about me, such a mother will tighten the wound, but the hidden pus will leave you all inside you need to confess, repent of your deed and beware of a third. this is her highest role. this is the highest, this is shakespeare, because it seems to be no, but the great hamlet, but it was not shakespeare. it was vysotsky. in his rise , an unusual violet. i knew everything played a shakespearean role, a shakespearean role, where in labor yes, it was never played well. why be honest? because they played, like some kind of menopausal last love, what kind of young woman is she? well, and so on, it doesn't matter. ophelia should be the main character. i did my best to talk only about gertrude. flax is 2 months old and still

not forgotten, one can hope that the memory of the great man will outlive him for half a year. just let him make time for the sacrifice to build the temple, otherwise no one will remember him, like wooden horses. we are the models that we are here is where the legs where the hooves somehow start. and the first was an article by odoevsky, he noted only vysotsky and demidova, why vysotsky became an actor not just of another school, but simply different nature, different breed, two individualists. they turned out to be surprisingly reliable allies on stage for each other. their duet was at the center of two performances that went down in the history of the russian theater along with the performances of the early moscow art theater, lyubov's hamlet and anatoly ephesus' cherry orchard, about which we will speak ahead.

she gives a mirror during the filming of the film. she finally works with tarkovsky on the same issue. the most important person i then do not think. i thought it was talent. maybe, i'm sorry, more truly, two talents can be asked from person. and i hope the muslim also did not think to get answered. now i understand more and more that it will be very strange. well, it still doesn't sound very convincing. it seems that she appreciated talent in people forever. and even more so during the filming of the

mirror, because she probably met her director for the first time. theater does not count now, we are talking about cinema. it is immediately clear that you are dealing with a very deep personality, it was clear that he was different in the mirror of my episode. he's worth nothing. the only thing that's worth is this flask, flask in end when i walk down a long corridor, and at the end of the flasks. why did he come into being, he came into existence, because there is a long corridor. having passed halfway through earthly life, she got lost in the gloomy forest. then tarkovsky put under this passage the text of earthly life. i half i got lost, but in fact there was no

text. i'm walking walking endlessly walking on this. remember, e corridor and to show them that they say, well, how far can you go? i made them for them. there in the camera this flask is not for the role, but any director would throw it away, because it's a rabbit has nothing to do and only a man of genius left it, because it is a surprise unique rehearsal shots of episodes of typography in the film mirror. i am ready to give absolute freedom to the actor if, before starting work, he demonstrates complete dependence on the idea, obviously he did not doubt her complete dependence on the idea, because demidova speaks precisely about the freedom that he gave her on the

set. he sits and bites his nails. i don't know how to take it off. i'm confused, left to right. and in general and in general today we are not filming yes. nothing is explained how to play it? there in the mirror. yes , no way, how do you want to play like that, but he knew what was needed, what was not needed in marterology. there he writes that this is alla demidova but she is such a hostess on the site. he didn't know, it's just a loop of some sort. in fact, in marterology on august 20, 1971, while working on the script for the mirror, he writes down who the mother will play demidov does everything and then you can’t argue with a terrible character, however, after 5 years in seventy-six. he writes about the idea of

​​creating his own theater among the actors mentioned lonnitsyn, grinko kaidanovsky among the actresses churikov and demidov i think that tarkovsky was your main and only film director. what a pity that only the episode in the mirror remained. i read that you yourself refused andrey rublev's fool, and the fool because you need to write there, yes, that is, wait, no, no, what was yes, yes, yes also, so what a fool. they tried solaris solaris at tarkovsky's on the hara, and, of course, there were a lot of yusuf's samples, i had to shoot. in solaris, she never played, either tarkovsky did not approve, or was blacklisted, but her role in the mirror. she obviously underestimates in this episode, where the

mother's friend, who plays demidov, quite suddenly, for no reason, goes from compassion to aggression almost to insult, where she hits the sick one on the sickest one and cries herself, as if there is no logic of her expressive spouse. and before that, your senseless emancipated state, then we will assume that he saved him in time, but in fact, alla does not play so many people. how much the subconscious of the era, the womb, which is filled with memories of their values ​​and scraps of the old way of life, but also with shit and pus fear, the threat of disruption at any moment. the heroine of this film is the mother of tarkovsky, but demidova also plays the same age as her mother maria alexandrovna tarkovskaya and alexandra dmitrievna demidova maria alexandrovna served in the printing house as

a proofreader alone in conditions of extreme need raised two children alexander dmitrievna survived the arrest of her husband his return then went to the front and funeral from the hands of the postman, she served as a laboratory assistant at the university. their children are almost the same age. this is the typography of this sticky horror before arrest. this is the hard times of their common childhood, the thirtieth year, what do they remember, and what remains with them from this childhood? this moscow was their common moscow. they saw and knew what children can see and know.

very well, i remember my childhood, because for me this is the most, most important, period, or something, of my life, he then determined all my impressions that a person tries his whole mature childhood the creative activity of life, that is, everything that pushes me creativity. i think it's all related to

actually my childhood. if it were forgotten, i would not be able to. nothing more to do in the movie easter of christ live broadcast of the service from the cathedral of christ the savior tomorrow on the first they say if the desire to stand up is indifferent. yes, me too. get a tariff or additional options in the maints app and get a 10% cashback on every charge.

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movies in the online cinema wink and pay only for what you really use fab four to manage. means not to overpay a relative of the technology of the possibility of food. extreme lada lada for every day, this is the value, and i have known him for so many years, very cool. a lot of interesting features work. some modern methods are generally young, but with a name. yes , you know, from him such confidence you can always count on helping in any situation. that is, you enjoyed working with each other. no, i'm talking about mts bank yes, i'm also talking about mts bank mts bank is a reliable bank based on the resources and big data of the mts company nts reputation and experience to solve your financial problems, a convenient mobile application to solve your questions online more than

5,000 service points throughout russia cash withdrawals in any atms without commission, as well as the opportunity to save and invest mts bank. we are working. how are you used to? you seemed to be going for a sim card with beeline services, the most difficult thing is just reaching for the phone, convenient replenishment itemization of application bills and delivery of a sim card all this in your phone is on your side to endure. i can’t remember my childhood and they never consciously go there. nothing joyful, i ca n't remember anything from my childhood. mine was difficult, in my opinion no one needs it, and so on and so forth, i have never celebrated my birthday and, in my opinion, there has never been a new year. it was not painful, because i did not know another life. i had nothing to compare with, they just gave me away, i

had to stick it somewhere. in any case, and kindergarten always. i was and my mother remembered that whenever she came to me, i stood at the gate. all my life i was a sick child, and i was always exempted from physical education, what is called at school. why is the patient with mild tuberculosis anemia? well, and so on. all this is not strong, but the feeling of superiority, leadership, it sat with me from birth, therefore, when the girls on the balchuga, we lived there, jumped rope, there, and so on. but i should be the first, i jumped and broke their game. they were tired. they took my hands and by the legs and kept over the moscow river for a very long time and

wanted to throw me there. after that, i started with a tantrum. i came home, but seeing your values, there was a reassessment of values, i hated the team, fell out of love with children's groups, and never fell in love again. as an adult, she was too young to know what was happening to her country. she can remember an ordinary street with the usual carousel passers-by.

a wild boar across the bridge, along which her mother led her to kindergarten. pioneer camp. that's what she can't remember. then the funeral of the leader in general i'm afraid of the crowd.

because this this is a completely uncontrollable living creature monster monster. no, clearly, i sacrifice my loneliness.

now i’ve collected other tops, here’s the arrival of simon’s family of re and his montana way, on the contrary, hello and i found it, i’ve never done it out the window to look at me french cinema in moscow the sorceress babette goes to war. dad

, mom, a servant, and i, and this crowded, overcrowded summer, the summer of 1957 , the world festival of student youth, foreigners on the streets of moscow, is just mine. conjecture, and it seems to me that these events. even changing her appearance beyond recognition. here is alla in the mid-fifties, an ordinary soviet girl who was destined to work as an economist in the planning department. here she is in the late fifties. no, this is not rinata litvinova, this is alla demidova, already diva, at least in the lens of the camera, is not yet an actress, but already the author of her own image, which has nothing to do with the great community of soviet people, pushes her back to the soviet already in the seventy-sixth year. she will refuse the role of the performance exchange based on the novel by yuri trifonov, the role has already been made and brought to

a dress run in the eighties even. will start rehearsing in another dramatization. trifonov's prose will miss the opportunity to play in one of the most important performances, lyubimov's taganka in the house on the embankment, the reason for demidov's refusal, does not want to let herself into the soviet world order and its influence on people. make it your theme. and this separates her not only from trifonov, but also from your beloved one much more radically than questions theatrical aesthetics. at night, to wander around this terrible house at night in some such mysterious weather, and just think about those spirits that walk there, how they were taken away at night, and this and there something, that there is quite a whole epoch of half a century behind this. how many tears? how many sobs, how many characters, how many hopes? how many

times rare footage of yuri valentinovich trifonov during a rehearsal at home on the embankment, together with yuri lyubov and composer denis from odessa trifonov says on paper, whether we like it or not, history is present in every day in each of us out of time, not a single person lives outside of history. actually, all trifonov is about this but all lyubimov is about this and all his taganka it was a modern theater the theater about today's day, but in which the restless ghosts of executioners and victims are always present, as is the question to be or not to be? yes, it is the invisible germination of history in man. but she demidov

was outside this deeply alien system of coordinates, she was striving to be out of time and out of history. there was such an expression in the old theater actress with a wardrobe. it suited her very well in movies for a long time. and

the coming seventies, which were truly her time, demanded her mainly as an actress from the wardrobe. why, most likely, because our cinema has never been as social as it was in that period. they follow you. she went down in the history of cinema of moral anxiety. moreover, this anxiety was not so much existential. how much in social character so it was in all of eastern europe, so it was with us. no blue eyes.

i have an unfortunate fate in cinema, i wo n’t tell you a single role that, well, as it were worthy of my abilities, what i could do. serious cinema of the seventies is filled with anxiety, and it comes very close to the social man. it also gave birth to the heroine, immersed in rubble, the society without a trace. director of the factory lyudmila gurchenko in the old walls, all this is good, comrades, and i will have a plan for deputy inna churikova in the film, i ask for words. so you show people how to get rid of them. name of the school and savina in the diary of the director of the school that will turn out to be

okis chromas, certain properties of kupchenko in a strange woman. no, well, i just finish work at 6:00. all business people are deeply unhappy as one. demidova turned down two of these roles. and i completely forgot, but now i know, it's like old scenes. have you tried. wait it was written for me. i was supposed to shoot like this, but when it comes to deciding when to start filming. i realized that never in my life will i play this soviet woman director of a factory, or anyone else in a factory or knows something in a mortar. never in the life of

alla sergeevna, after all, with your acting technique and nature with yours. you could make a tragic character soviet woman. it was a tragic character. it didn't interest me. i'm not interested because i'm not interested. this life of society, these relations with the tragic are not tragic there, but the fact that churikova later played with the governor is brilliant for you. and for me, here i was played gold, it would not be possible to act in such a native film. well no. better cane hat wigs. candles and mirrors

of the seventies eighties played in not very successful films, but it was these roles that made her reputation in the cinema of her, if you like, glory to all these countesses. villains sorceress in a word, a costumed woman gave alya demidova several invaluable advantages. the first such

advantage was the permission for the eccentric to the sharpness of the drawing remember, please, slipped away, were lost in the atmosphere of time, then its the so-called characteristic costume historical roles are sharply poly-delineated; they had both a name and a face and an address. all these roles, without exception, were notoriously lower and more ambitious. alla never tried to mask this gap in reverse. on her costume heroines, she looks down. this touch

of contempt this arrogance allows her to keep her distance and yes her skill is akin to bullying. to the arrogance of demidova, this is also a new front actress of stagnant time, who can portray anything she wants and will come out from any role safe and sound. undamaged, this ability to keep a distance will save the audition at different times and invariably successfully. however, it will also likely become a source of missed opportunities for her.