[000:00:00;00] it’s not the problem that doesn’t change, neither the topics, nor the people, and that if it weren’t distracted in us now, we wouldn’t be reading it, and we would have to go all together with pushkin a long time ago, the books have gone somewhere far, far from moscow, very important thought that not only listen to contemporary texts. this is number one. i completely agree with you here, but even the old texts and classical texts change, of course, are read in an absolutely new way in us. eh, in us sound us in our experience in our space. is it wonderful that this is learning, that theater is in the minds of the audience? yes yes yes, of course, literature, tell me if it's true hmm is this opinion that the school? after all , it lives no longer than one or two generations, after all, e nu is built around e not only tradition, but also a master or a master plus a follower. is it possible to speak of

a two-hundred-year school or a hundred-year school oleg nikolaevich efremov, of course, a man who has passed away, but this school lives unconditionally. we can say, again, exactly, because this experience that has been accumulated accumulates in layers, and it does not go anywhere. yes and important only in order for it to accumulate , it seems to me that it is also very important to understand that school is not never happens. there is one person there. yes, for example, uh any yes to any school, but i will speak on the example of our yes moscow art theater school uh, there are four courses there. they are completely different courses. these are absolutely different workshops, these are absolutely different people coexisting in understanding. e yes in e in dialogue with each other. that is, our disputes in the pulpits. well, you know there. yes, of course, yes and of course, every workshop is at the head personality, yes, with his representation of the theater is a constant clash. and it's always

a dialogue. yes, actually life. yes, and here one opinion does not win, right? well , as sometimes there is time for yes, suddenly something takes over, something leaves, then it changes. well, it's like a living life there, well, many talented people have many opinions, and it is in this interchange that some kind of living and interesting birth takes place. that is , even in the same institution. this institute has four workshops. i think they can be called this is a workshop headed by igor yakovlevich volkovitsky sergey ivanovich zemtsov and these guys have two masters today. hey, they're freshmen. these are, uh, students, uh, led by evgenia aleksandrovich pisarev, these are, uh, students in the workshop of viktor anatolyevich ryzhakov, and finally, brusnikin's workshop. so it is still called, and uh, of course, uh, the memory of dmitry vladimirovich brusnikin is still breathing here. oh. e in my

wonderful friend. yes previously, roman finvich, kozyr of course, yes, this is andrey senchmakov, efremov, this is the line of our teachers, all this continues now. yes, let's continue, this is the graduation course, what is being done? what is done with us nine diplomas or are some very interesting? i remember some, but it's better, of course, that uh, a performance based on the iliad, they also have a classical repertoire. well, the same goncharov, yes, yes. uh, tell me. well, is it really? we started working, in general. that's what concerns the work with myths. and with such mythological literature, it is now very interesting direction. yes, right now, in our time, some kind of understanding, you know this never. eh, never, never between people , when this problem, yes, global ones connected with space in general with space from well, with the epic in general, is now starting to sound somehow very powerful again for young guys.

yes, what they see there. eh, the content of some kind of eternal change that is now so rapidly us as if from the other side. that is precisely the understanding of this new time. uh, it gives a lot of strength to understand that everything is not accidentally. yes, everything is included in the conditions of the game in this human life of ours, right? cataclysms are such collisions with a term of fate with space. well, these are the turning points. suddenly comes out of the literature. somehow very powerful to the forefront and so the iliad we began to work with very interesting storytellers by this method. this is specifically our wonderful teachers. the well-known artist alexei rozin and a wonderful teacher, sergei shchedrin is a director and teacher, and all of these are also our students. here they are, ilya barabanov, they suffered for a long time, means with erythelling with students. when well, it's clear, yes, yes, yes, some of this is told so creatively that it

becomes interesting, it becomes like a kind of theatrical performance. i remember how we discussed with e students that the first famous line, the iliad, there is no e o not in the goddess, not wrath o goddess. it was a whole controversy, but when they realized that there was no oh no wrath about the goddess of delights, or son it would be. and there the anger goddess soared and the forest and the son of peleus. we don’t eat, tap or poisonous, hilaus is not enough that i remember from ancient greek, who once taught, but this is the first line. i have forever a rare person. you remember two lines in greek. well, as omega says, almost yes. yes, no, well, in the old days they taught ancient greek latin at the philological faculties. i don’t have much left, but i can make out the epigraphs, but this is not about that, but about how it combines with ivan goncharov and completely modern things. well, yes, it was a principled position. yes, from completely different directions, she walks at the same

time, their guys have the same wonderful performance, modern etc. it's just that the professions that have gone and the professions of the future are very much already work, and at the same time , goncharov is a classic. because there are certain individualities on the course that i wanted to reveal in this particular material. we have a wonderful guy who is right here oblomov so it was important. you take into account something, yes, and such things, yes, so that some kind of implementation of them. now we have a wonderful performance. come e days of our lives or not. andreeva left. yes hmm disciple of the mighty. m-m arsenium meshcheryakov is a young director. he himself came himself gathered the guys all in him wanted to do it together. i'm just so proud proud, because the amazing work there is also absolutely wonderful, guys. today look to our viewers. suddenly, who does not know what verbatim means literally literally. well, yes, this is the technique that turns the performance into ordinary speech , ordinary scenes from life, ordinary things that have already happened or may be,

yes, i understand correctly, well, in this case , when collecting is the absence of literary material. how so? yes it going to live testimonial stories, well , on some topic given there. yes, there, in this case, they talked, and with people of departed professions, there are telephone prompters. i do n't know what kind of people who are in practice, who are practically gone, they are not there, and talked to people who are trying to understand. these analyzes are what’s next, curious, do you remember, uh, that arseny of tarkovsky , my beloved, has a poem about it now i will try to remember my golden hammer i threw ariadne the thread ran out to watch the dying of crafts anyway bury yourself, and at the end there, uh, a wonderful stanza, which was written in the sixties, when there was no artificial intelligence yet and already an electronic lyra from her programmers, secretly composes cantemir poems so that with her own tip and when

taxes already arose in this performance people who talk about the professions of the future. i'm sitting, i don't understand a word they don't say anything. yes, yes, yes, different vocabulary. this is another language that is rapidly changing and tactile memory is leaving. and hmm this is a performance. they gave us quite a large number of b objects and these objects, when these objects were placed on the tables there, you don’t even understand why this who is what is this? because you no longer know why the minister is working for this program, but half of humanity in developed countries. yes, programmers are working to unembodie the action. yes, to make it all happen. by some code, i recently visited the exhibition of prishvin e. prishvin was an amateur photographer, he explained how a two-spiral photographic tank differs from an atmospheric one, showed tactilely single-coil is charged like this. i have a memory. i could do it from two

spiral. so that's what's gone and this performance is certainly a wonderful work that catches the zeitgeist. e, one of the characteristics of which is the loss of tactile memory of the onset of some completely new semantic times, yes it turns out and it is important to hear it, it is important to understand, it is important to display it, it is important to work. this information is very important. well, maybe there is a difference, but in such an important issue as employment, they are revealing secrets subtleties. i am not talking to him now about this, but about the textbook disputes of the repertory theater about its decline in its longevity. so, was it 20 30 40 years ago, is it difficult or easy? it was built, about the same number was on the course, it was always difficult. always difficult. and when we were graduating it was difficult, they took very little to the theater. yes, young people and periodically there are periods when it is almost impossible, because no one needs theater

, then some moments arise. suddenly bright stunning, when all of a sudden the theater is needed young artists and it is not clear somehow so young business. yes, it's very young. well, yes, we hope yes, all the time that there are still some opportunities, there are jobs and work and very good distribution, but thank god it is very difficult to successfully distribute, mommy dad slept here at night. let's move on, you're nine hours late again. it's not nine, 15. no working conditions the fourth month of this can't be proud of yourself you were chosen almost unanimously. i like the budget that

you have is 121 million euros. i completed first aid courses. well anyway, we'll be together now who is this marcel why was he in his bed? he doesn't sleep well on the couch. i didn't think i'd win the contest, i didn't think i'd get pregnant. i didn't expect you to break into my life again, what do i do now?

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to sleep addictions. do you know that tinkoff investments has a social network for investors, matvey subscribed to high- yield investors and earns like they do? install the tinkoff investment app and earn the largest social networks for investors. he is so alone. discover the whole world in the new sportmaster application hundreds of articles sportmaster media bonuses for steps in the activity tracker sports. poster. the power of live stylists free online workouts more features in new versions. update sportmaster live without leaving the sport. i'm at the caucasian mineralnye vody misha hello. do you call tourists? do we call tourists kefirnik? it's like i'm in space, but only i'm in the mud and oddly enough, it's very nice, buddy. i can have at least a minute

of personal space. and what does it help? this activity, blood sugar drops, testosterone increases, girls always smile. persiticus tatalus. oh friends, it worked. farewell earth, i'm an aeronaut, but everything in the mountains i'm count essentuki friends life of my premiere on sunday at first in the bathroom so i remind you that a literary podcast is on the air. let them not speak, let them read and i am dmitry bug. and now, according to our tradition, we do, uh, three things, either we read a poem, or a quote from the classics, or, i just show some

old book, but today we are compatible with the second and third. well, first of all, this is, of course, an old book. this is my favorite tom afanasiev afanasyevich fet, to be more precise. this is a duplex. they are just intertwined together. this is 1912. we can see from the bookmarks that this is an absolutely living book that is used by me and my children for reading, but we will read. we today hmm very famous and very short poem. well, the first line, there is a wavy cloud. eh, and we immediately remember how not everyone remembers further that ivan sergeyevich turgenev left his mark there. that is, he caused it to replace one word with another there. there was dust became dust, but even without taking into account the fact that this is not quite fet but half fet half turgenev, after all, let's hmm let's see how to unravel the riddle that afanasyevich fet offers us here.

i really like to quote one of my colleagues, a wonderful literary critic, who once told me i don’t know how he does it. i mean in general. this is again boring. and so many say, he always writes in streams about nights about dawn, and the timid breath of music in the light of the transition of shadows to dawn and no more. hmm, how can you still read all this with pleasure and discover there the secret that is contained there. well, before you read these eight lines. i'll preface. this reading is a very brief commentary by fet. this hmm is a poet of missing associations of missing links. well, for example, an apple is a pear, there is, a pear boxing association is, a boxing football association, well , there is also a common denominator of sports, a soccer ball and an apple ball. yes, that is, we have gone in a circle and each link has

no logical contradictions. but if the pear and football, then this association is already gone. here fet is like this and here the darkness is caused by the fact that some intermediate links. well, as it were, uh, move aside, go into the shadows. here is the shortest poem, a cloud of wavy dust rises in the distance on foot or on horseback , you can’t see the dust, i see someone galloping on a light horse friend, my distant friend, remember me. can not understand anything. what is the connection between the fact that someone jumps on me and suddenly a distant one should remember me. well, look. uh, that at the beginning we see a cloud of wavy dust standing next. we don't see what caused it. it could be, the wind is hmm as we 'll find out later. uh, this is dust from a galloping horseman, but

nowhere does it say that this is a horse rider horse or foot riders cannot be seen in the dust, and then i see someone galloping on a dashing horse. we should have said. well, now he rode closer, galloped closer, and i see, of course, that by the swiftness of the approach - this is the horse here. no. see. what is obtained, history. this person is galloping towards me, but not towards me, well, as if jumping from point a to some point b, which is not matches my location. he gallops towards me, but past me, and swiftly carries him there, what does this mean? this means that probably at this point b. someone is waiting for him then the person who sees all this thinks, because raising these clouds of dust clouds. e, the rider is so, uh, moving rapidly towards this conditional point b. and i'm at point x and ​​i

can't move anywhere. i don't have a horse, i don't have the ability to move, but at some point y this is also missing. this is incomprehensible. if i have a friend, yes, who would i also with all my heart. uh, i would go on wings on a horse, whatever. well, at least on a space rocket, a person of the 21st century would say, but i don’t have the opportunity for this. i send him a signal, suddenly my friend is far away. remember me right now, when i can’t get close to you, this is such insight, instant insight, this is the e-pointe turning point that fet usually misses. if you skip this, then you get just smooth rhymes, and not the great fetz. this is how it always happens with him, and in these eight lines, which, of course, will be included in any anthology of absolutely brilliant and classic poems. well. in contrast

to the poetry of the 19th century, let's return to modern literature and again remember that you, uh, work very hard and will work with modern literature. this is evgeny popov, this is pelevin, this is makanin. this is astafiev , this is aitmatov well, that's what immediately came to my mind, maybe something else. e was the last, too, this is all modern prose. this is gregory the servant not savely in the theater round. and in our practice, this is evgeny nekrasova with an unhappy one. well called spectacle in the rings consciously consciously do it still i force myself. yeah, read to look for material that is interesting and possible to transfer to the theater. that's it if we say, not everything can be on stage. in fact, hmm, if there is some topic that seems important to you or that worries you,

otherwise you can come up with a form , roughly speaking, i don’t know the text that could not be put. yes of course or text no. theme well, themes in the text. we, too, of course, not that you will forgive, for such rudeness, a parallel, i not a director. i don't know how it's done, so i wanted to know not how you feel. well, here's some kind of hmm a whiff of time, like the germans, they say the spirit of the times website and look for what it is we correspond at once and theme and material, probably, happens in different ways. that is, there is a situation when you realize that now you would like to talk about this topic. and what about this somewhere some kind of intersection? yes, what is written like this can also be, well, as a rule, no, as a rule, he reads and understands that he cannot but do it, because here, well, it is important there. for you, it means that it will be important for someone else, right? talk about it, and then you can not adapt any text.

the main thing is for the sake of it. what do you know, i, uh, have been talking to students about chernyshevsky’s novel for many years, uh, yes, which i really like and hmm well, we all remember vladimir nabokov’s taunts in the novel the gift, when his hero, or rather not nabokov himself, but his hero, when she is in cherdyntsev scoffs at how strained, dry and imperfect this book is. well, this is very funny to me, because it says on the second page, that i, as an author, is devoid of any artistic, that is, this book, on which it says i am a bad book. hmm, that is , the ban on only one says that it is a bad book. the author himself said that it is bad in the sense that you are used to. uh-huh yes, everyone judges simply from their personal ideas of requirements. yes, to literature, they don’t hear that a person has simply said himself that he judges me from the point of view of something else? yes, well, chernyshevsky, right in the title it says that this book is not about what to admire. uh, or enjoy a book about something

what to do. well, this thought to me, uh, sunk, uh , into my heart now that practically sometimes the text itself does not know that it has the stage potential of this atral potential. for me , the most amazing moment in the profession. here, well, there is a theatrical director, let's say. well, yes, this is when the letters suddenly come to life, yes, that is, it was a kind of plane, as it seems to you, a plane, yes, that is, written letters and when you look later, and you understand that this is turning from letters into living people relationships between people. this volume appears and they exist right in front of you, real living people. this transition from text to reality, for me, this magic absolutely remains, however. that's what the letters are also not a plane. yes, that is, when are you? that's why. probably why i like to read books, sheets, because for me the text is, as it were, vertical, that is, i have to go deeper into it, that is, my head works like that. yes, what do i see, and then

it seems to me that it is stratified like this. something i feel like you're diving somewhere under the water, where the whole world arises. yes, i have it so in my head, so when it goes like this, well, somehow, when from above, well , yes, when does the plane go? yes, i have no opportunity. here, it seems to me, to dive there, but in fact, of course, everything moves apart, and there is volume, yes and our imagination works independently. here's a risky thing, i'll say such a provocative not to your address at all, but i uh a lot. uh , i look, uh, at the price of rock or film adaptation and catch myself that i don’t need them, on the contrary, well, so that, as it were, polymerize with you after all. for me , the main thing, well, not that the plane is not that, uh, some kind of horizontal. but what is e in the word. temperature in addition to visuality, that is, to me if it is not said in the text, it does not matter to me what gestures raskolnikov has if it is not said in the text.

it doesn’t matter to me what color oblomov’s eyes are and how, he’s an idiot, so uh, i just feel some kind of inhibition whenever i see a staging that seems to me, uh, well, some narrower and more private than books, and the secret is that it is always important to agree with the author, and now it’s just that, too, an example is immediately in my head, like a daughter, my friend’s little one, then in a separate ballet, then this or to the conservatory. she was still small and she said that i liked my mother more. here is the conservatory. she says a lot of things, but, because i can imagine everything myself, therefore, of course, it’s all the same to work with our imagination, and it is always richer than what you see later, here, before moving on to the latest staging on a non-beautiful i will ask the servant you, if possible, only if it will not be such a violent movement, but here in one phrase to formulate. well, for example, why leave them and why pelevin is different, it seems that at the school

tsar fish is a teacher of literature, we had a wonderful lesson, in addition to the program and while still quite small, that there was tenth grade, yes, a shock, and then after a lot years, when you take a conversation with the ease of tobacco. put something, here is the list of authors, i hear the last name of them, astafiev instantly, i say, i will do leave the fish. yes, but not the king of the fish, yes , the fish made the flying goose, because even then the understanding of the huge huge scale. it 's this person for me or in a thick modern hmm well, here is victor petrovich a giant writer. it's nothing at all. yes , more powerful for all time, yes it is written about the fatherland. yes, that's why just right away well astafiev and further, of ​​course, this is this epic nature of this author of his e relationship with space with space

formulation. yes, completely unique language, and you understand what to remove and leave it from leave it nothing will remain rough. here it is impossible to translate his dramaturgy. yes, that is, well, in a dialogue, because everything leaves if his evaluation of his comments of his formulation leaves. yes, and that's the relationship. here are his phrases. well phrases can stay on stage. well, yes, only in a different way, yes, what we would have done, then in gusev they don’t remake each other. suddenly this is the production of the two thousandth such a powerful impression or the first of 2001. maybe even a second one somewhere first. yes, and as for pelevin - this is in general, separate. history is one of my most favorite writers to explain why olegovich of course not. only i saw that even when i made a performance, it's still only agents. let's go through agents. no, it’s some kind of coincidence of my inner brain of what’s in my head of my inner

fantasy and my ideas about something, it’s such a personal coincidence with the fact that as a person exists, he writes he sees the world as he is paradoxical, how provocative he is. yes? where does he go to what topics things me amazes amazing and i accept it and i like it endlessly, especially. here, oddly enough, previously swaddled. well, let's talk about these two performances now. uh, one, as you already said, it was staged at the russian economic youth theater in a beautiful frame we love and, uh, this is an unusual production, because, as it is correct to say, it is not interior. yes? well , somehow this is such a story, good-natured cats. love. no, no, only dogs, only with a dog, nothing at all. now the attitude has generally changed, too, now, as it were, not letting go of a single cat is such an impact in a novel. yes, this is lady carmen tchaikovsky wrote down the words to the ancient akhmatova that hmm

four questions for a russian person. the main thing is a tolstoy or dostoevsky cat or a dog of tea or coffee, and pasternak or a manshtab, right? well, i had an answer before there was an answer now cats. yes it was just yes now cats. yes, too, what about the minister sin and this novel. yes, the initiative came from the actor viktor panchenko, who, as he suggested, said, let's do it further , the idea arose to do it not on the stage, and in the yards welt. and when they brought me here are the yards, and i saw these roofs. i realized that we do everything in chocolate. something was being done. these are constant valleys in one yard, and there is another yard after all. we play where alexander was, but we play in a different yard. we are still playing. we are still a game. velokom, well, as if we walked around the theater, as actually , as cats should do, and the theater laughed a lot, because, well, then, so impudent, we now began to let us into the courtyard. we were already there on top of the plans when and

then we occupied the 10 theater, and then it well loved team. i love aleksey vladimirovich borodin very much. i love this theater very much. i love artists very much. there it was such happiness, love, we did not talk about stopping e based on the novel by alexei varlamov yes , my soul, pavel, which alexei vladimirovich borodin personally did. so this is the name of happiness in this theater, so everything came together and the courts and teams and borodin continued to happen. here, yes, the performance, when you know what it's called? i didn’t expect it myself, well, i’ll watch the video with the rehearsal there. we want everything all the time smile time. we are happy all the time, but the effect of this performance exceeded all our expectations, because how it affects the audience. not only did i sell the apartment and began traveling in moscow and did not live without housing for a year, because then i realized what happened. this romanov apparently cat text. yes, this is the main character, just a cat and servants of the play. and this is such a tradition from hoffmann cat mur, there, and so on and so forth

, traveled around moscow for a year thanks to this savely. yes, uh well, i'm kidding, but basically, of course it has changed. he changed something very much in all of us, but this is still a performance that is played in blocks. we play. that's just summer autumn, come now, it won't be long to wait. maya let's hope to cats now let's. uh, let’s also say a few words about the performance of the rings, uh, po uh, evgenia nekrasova is absolutely a mysterious story sometimes at some point all of a sudden i periodically say to myself like this, come on and see what is happening in literature. then such a moment came and there was a happy moscow which for a long time she lay in a chest as the daughter of maria andreevna here. happy yes, well, well , nekrasova as an author interested me very much. and this story is generally very strange for the theatre, generally strange, because it is, of course, fantastic realism, what

is it called? yes and this topic, i found it. she wrote zhenya in the seventeenth or eighteenth year, in my opinion, yes, but i found it somewhere in the twentieth, but there was no pandemic yet. much is foreseen. yes, as it were said. yeah, from the fact that you take this material, analyze it from the point vision of what happens to people when such global cataclysms happen, and you can’t fight it. between all the same, only to adapt, in spite of any of their emotions, as if the theater is ahead of reality. he sense yes, this is a very important story. yes, plus it is also so talentedly written. there is so much humor, there is so much surprise, because every day this situation changes, the name in the rings somehow evokes an association with some kind of snakes. not only garden, there boulevard and so on. this it was implied, the target, in general it was implied by the target, like zhenya, it was also implied that it seems to us that we are protected, and as a result, these defenses

turn out to be a target. that is, it is concentration. oh yes, where it turns out to be easy to get to, it's clear. here i caught a few things scary, they are important. uh, for myself from our conversation. the most important thing, perhaps, is that sometimes the text is not suspected. uh, what meanings can be extracted from it and we can extract. these are from different texts. sometimes even as if from mediocre, but imperfect is the first and second that the text and theatrical text in the broad sense of the word. he is ahead of reality. well, yes, the very powerful intuition of artists often works on my favorite idea that we, in general, ended up inside dostoevsky in what sense? yes, because, uh, if raskolnikov was the one he claims to be, then he would not be hiding at the beginning of the novel. and he, uh, talks about this strange and scary. he brandishes an ax, he came, he would have done his black deed and would have taken a selfie - i killed it. i'm not afraid. i

i can kill - he would say, but from this hmm half a step to modern terrible. uh, these e terrorist crimes, when the meaning of the crime is not to take possession of property or take revenge or to give vent to feelings there, but to send some kind of signal, some theory, some kind of photograph, so the raskolnikov theory turns out when you begin to understand it. eh, as if directly, here you understand, not the way they told you there at school, yes, when you begin to understand it, literally. it's a completely impossible thing, because so to speak, this one to cross the line in order to prove to yourself that you are yes, that is, you have the right, you have or you do not have the right. well, as if all this is generally a judge so far away, this is creativity and that's it. all this is ingenious. a prisoner and faces, this is a very terrible theory. generally raskolnikov's. i think that it is still worth ending our conversation on a positive note, because getting to these ultimate

meanings, terrible double-edged meanings, nevertheless, both literature and theater at the same time emphasize epicness, emphasize great time cycles, emphasize external meanings. here's everything about it. today we had a pleasure to talk with the director, with the artistic director of the practice theater and with the head of the fourth acting theater. uh, course, school of the moscow art theater studio by marina stanislavna brusnikin. thanks a lot. i made sure again. um, why do students like you so much? because that's the way to analyze the text. how did you analyze today? feta i, too, know a lot for myself, discovered these, well, let it let it also go to our treasury. a we say to our viewers, as always,

read on. with pleasure you understand, what a thing we have today as a guest are two heads of football and hockey refereeing, pavel kamantsev and alexionisimov. good night. good night, the former president of the khl is now the head of zenit, alexander ivanovich medvedev, how did you say that successful refereeing experience in the khl is not in demand in football? pavel can you say something about this? do you agree that they are in demand, i can’t say, firstly, when we just started judging, we we turned to colleagues, so we have the experience, the one that we can use, for example , where we got the awards, it was also our idea, but we understand that it exists. it’s just that my colleagues have , uh, swimming, and we can stimulate the narrowing due to playoff matches, we just did sex in futsal. we have higher stakes in the final stage in the russian cup, the stakes are higher and of course. we talked with the arbitrators, we

said that your opportunity to earn money lies in what, if you enter the first part, that's the season, you get there in the top part of the rating. here comes the spring, and it's yours there income you will earn. i can’t say that refereeing management is somehow unique, what makes it very different . that's how we discussed the fact that different schedule hmm different. uh. well, the rules are different after all in hockey. i am not an expert. well, it seems to me. wanting basketball is like two in terms of martial arts. two different poles a-a. aleksey well, really about this kind of interpenetration. do you have what to take in football if if paul says that they learned from you? ah, of course there is, because in football, well, in my understanding. u know how they have the pain they have better, honestly, the material base. yeah, it's understandable and we must always admit that football is the number one sport in the world. yes , let's say they had a good program, which we also saw with us, in my opinion, mentors

are called yes, talents are mentors. we have this story. we also took it from our colleagues, whom we are now also working on. and so this is a very simple thing, but we have expanded a little on the specifics for ourselves. and we have active orbits, we arrange logistics for them in such a way that they come to cities in other and acting arbitrators themselves. the khl tells the place to young local guys, novice referees, how to act in certain situations, both as a lecture and in practice. a very strong help for local colleagues and this and this are all current arbitrators, all top arbitrators. what methods were used before and what are now different things in general different science has now stepped forward, of course, certainly. we already have analytics, as such, which uses insta. well that is mileage is easier stuff with this plus we have. uh. we use chest rhythm watches. we are in our third year now. we track the daily picture of how people perform physical