[000:00:00;00] yes, 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 worked and will work in contemporary literature. this is evgeny popov, this is pelevin , this is makannin. this is astafiev, this is mats. 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 did not savel in the theater round. and in our practice, this is evgeny nekrasova with unhappy moscow. well, the performance in the rings is called, but consciously, consciously, i still force myself to do it. uh-huh look for material that is interesting and possible to transfer to the theater.

that's it, if not yet it can be. on the stage, in fact, if there is some topic that you think is important or that worries you, otherwise you can come up with a form, roughly speaking, i don’t know the text that you couldn’t put the text. well, the topic in the text, of course, is not something that you will forgive, for such rudeness, a parallel, i'm not a director. i don't know how it's done, so i wanted to know not how you feel. e. well, here's some kind of hmm whiff of the time, like the germans, they say the spirit of the times website and look for what it is we correspond to immediately 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, you read and understand that you can’t not do it, because

here, well, it’s important. it is important there for you, so it will be important for someone else, right? talk about it, and then you can 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, a lot, yes, which i really like and m-m. well, we all remember the ridicule of vladimir nabokov in the novel the gift, when his hero, or rather not nabokov himself, but his hero, when we in cherdynev scoff at how dry this book is imperfect, but it's very funny to me, because, uh, on the second page it says that i, as an author, is deprived of any artistic talent, that is, this book that says i'm a bad book hmm, that is, the ban on only one says that 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 and do not hear that the man has simply said himself

that he judged me from the point of view. yes, that is, open something else. yah chernyshevsky right in the title says that this book is not about what to admire. uh, or enjoy a book about 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, it is written letters and then when you look, and you understand that this is the relationship between people that turns from letters into living people. this appears volume and they exist right in front of you, real living people. this transition from text to reality for me is absolutely magic, however letters remain.

that's what the letters are also not a plane. yes, that is, when you read, that's why probably why i like to read book sheets, because for me the text is, as it were, vertical, that is, i have to go deep into it, that is, i have it like this head works. yes, what do i see, and then it seems to me that it is stratified like this. something i feel like you are diving somewhere under the water, where this 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. here's a risky thing, i'll say such a provocative not to your address at all, but i uh a lot. eh, i'm looking. uh, staged or filmed and catch myself on the fact that i do not need them, on the contrary, well, to kind of populate with you all the same. for me, the main thing is, well, not that there was a plane, not that, uh,

some kind of horizontal. and here is what e in the word in literature, in addition to visuality, that is , if it is not said in the text to me, 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 every time i see a dramatization that seems to me, uh, well, some kind of 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 an example is immediately in my head, like a little daughter of my friend her, it means they were introduced to the ballet, then this or at the conservatory. she was still small and she said that i liked my mother more. here is the conservatory. he says why she says, but, because i can imagine everything myself, therefore, of course, our imagination does not matter, and it is always richer than what that then you see, here, before moving on to, uh, the latest productions of an ugly minister, i will ask you, if

possible. it is possible only if it is not such a violent movement, but 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 the conversation with oleg stick take tobacco and put something on it. here is a list of authors from them i hear the last name, astafiev instantly, i say i will do the fish. yes, well, not the king of the fish, yes, the fish made the flying goose. yes, because even then there was an understanding of the enormous scale of this person for me , or in a thick modern hmm well, viktor petrovich is a gigantic writer. it's not written anything more powerful all

the time, but it's written, right? well, just right away, leaving it further, of ​​course, this is this epic character of this author of his e relationship with space with cosmos formulation. yes, completely unique language, and you understand that remove and leave it from leave it, nothing will remain rude. here it is impossible to bring dramaturgy. yes, that is, well, in a dialogue, because everything leaves if his assessments of his comments on his formulation, yes, and his attitudes leave. here are his phrases can remain on stage. well, yes, only in a different way, yes, what did we do , and so on, in gusev, he suddenly does not remake others. suddenly this is the production of the two thousandth such a powerful impression or the first two thousand. first month second. here somewhere. here first yes, but as for pelevin , this is generally a separate story, this is one of my favorite writers to explain

why, of course not. only i saw. i think that even when i made the performance, it’s all the same to me only agents. let's not go through agents. uh, this is some kind of coincidence of my inner brain of what is in my head of my inner fantasy and my, uh, ideas about something, this is such a coincidence of some kind of personal with the fact that as a person exists writes sees the world, how paradoxical it is, how provocative it is. yes? where does he go to what? well, the theme of the thing strikes me, it's 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, hmm , one, as they say, staged at the russian economic youth theater in a frame that we love so much and, uh, this is an unusual production, because, as it is right, it is not interior. yes? well, somehow this is such a story, walker, cats.

love. no, no, only dogs. in general, the attitude has changed in no way now, too, now, as if i don’t let go of a single cat, this is such an impact in roma, yes, when lady carmen chukovskaya wrote down the words to andreevna akhmatova that hmm four questions for a russian person? the main thing is tolstoy or dostoevsky a cat or a dog of tea or coffee and pasternak or mandelstam used to be the answer now they asked. it was just yes now cats. yes, too, what about the minister sin and this novel. yes, the initiative has gone from the actor viktor panchenko , who suggested that, let's do it further, the idea arose to do it not on the stage, but in the yard, and when they brought me here, the yards, and i saw these roofs. i realized that everything in chocolate we do something was done. it's always a valley in one yard. and there hmm where alexander was we play. well, we still play in another yard.

we are still playing. where else do we play in the white room? well, as if they walked around the theater, as actually, as cats should do, and the theater laughed a lot, because then they were so arrogant we have now begun to let us into the yard. maybe there, on top of all plans, in general, yes, yes, and then they occupied the entire theater, yes, and then this is a wonderfully beloved 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 personal alexei vladimirovich borodin 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 laugh all the time and smile all the time. we are happy all the time, but the effects 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 didn’t live without housing for a year, because i then

realized. something happened, thanks to this , the romanul text traveled, just a cat and attendants, this is such a tradition from hoffmann cat mur, there, and so on and so forth. here is the year traveled around moscow thanks to this saveliy. well, i'm joking, but in principle, 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 in march start to cats now let's. uh, let's also say a few words about the performance of the rings, uh, uh, evgenia nekrasova is absolutely a mysterious story. yes, at some point, all of a sudden, i periodically say to myself like this, let's take it and see what happens in the literature. then such a moment came and there was happy moscow, which for a long time lay in the chest as a daughter, maria

andreevna. and here the unhappy nekrasova as an author interested me very much. and this story is generally very strange for the theater in general, 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 not yet a pandemic much foreseen. yes, as if said. yeah, from the fact that you take some material, analyze it from the point of view of what happens to people when there are some kind of global cataclysms, and you cannot fight it. you would have to - it was necessary to adapt anyway, in spite of any of your emotions, which, as it were, are ahead of reality in theaters, how is it the meaning of the 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 there every day these situations change. the name in the rings

somehow evokes associations. with what snake rings, not only garden, there boulevard and so on. this was implied, the target, in general it was implied by the target, just like zhenya , it was also implied that it seems to us that we are protected, and as a result of this protection, we 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 without talent, well , imperfect is the first and second thing that the text and the theatrical text in the broadest sense of the word. he is ahead of reality. well, yes , the very powerful intuition of artists often works, my favorite idea is that we, in general, ended up inside dostoevsky in what sense? yes , because, uh, if raskolnikov was the one who claims to be the column, then he would not be

hiding. at the beginning of the novel, he talks about it strangely and it’s scary to say, he would have come brandishing an ax , he would have done his black deed and would have taken a selfie - i killed it. i'm not afraid. i can kill me - 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, but to send some kind of signal some kind of theory some kind of photograph so it turns out, in general, raskolnikov's theory when you begin to understand it . eh, as if straight, here you are to understand, not only to you there at school they told, yes, when you begin to understand it, literally. this is a completely impossible thing, because, so to speak , this is 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 so far away for people, this is creativity and that's all.

this is a crime of some sort. 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 of terrible mutually acute meanings, nevertheless, both literature and theater at the same time emphasize epicness , emphasize large 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 brusnikina. thank you very much. i made sure again. why do students love 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 opened up. yes , let this also go to our treasury. and