me, let me be lonely, you won't believe me, but i love you only.

olga terefun, roman sarnassky, kirill venedikt, i took part around 2000, in my seventeenth year. in one festival, which was organized by borislav strulev, belgorod fest, and i sang there with a chamber orchestra, the belgorod philharmonic, so i suddenly unexpectedly read that...

to germany, in spain, where only our pipes are not still lying around somewhere- then at airports, because well, for example, we flew there with vladimir abramovich etushi, and here they let through the overweight, metal sewer pipes, and there no one knew vladimir abramovich etush, so they said, that with such an advantage in the cash register, please, and we left the pipes, once we left them in hamburg, after 2 months they came to st. petersburg by sea, called the school, said, take your shit, it ’s lying there, no one knows it... can’t lift it, it really happened, there was gamma and flow,

why? some time passed and we wrote the music of the city of mice on notes, we even started rehearsing with borislav, he was fired up by this incredible music, we brought some bills again, we brought a bunch of stuff , we tried to do something like this in the actor’s house similarity, which means with this music, maybe there is some kind of rebirth, we met andrey a lot then, because we have been friends with andryusha for more than 30 years and... in general , we have always been doing this, then it didn’t work out, but he was the initiator from the point of view, let's try to do something, and a year later andrei came with a course, and i gave there everything that i had collected all these years, everything creaking, buzzing, sounding, that i had lying around in my suitcases at home, i gave it to the guys , and it was some kind of memory of that wonderful performance that was really event, when borislav saw this, he naturally invited it, we played at the philharmonic,

la morning. mais si je t'aime si je t'aime si je t'aime.

empty spaces, what are we living for? i found in places, i guess we know this color on and

anybody know what we are living for, another hero, and never mind.

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andryusha, tell me, as i understand it, these are performances for chamber halls, that is , you have to see it and touch it, did you destroy some large halls or is it unrealistic, well, we tried to destroy them from considerations even curiosity, we we played in kropkus cityholi, there are 700 seats, but i must tell you that... without you seeing the details, it’s quite difficult, of course, to perceive. in berlin, a 500- seat hall was torn apart. as part of some kind of theatrical performance or just a concert, here is the soundtrack? well, the soundtrack went on like a performance, but we still consoled ourselves with hope. here we need to say two words, perhaps about leonid ermolnik and valera todorovsky. we had such a period of creative communication of some kind, an idea to try to achieve something very large space. i am very grateful to these wonderful people, because we tried to close the chain of these numbers into some kind of action, into a plot space and

something holistic, and here our story was very useful, we met for almost six months, so to speak , tried to look for some kind of scenographic adequacy, and generally speaking, i wanted to somehow go out into some wider space, and despite the fact that this did not end in anything, i somehow feel very very warmly towards leonid, who helped us financially and... and somehow meaningfully with valery petrovich it was such a very interesting work. i will add that all this was rehearsed with alexander borisovich gradsky in the gradsky hall, and he was very inspired by this performance, in the gradsky hall we tried to create something. it didn’t work out, but it was a great time of trial and error, understanding that this performance contained a huge resource. no, it's a wonderful performance. let's move on.

when it back to kentucky, i want to break you.

when i'm back to kentucky, i want to break it all now, when i'm back to kentucky, wow, i want to break it on now, and a man will never know. i break it all now, you are my strawberry, i want eat you right now, you are

so sexy and that, so tell me how do you like that? oh, just a minute , wait, wait, wait, wait, wait, wait, how do you like, i mean, oh, my superman, no, no, i mean that, yes, in my dream, we are alone in kentucky .

i never saw such a woman like you, i never saw such a man, like me, i never saw such woman, like you, i have seen such a man, like you, i have seen such a woman, like you, i have seen such a man, like me, i never seen such a woman, like you, i never seen such a man, like you, ah,

olga terekhun, alexey lisenko, thank you, i had a question for andrey. what department did you graduate from? what did you graduate from? i graduated from the institute of culture many years ago as a director and graduated from graduate school at the shchukin institute, since then i stayed to work there, but you are a theater director, as i understand it, yes, yes, but i am a border guard, i actually now head the department of plastic arts at the shyukin institute i’m more interested in the form, but since i’m a director by training, i’m interested in theater in its very different manifestations, and

i somehow tried to gather such guys. well, here’s the number that was just now, it’s with plastic , everything is fine, thank you, you did it, well, we did it together, in fact, i told you that this is one of the works that i didn’t understand what would come of it, they took a lot of time spent on this, i think, no, never, nothing worthwhile will come out of it, but once again here’s the thought that if you stumble into something seriously, something will definitely work out, so after washing the hiccups, we finally rolled out to the room, which seems to me to be quite emotional and bright, i agree, thank you. workshop of theatrical crafts on ntv at the apartment building.

it’s not that they hold any direct castings, but it’s always some piece of material, so it’s a very motley company , in fact, many of the guys have solo vocal intentions, like asker , we didn’t ask berbekov about anything , and this is , so to speak, a person who unconditionally and he is worthy and is moving in this direction of a solo vocal career, i still don’t know what he is doing with us, but somehow here he is with us, because you are good, yes, thank you, yes, good places.

in the musical part of it, everything below , that is, whiskey tubes, i personally drank it, i haven’t had a drink for 6 years, but the memory of it lives on, you know, these are jellies, and jellies, because jellies are a russian brass a folk instrument, such a horn, and these horns are stuffed here into these drunk ones, right? placed, okay, well, let's go?

how can classical musicians not love artists, yes, because they seem to play what everyone has played, well, yes, this is generally an amazing thing when it comes together...

the fruitless efforts of love tried to bully shakespeare in such an open, direct genre to say it's almost like a theater. i'm coming, come, we will see you with great pleasure. who do we go next?

anna kiseleva. answer my question. no, two questions, how did you find this tool that suits you very well? and tell me, do all chairs sound different? yes, definitely. a is this what you carry with you on tour? only this one, yes. although it seems to me that i can find some kind of sounding chair anywhere, but i don’t take risks, amazingly, did someone show you that they can play these chairs? you know, and it seems to me that someone showed this to me, but how can i say this, someone

invisible, well, yes, i searched and searched and it’s not that i’m interested in chairs, there was just a chair standing upside down, and we had the task is to find everything, everything that sounds, and i walked around the storeroom in some kind of fanaticism, and something came to me head, blow into the chair. so do they let you sing in plays? how do they give it? we have freedom in the theater, right andrey alekseevich? danechka , yes, yes, but you know, my life was really divided into before the chair and after, before the chair it was more difficult for me to sing, oddly enough, but the chair somehow supported me, or something, helped me, and after other works have already appeared on the chair.

thank you, with such mastery of performance, i would still come to gnesenka to take the exam, what to play on, a chair, yes, guys, you are still the funniest of all those i have seen. let's continue, yes, please, here it is, here are the zhigalka instruments.

tv. thank you, when instead of evidence there are only lines, this is a two-story story, where there is a murder, one of the lines, the one who is being hunted by the killer takes up the case, let me introduce myself, tower, alexander korolovich, zerger, big premiere, tomorrow at

20:20 on ntv. well done, well done, well done, dear friends, and we decided to take today’s unique chance to check one experimental number, which we don’t always succeed for the simple reason that even with such number of incredibly gifted musicians, in this number... there is a part of incredible complexity, none of us, as a rule, can handle this part, only with very, very great effort, we decided to ask you, as an experienced musician, to accept this difficult , but it’s not a load for you, here’s a drill , now you’ll need to press this button for a long time, without stopping,

you’ll be able to handle it, yes, okay, but on which string, on this string, we’ll do it for now... turn it on great once two 1 2 3 4 1 2 3 -

theatrical crafts at the apartment building on ntv, it’s been a long time since i’ve had such pleasure playing drill, sasha, andryusha, come join us, well done, well done, well done, usually i throw out the tracklist of the filming into the hall, well, whoever catches it, will catch it, but today i wanted to give something to sazh zhigalkin to the actor's house museum. i also thought that thanks to you, children who don’t like classical music will begin to study it, at least they saw the instruments, thank you very much, the theater crafts workshop is super.

i remembered one phrase, here you are playing and singing, where do you work? i sit there and think to myself, god, really, what are we doing? what we do, that is, this is not work , this is something else, like the son of two clowns and four acrobats, i don’t know how to answer you this question,

hello everyone, this is a dacha answer, i’m ilya zapodenets, and this is anatoly, 15 years ago a motorcycle helped. to win the heart of oksana, after the wedding the heroes immediately moved out of town, because there are much more opportunities for extreme sports, but besides extreme sports, our heroes love antique things, we will reflect this in new interior, we’ll make a new kitchen in a vintage style with tall stained glass windows and antique furniture, which we’ll borrow from the owners of the house, but first i need to catch up with them , let’s go ahead, we walked around for a long time, they lived on the same landing, and looked at their pretty neighbor, but i hesitated to make the acquaintance, she was busy and

i didn’t dare go there, we met, well, by chance as neighbors, yes, yes, from time to time she saw me on a motorcycle, but i decided only, in my opinion, five years later, he caught me in the morning , i was getting ready for work, and he came up on a bike, and i always liked bikes, i kept looking in the direction of his motorcycle, noticing how it seemed to me... so it came to the wedding, the couple decided to settle in the old family house, oksana got it from her grandparents, a true city dweller, toli, after moving , got a job as an assembler of lighting equipment at a local enterprise, in his free time he began to comprehend the basics of sei life and even began to do carpentry, there was an ordinary stump with bark, he removed the bark and sanded it. i screwed the legs together and it turned out like this bedside table, all that remains is to varnish it, but this is the wife’s concern, the creative part of this, look, these two are the same, i would

hang them in the center, oksana works at the tretyakov gallery, heads the department for digitizing the museum collection, she has her own exhibition at home , the little things come here from different places, these are real african masks, they are so heavy, they are already... probably 30-40 years old, i inherited them from my aunt, who lived in libya for 5 years in algeria 5 yo, i like it i really love decorating the house and all sorts of wooden figurines, masks, something so tactile and pleasant. well, my sweetie, come on, don’t be nervous, everything will be fine, don’t be afraid. favorite pets also give warm emotions. the eldest of them, sir chapos, came with his owners from the city, the rest came along on their own. wangok, well, as is clear, yes, you see, he is red-haired and earless, he came to us probably five years ago, he is, of course, old, apparently, he has even suffered somehow.