male lead, they uh with the same dynamics, whether they competed with mironov on stage, then count almavivaman already quite tired of some kind of intrigue, this is really a man from... who, in general , doesn’t care about all this anymore, and this is on the screen, even in this film, the performance is felt like this, it’s felt like this, again, some kind of psychophysics of the actor, yes, to put it in serious words, and self-irony, the gap between the actor and the role, it is really impossible to imagine that we would forget at some point that in front of us is not just a hero, but alexander shirvint, but our pleasure from this very often is just... just like a skit, very often these are even aphorisms that are mounted like this, and yes, about they told him that, again, even as a director, there are people who make one big piece of work, and it’s just monolithic, but there are talents who know how to put together something sparkling, cheerful, diverse from different pieces , never boring, this was precisely shirvint’s talent, he was a person who was talented in a small form. talent, w

theater of satire zhenidebo fegaron, where he plays count almaviva, actually, yes, here he is, here muchis is a replacement duet, a replacement ensemble, in principle, which we can still, fortunately, see on the screen, but by the way, he could also do this you can’t play the role, initially valentin gavt played it in the play, so they somehow changed sometimes, yes, shirvin could play in the garage, gaft played, gaft started here, then further. shirvend came, and if gavt had this role as if it were really the second male lead, they had the same dynamics, or maybe they competed with mironov on stage, then count almaviva played by shirvint is a man already quite tired of some intrigues, this is really a man who, in general, doesn’t care a little about all this, and this is on the screen even in this film ... again, some kind of psychophysics of the actor, yes, if we put it in serious words, and self-irony, the gap between the actor and the role, the performance is so felt, so felt, it is really impossible to imagine that we would forget at some point, what's before we are not just a hero,

performance based on the famous performance of the satire theater zhenib figaron, where he plays count almaviva and the role, it is really impossible to imagine that we would forget at some point that in front of we are not just a hero, but alexander shirvint, but from this our pleasure very often increases, yes, it decreases, even in shirvint’s memories of his work in cinema, all the time we see some kind of funny humorous sketches, well as he himself called his memoirs, multiple sclerosis throughout life, yes it is... such a collection of old, well, on the one hand, interviews that he gave in previous years, pieces that he wrote for various press, it’s not like such a coherent story monumental, no, it’s like such a compendium of everything, everything, everything, like a skit, very often even these are aphorisms that are mounted like this, and yes, they said about him that again, even as a director, there is people who make one big piece of work, but it’s just so monolithic, and... there are talents who know how to assemble from different pieces something sparkling, cheerful, varied, never bo

the second male lead, they were competing with mironov on stage with the same dynamics, then count almavivaself-irony, the gap between the actor and the role, it’s really impossible imagine that we would forget at some point that in front of us is not just a hero, but alexander shirvent, but from this our pleasure very often increases, yes, and does not decrease, even in shirvent’s memories of his work in movies, all the time we see some kind of funny humorous sketches, well, how did he himself... val his memoirs sclerosis scattered throughout life, yes, this is such a collection of old, well, on the one hand, interviews that he gave in previous years, fillettons , which he wrote for various press, it’s kind of not the same what is a coherent narrative monumental, no, it’s like such a compendium of everything, everything, everything, like a skit, very often even these are aphorisms that are mounted like that, and yes, they said about it that way, that again, even like director, there are people who make one big... work, yes, it’s just monolithic, but there are talents who know how to put to

film-play based on the famous performance of the satire theater zheniba figoron, where he plays count almavivawe can still fortunate to see on the screen, but by the way, he also might not have played this role, initially valentin gaft played it in the play, so they somehow changed sometimes, yes, in the garage shirven could have played gaft, gaft started here, then shirvent came , and if gavt had this role it was really like the second male the main one, and they had the same dynamics, whether they were competing with mironov on stage, or the count. performed by shirvint - this is a man who is already quite tired of some kind of intrigue, this is really a man who, in general, doesn’t care a little about all this, and this is on the screen, even in this film-play it feels like that, it feels like that, again, some kind of psychophysics of the actor, yes, if we put it in serious words, and self-irony, the gap between the actor and the role, it’s really impossible to imagine that we and... in some kind of moment that before us is not just a hero, but alexander shirvent, but from this our pleasur

wouldn't watch this performance, even in comedy frances, you know, i... always correlated suzanne, almavivahing tell me when you went to the beinal the englishmen bring this. an epoch-making performance, this is the mark of the great russian theater, all that, they were banal in yugoslavia, and there for the first time i saw hair, then there was something like this, something like this, something modern, against the backdrop of this hair there would be a porgy, all of a sudden, there was all this tattooing. shpanali, how to say, i was stunned, so we played, then, then from belgrade we went further, to three cities and somewhere i forgot where in zagreb or something, so i’m standing on the street early in the morning with a teddy bear, waiting andryushka, and instead of not washing his hair three times in a row and drying it twice afterwards: he can’t go out into the world, we’re standing about he was always late, in short, and there for the first time such a hotel, for the first time we saw these doors that were moving apart, and yes, i’m okay with these doors and we are waiting for them, t