[000:00:00;00] i like how different everything is, that is, i can’t, so i can’t choose any one piece or one film or something, because there are films that i didn’t see at all in their entirety, but only saw these episodes tiny ones with fondurgen, a. of course, he is the one, that is, such a big story that i saw in its entirety, this performance is further silence, but i can’t do that either. uh, to fully say that i perceive it, the way it really was, because the theater is on you yes, it's alive art, alive, history, and uh, and and people who saw this performance said that they had to go to it 2 3 5 times, because each time it was different, each time they played

differently with growth. i. well, of course, this is the fixed second. do you think there is such an hmm opinion when we read ranevskaya that hmm she is closer to brecht's theater than stanislavsky's theaters , although she denied this and said that stanislavsky was my favorite director there, a genius. the teacher, whom she only saw briefly, but saw many of his performances, learned from them. yes, and indeed she is. she played in the tairov theater, it's all, uh, the same, like a school, and here's the question. and when people watch some of her uh performances, they really hmm see that she deviates from the principles. stanislavsky, just this one from this theater of experiences gravitates more towards the theater of performances, like actresses. that's

what it seems to me, it seems to me, it's just uh, i don't separate it. for me, you think that this is some kind of synthesis. yes, it seems to me, yes, it seems to me that the most beautiful artists, like once those who know how to combine it, when you know how to put on this some kind of new mask every time. you manage to fill it alive. uh, live emotion with live feelings diary of the role, and u know the name of the dog that lived with you at the age of 5. well, so as not to discourage. i’m completely, but it seems to me that it was very characteristic of her, just complemented. she did not leave, uh, the theater of experiences, but she enriched it with some additional colors. like, for example, there smoktunovsky yes, which is

absolutely, but makeup is always different. at i can't say that he wasn't worried. with i mean he didn't feel. this is, apparently, some kind of organic, but such a connection with well, i don’t know, with the universe of great actors, uh, these things connect. that's for sure. since we are talking about the series i would like to see the trailer if a job opens, we will let you know in the morning and i think the audition, then until late in the evening crying for you already there you just have to try to get. she wants the disgrace of russia zaika, tongue-stopping voice, like a longshoreman needs connections with me connection only in the city laundry. and i will achieve everything myself

. i would try them all. this is one actress, what a disheveled beaver. i will invite you to star in my film, and prostitutes. yes, but you will play an exceptionally selective honest woman, bastard, beauty.

i think, but to talk about it. if i began to describe, i would say that this is not a striker, but this is a play. some such play is a play based on and, of course, in no case can you say that you really play there this particular person in these circumstances. if you consider it like a play about it, then it turned out wonderful, and in fact. and this is very true and it is sometimes necessary for people who do it. well art is something in art. some kind of energy can pass through them. they may not understand this themselves, and therefore they need to be explained in general, they need to be told that guys, well , you made a theatrical, well, a cinema play about this person, because you took a beautiful actress for the role of an ugly one, and so on and so forth . similar. but uh, i'm completely i'm not saying this as a compliment, really.

this is the first thing that comes up. well, like, well, faina dahlia, after all, such a specific woman, that's in general. by the way, i wanted to say something else. i understand that you are playing. uh, also akhmatova in another series. well, not so big, not from 18:00 to 86 years old. and literally there. well, it doesn't matter. what is your career like? that is, you play such great and phenomenal personalities of the 20th century? here is and this same this for good reason somehow. yes , what moves yours, and producers and, uh, and directors to take you there, i don’t know you are told, i understand that the similarity is just purely external. i don't remember, i have two i have a broken nose. i don't remember which side i'm on. which profile is from which profile? in general, i am very similar to her, but

i don’t know about ranevskaya, that is, from some profile, ranevskaya from some kind of ahmal, it looks like there. and by the way, when you think about how to play ranevskaya, how do you prepare, it takes some time, do you think about it, or do you drink this thing or does the director tell you? here she was like it happens. this is interesting. the first main task is to step over the hysterical m-m in the head of this one, who am i who is she? and inevitably i had to stop intuitively through this, after all, they played in the play. yes, because otherwise i fell into a stupor from the horror of responsibility from all this and from the thought of the endless thought that no one has this right and this cannot be done. this is bad. it is not right. can't be impossible. fu in

place to lie. and the only thing that saved this is this mantra - this is not e yes of our the character's name is georgievna raevskaya, but this is not faina georgievna ranevskaya - this is a certain character. this is the first task was to cross everything else through this. well you're like any other role. whether you are an actress or a doctor or anyone you are, i am a bore, i am like this, i write down the roles in a notebook, i keep a diary of the role. i have all this written on one side of the text on the other side of the background. everything means, this is this, this is all i am. from the beginning of what was conceived to the embodiment of the past. well, personally, for the first time i was on samples for ranevskaya young then. something i can’t say for sure, but it seems that either four actresses, or two actresses and four

ages were supposed to play it, and in 2013 yes, then it’s the same project. just transferred or everything has changed there. i don't i don't know but what i noticed in the film uh in this hmm like a playmaker neva she sometimes talks about these aphorisms that we hear. yes, this, well, in your opinion, this is, as it were , done in order to be more recognizable and i think so, but again, this is not for me the questions are screenwriters to the director and to creative producers and so on, what do they tell you unconditionally? yes, although, how did you allow them on the site how to improvise and somehow add something from yourself? well, somewhere yes, but here is such a very line. still,

another time, another language, other manners of communication between people. and, uh, really go under yourself to pull, like, as if all this was, of course. well, there was no such task. that's why no, something. i probably suggested, but basically somehow i'm pretty obedient artist. look, the last few years have become very popular. here are the fights. we watched a lot of films about famous people. there, starting with yesenin. and now a film about vertinsky has been released. a film about anna german about lyudmila gurchenko. in general, they sort out almost all, uh, celebrities. why do you think there was such an hmm request from viewers for series about such people. probably because of the scale of the personality, because of

an interesting fate, because, mm, the junction and fluff of times in ranevskaya, of course, an interesting fate, of course. well, how, however, we have it there and at vertinsky, of course, vertinsky is also present there in well, yes, quite a bit. yes, such a runaway. yes, look at another question that always arises when you look at hmm in the credits for the performer of the main video, whose name is maria sagal. polishchuk, of course, the association with, uh, your parents is nowhere from this. you're not going anywhere. you're not going anywhere. i think that at some point, maybe, the same series will be shot about your mother, because in general, her fate also kind of reminds me in some ah, vicissitudes of fate, yes, yes. in general, these are

certain roles, one role of an official. once he said a phrase about her, they said that her face is not a soviet woman and she stopped- well, she was not filmed in a movie. quite right. i had the face of a hollywood woman. i always have a question for the children of such famous actors , what drives them to become actors. here are the fates of their parents. yes you know me. well, of course, i thought about it a lot, i don’t think it’s something like that. here i go quickly. it's just that you live in these certain conditions, i don't know how it is to live in some other family. i have lived with this family all my life. i have lived all my life with this mother, with this father , grandmothers, grandfathers, and so on, and this is some kind of natural habitat , there has always been a theater in which i endlessly

followed my mother. my nanny worked as a props at another theater. i'm in this theater to send endlessly to the rehearsals of other artists already, and somehow the child learns what he sees at home. this is true. i can't imagine what was supposed to happen so that i would love at school, for example, physics or chemistry, but you could follow in the footsteps of your father there you could if at least somehow at least a little bit, i liked to do it. unfortunately, i didn't like drawing at all. why, unfortunately, the fate of the artist, uh, is, as a rule, even more difficult than that of the actors, because we see the actors do not depend on anyone. you're on your own dad. in the morning, you got up and went along whining. now i'm on crutches. well, he went, nevertheless

he broke his leg on january 1, went out for a walk with dog. slipped. fell broke his leg, that is, as if he walks to work, as if to work. well, of course, no one forces him to do it because he wants to, especially in the state theater, especially in the repertory theater, in which i no longer work . hooks that i can’t help but catch, and i have worked at the theater on maly bronnaya since 2007 and they count all this, because with mathematics i’m not very fine. well, something there is 15. you see, you counted very quickly. i can't do it that fast either. at the end of last season, i was fired and the staff and left on the contract, but since the contract i am not obliged to come to play performances on the days when i have

performances and since it happened for me for several months in a row that i could not, well, that is , i could choose i can or i can't and i didn't choose very well and i really like that i don't owe anything officially to anyone else. yes, i have a work book me in a folder with folders that contain folders with documents. if you are invited to the main roles, then your career is yours to me. hmm, your career is like a fate, including more or less material, i understand but, if not, then you don’t work in the theater either, as a matter of fact, uh i work in the theatre. it's just that i work in an independent theater and it 's just that you're just one person who rents a room, other people come there and play performances there. ah, and there are many different all sorts of great. and that's great. here

it's just fine and that's where i'm just getting great pleasure even in some cases, by the way, decent money. this is cool. i was very glad to meet you and admired your kind of work. my name is igor igritsky. we say goodbye to you. i had a wonderful actress maria a gygar, polishchuk, who played the main role in the tv series ranevskaya e. all the best. i hope that we will be with you again. will we see it? god goodbye? hello this is a podcast of grief by fire and i am its presenter denis gorelov with a story about only that ended the 95th

film awards ceremony. oscar the parabolic trajectory of the relationship between the russian people and oscar actually took place before my very eyes. ah, and it has been developing over the past 30 years with the completely active participation of channel one in the year in the ninety-fourth or ninety-fifth, i don’t remember exactly late at night, and the critics came to the mosfilm, where, in some distant pavilion, the equipment caught the signals of oscar and his simultaneous translation by pyotr shapotini, who hissed terribly at us at all so that we would not laughed behind the scenes, because this entire recording was supposed to go on channel one in the evening. and here we are laughing since that time not so much has changed, the ceremony is still going on as before, and the stars and superstars are walking along the solemn path. and we're laughing behind the scenes. and in the interval between these events there was a rather serious line, the relationship

of everything, and channel one staged a chic premiere show. eh, late at night when collecting, you can see