these were successful performances. and efremov , in general, i encourage all actors to try their hand at directing. there was not a single major artist near tolmachevo kvasha, everyone was sure to try to put something like that, someone more successfully, someone less successfully in the ray. her first was very unsuccessful, since the double swing was immediately like this, uh, yes, one of the most fashionable performances of that time and the same thing, so wait and blame them for being so impossible. unfortunately, yes it does to end the broadcast here, i would have talked for hours, to be honest, because they really said a lot, a lot of things that they didn’t say, but we will still have such an opportunity. e aired in the next series on the air and the creative industry podcast and others. i'll take you to the area in the lineup. podkaslabi on this our broadcasts. this is where it ends today. good luck. thank you thank you

very much. hello our guests grigory well , that is, zaslavsky argentis and antonnaya, georgychev, russian film directors, roman karmanov, elena kiper ah, creative podcast industry. on channel one , you can see all episodes of the podcast project on the channel one website 1tv.ru good day, dear viewers. i'm dmitry bak, as always, i invite you to the next edition of the literary podcast. it's called let them not speak. let them read and we turn this slogan literally. to all our wonderful viewers. they can read e-books and listen to audio books, they can read papyrus parchments, they can watch theatrical performances. we hope you enjoy reading. today we

we are talking with the director, artistic director of the theater practice with the head of the fourth acting course of the moscow art theater school , marina stanislavna brusnikina. i greet you marina stanislavovna hello i am very glad that you are with us today. well, uh, according to the tradition that we have developed, we will start from the past. we are at the beginning of the conversation. well, there is such an anthropological fragment, and it will be a conversation about marina stanislavovna brusnikina about how you came to the profession hmm how it all happened, especially since, uh, maybe it's appropriate to compare the education you once received and, uh, how young actors are studying now, maybe there is some difference, maybe, uh, everything is the same, how it was and how it all happens. now i graduated from the school-studio hut and the head of the course a very long time ago. we had oleg nikolaevich efremov, and even then he was always so

focused on modern literature on what was happening outside the window, we were brought up. so the theater cannot but respond to the present. and what you need to hear to see to know, and this, apparently, is efremov’s inoculation to be interested in modern dramaturgy, namely in modern literature, so how can i say that something has changed a lot in teaching there, when we were taught and how we work now. i, i can't. that is, specifically, in each workshop . it happens in different ways, but here is my personal, our personal upbringing, it was like that. yes , why not take anything for granted, but do not agree with anything, do not look for idols for yourself , try to change all the time all the time, but search for what is today happening. well, i would like to clarify, of course, this slogan is not to accept anything. on faith does not mean that what is not accepted on faith is not true. well, i, for one, ask students in the same studio school. pushkin is a genius. why am i asking? i have a very

difficult answer. you immediately remember brodsky , who believed that pushkin was not a poet at all. and it's not a rhyme. yes, yes, you understand, yes, and then you are, as it were, between these different opinions. you are already, as it were, developing your own and are convinced that pushkin is a genius at that the time when you are able to verify this just for you. he's a genius. just for this occasion, for the way you read it. well, there is a sense, of course, of course genius yes, but you can’t take it on faith, otherwise it will be. here is such a two-hundred-year tradition in the theater, but there is a two-hundred-year tradition in the theater. well, it's risky. here, if we started talking about the school, then this is a very interesting topic in general, the tradition of the school, but because, of course, the school is something that exists on the foundation of selected knowledge. yes and of course a school in a non-tradition outside of accumulated experience is generally impossible, but it is impossible to live only by this, because this is how everyone

understands any tradition in their own way. yes, and interprets in his own way, and m-m. so you need these on the base on this one, being to continue to see , hear and understand and move somewhere, because you can, of course, mothball such an underwater kingdom. here he is so well calm. that's what happens on the surface you emerge. everything else is already there. and you lived well in this underwater kingdom, that it’s a classic, that’s all it's great that everything is in place. our analyze the classics seriously, you understand that, and not changing is not a problem, not a theme, not people. and what if it were not distracted in us now, we would dream of it. and for a long time, as it were, to go all together with pushkin, books have gone somewhere far, far away from us. correctly , a very important idea is that one should not only listen to modern texts. this is number one. i completely agree with you here, but even the old texts classical texts change, of course, to be read absolutely in a new way we 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, is it true? hmm, such an 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 talk about two summer schools or the centenary school oleg nikolaevich efremov, of course, a man who has passed away, but this school lives unconditionally. you can say again precisely, because this experience that is accumulated accumulates in layers, and it does not go anywhere. yes, and it is only important that it accumulates, 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, yes to any school, but i will speak on the example of our yes school-studio of the moscow art theater, uh, there are four courses there. they are completely different courses. these are absolutely different workshops , these are absolutely different people coexisting in understanding. yes, on vkontakte in dialogue with each other. that is, our disputes in the pulpits. well, you know you are present. yes, of course, yes. and of course, each workshop is headed by a personality, yes, with its own performance in the theater this is a constant clash. and it's a constant dialogue. just like life itself. 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 living life, there are many talented people, many opinions, and it is in this interchange that some kind of lively and interesting things take place. birth. that is, even in the same institution. semi-studio - this institute has four workshops. i think they can be called a workshop, which is headed by igor yakovlevich lutovitsky and sergey ivanovich zemtsov

, uh, they have two masters. oh, these guys have uh now uh, these are freshmen. these are, uh, students, uh, led by evgeny alexandrovich 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. o.e in mine wonderful friend hmm and earlier still roman finvichkovich. of course, when this is andrey myagkov efremov, this is the line of our teachers, all this continues now. come on, let's continue, this is the graduation course, what do you put, what is being done a lot teacher diploma, we have nine diplomas of performances and some are very interesting. i remember some, but it's better , of course, that they said a performance based on the iliad, yes , and at the same time there is. ah, the classical

repertoire. there is the same goncharov, yes, yes. e, tell well, is it really. well we started work in general. that's what concerns the work with myths. and with such mythological literature, this is now a 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 is global, connected in general with space with space from well, with the epic in general, now it starts to sound somehow very powerful again for young guys. yes, what they see there. uh, the content of some kind of eternal, yes, which is not subject to change, which is now so rapidly us, on the other hand. that's exactly what understanding is. it takes time nuvo-it gives a lot of strength to understand that everything is not accidental. yes, everything is included in the conditions of the game in this life of our human being, 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. 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 a quarrel with students. when well, it's clear, yes, yes, some of this is told so creatively that it becomes interesting, it becomes like a kind of theatrical pre-performance. i remember how we dismantled with e students that the first famous line of the iliad, there is no e o anger goddess, not anger o goddess. it was a whole dispute, but when they did not understand that there was no oh no anger about the goddess of reproduction of the son it would be. a there the goddess of wrath, singing achilles and the son of peleus. we are not naedita, polyadova, hilaus, little

that i remember from ancient greek, which i once taught, but this is the first line. i have forever. you remember two lines in greek. well, how do omega prefer? 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 fundamental position. yes, walking in completely different directions, and at the same time, their guys had a wonderful performance, verbatim modern stuff about past professions and professions of the future, it’s very much work and at the same time a classic, while goncharov because there are certain individuals on the course that i wanted disclose in this article. 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've got wonderful performance. come e days

of our lives or not. andreeva left. yes hmm disciple of the mighty. m-m arseniy 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 with him 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, usually what already was or maybe, yes, i understand correctly. well, in this case, when collecting is the lack of literary material. how so? yes, this is going to live witness stories, well, on some topic given there. there, in this case , they talked, and with people of departed professions, there are telephone prompters. well, what kind of people who are in the profession, who practically either left or they are not there and talked to people who are trying to understand. to analyze these, what ’s next is curious, do you remember, uh, that’s what my beloved arseny of tarkovsky is

i will try to remember a poem about this now. uh, ariadnina threw her hammer in gold, the thread ran out watching the dying of crafts is like burying 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 electronic lyra from her programmers, secretly composes poetry cantemira to end with his own verse. and when there in this performance there were already taxes of people who talk about the professions of the future. i i'm sitting, i don't understand a word, what they say is a different vocabulary, because the other language is quickly changing and leaving. e, tactile memory, and hmm this is a performance of the ultrasound of moscow, they provided us with a large number of b objects and these objects, when these objects were placed on the tables, you don’t even understand why this who is what it is?

because you no longer know why the minister is working for the fact that half of humanity is in developed countries. this program. yes, programmers are working to unembodie the action. yes, that's all became. by some code, i was quite recently an amateur photographer at the prishvin and prishvili exhibition, explaining how a two-spiral photographic tank differs from a single-coil one, showing tactilely a single-coil one is charging like this. i have a memory. i could do it from two spiral. that's how it is that it's gone and this performance is, of course, a wonderful work that captures 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, yes, it turns out it is important to hear it is important to understand, it is important to display it is important to work. this information is very important. well, maybe there is a difference, here in such an important issue as

employment, without revealing the secret of subtlety. i am not talking to him now about this, but about the textbook disputes of the repertory theater about its decline in its longevity. that's how it was 20 30 40 years ago, it was difficult or easy to find a job about the same it was always difficult on the course it was always difficult. and when we were graduating it was difficult, than they took to the theater a little. yes young and periodically there are periods when it is almost impossible, because no one needs theater , then some moments arise. all of a sudden the bright ones are stunning, when all of a sudden the theater needs young artists and it's unclear somehow. so this is a young thing. yes, it's very young. yes, we hope yes, all the time that there are still some opportunities, there are very good distributions to get settled and work at school, well, thank god we really wish somehow yes, they are successfully distributed. so i remind you that a literary

podcast is on the air. let them not speak, let me read dmitry bak, and now, according to our tradition, we are doing, uh, three things, either we read a poem, or a quote from the classics, or, i just show some old book. well today we are compatible, second and third. well, first of all, this is, of course, an old book. this is my favorite tom afanasyev afanasevich fet, to be more precise. this is a duplex. they are just intertwined together. this is 912 thousand. 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, uh, and we immediately remember when not everyone remembers that ivan sergeyevich turgenev left his mark there. that is, he prompted to replace it, there is one word with another. the dust was right there, but even without taking into account the fact that

this is not quite fet, but half-fet, half -turgenev, nevertheless, 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 somehow told me i don't know how he does it, meaning, this fedge is boring. and so many say, he always writes in streams about nights about dawn, and timid breathing about music, light , the transition from shadows to dawn, and no more . well, before you read these eight lines. i'll preface. this reading with a very brief commentary by fet is hmm the poet of missing associations of missing links. well, for example, there is an apple, a pear, a boxing pear association

there is, the boxing football association, well, there is also. there are common denominator sports, soccer ball and 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 the kts of the association. no, this is fet and this darkness is caused by the fact that some intermediate links. well, as it were , they move aside and go into the shadows. here is the shortest poem, a cloud of wavy dust rises in the distance on foot or on horseback, i don’t see 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 hmm a cloud of wavy dust worth giving away. we can not see. what caused it. it may be the wind, as we will later find out, and this is the dust of a galloping rider, but nowhere does it say that this is a horse rider horse rider is not seen in the dust, and then i see someone galloping on a dashing horse. we should have said. well, now he i rode up closer, galloped closer, and i see, of course, that by the swiftness of the approach - this is horse, this is not here. see. what is obtained, history. this man gallops towards me, but not towards me. well, it seems to be jumping from point a to some point b, which does not coincide with 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 clubs clouds of dust. 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 to whom would i also e with all my heart. uh, i would go on wings on a horse, whatever. well, at least on a space rocket. i would say a man of the xxi century, but i have no opportunity for this. i send him a signal, suddenly my friend is far away. remember me right now when i'm not i can get close to you, this is such insight, instant insight, this is the e-pointe turning point, which fet usually misses. and if you skip this , then you get just smooth rhymes, and not

the great fet, it always happens with him in these eight lines, which of course will be included in any anthology of absolute 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 makannin. this is astafiev, this is aitmatov well, that's what immediately popped into my memory, 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 the unhappy, well , the performance is called in the rings, but consciously, consciously, i still force myself to do it. 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. on 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 the text is not theme, but the theme in the text, of course, is not that you will forgive, for such rudeness, a parallel, i am 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 puff of time, like the germans, they say the site zeitgeist and look for what it is we correspond to both the theme and the material, probably, it happens in different ways. that is, there is a situation when you realize that right now i 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 cannot

help 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 adapt any text. the main thing is for the sake of it. what do you know, i i have been talking to students about chernyshevsky's novel for many years, yes, a lot, yes, which i really like and m-m. well, we all remember the mockery of vladimir nabokov in the novel the gift, when his characters, or rather, not himself on their side, but his hero, when she scoffs in cherdyntsev at what a strained, dry , imperfect book this is, but this is very funny to me, because uh there on the second page it says that i as an author is devoid of any artistic talent, that is, this book, on which it says i am a bad book. hmm, that is, the ban on only one says that a bad book. author he himself said that she was 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. how did you know you were spinning 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 what to do. well, this thought to me, uh, sunk, uh , into my heart now that almost sometimes the text itself does not know that it has a stage potential theatrical 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 appears volume and they exist right in front of you, real living people. this is the transition from text to reality for me. this the magic of absolutely the letters remain, however.

that's what the letters are also not a plane. yes, that is, you are when well, 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, 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 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 no, 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. uh, i look, uh , staged or film adaptations and catch myself that i don’t need them, on the contrary, well, to somehow popularize with you all the same. for me, the main thing is, well, not that the plane is not that horizontal, what

is it but what is e in the word at temperature in addition to visuality, that is, if it is not said to me 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 exactly, he goes, so uh, i just feel some kind of inhibition every time i see a staging that seems to me, uh, well, some narrower and more private than a book, but the secret is that it is always important to agree with the author, and now it’s just that an example is also immediately in my head, like a daughter, my little friend of hers. so owning ballet to 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 why she says, well, because i can imagine everything myself, therefore, of course , our imagination does not work, and it is always richer than what you see then, here, before moving on to well, the last one time for the performances by nekrasov and the minister

i will ask you, if possible, only if it will not be such a violent movement, but to formulate it in one phrase. well for example, why leave them and why pelevin is different, it seems that at the school tsar fish is a literature teacher, 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 many years when talking with oleg take a stick of tobacco and put something. 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, because even then the understanding of the huge huge scale. this this person for me. it's leo tolstoy all the time. hmm well, viktor petrovich is a gigantic 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 leave them further, of ​​course, this is this epic character of this author of his e relationship with space with space formulation. yes , completely unique language, and you understand that remove and leave it and leave it nothing will remain rude. here it is impossible to translate his dramaturgy. yes, that is, well, in 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 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 of 2001. the second one is somewhere in the beginning. yes, but as for pelevin, this is generally a separate one. history is one of my most favorite writers explain why? of course not. only me

i saw that even when i did the performance, and still only agents. let's go through agents. no, this is some kind of coincidence of my inner brain of what is in my head of my inner fantasy and mine, but ideas about something are 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 into what topics, things strike me , amazing, and i accept it, and i like it endlessly, especially. here, oddly enough, previously swaddled. well, let's now let's talk about these two performances. uh, one, as you already said, it was staged in the russian economic youth theater in a beautiful frame we love and uh, this is an unusual production, because, as it is right to say, it is not interior. yes? well , somehow this is such a story, good-natured cats.

love. no, no, just a dog, just not with you at all. but now the attitude has generally changed, too, now, as if i’m letting a single cat out, this is such an impact in the novel. yes, when lady karlin tchaikovsky wrote down the words to the ancient 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 a mandelshtab? well, i had an answer before , i had an answer now. yes, it was just yes now cats. yes, also something about the minister sin and this novel. yes, the initiative left the actor viktor panchenko, who, but suggested that he said, let's do it further , the idea arose to do it not on the stage, but in the yards of the ramt. and when they brought me. here are the yards. i saw these roofs. i realized that everything is in chocolate, we are doing something even the trouble of the valley was done in one yard. and there hmm, where alexander was, we also play in

another yard. we're still playing in the lobby. we are still playing. 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. maybe, there, on top of all plans , 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 is there was such happiness love, we did not talk about stopping e based on the novel by alexei varlamov yes , my soul, pavel, which personally and alexei vladimirovich borodin did. so this is the name of the theater, so everything came together and the yards and teams and borodin happened further. here, yes, the performance, when you know what it's called? didn't you expect it? well, when i watch a video with a rehearsal there, we hunt them all the time and smile all the 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 to travel in moscow and did not live

without a home for a year, because i then realized that something had happened to her. it appears to be 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 on to this saveliy. yes, uh well, i'm joking, but in principle, of course, has not changed. he changed something very much in all of us, but this is still a performance that is played in blocks. we are playing. that's just summer autumn, come now, it won't be long to wait. maya was let's hope in march to the marhal 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, suddenly, from time to time, i say to myself , come on, take it and see what is happening in literature here such a moment, and there was happy moscow, which for a long time 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 theater, in general 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 there , it turns out in the twentieth, but much was not yet foreseen by the pandemic. yes, as it were said, well, from the fact that you take this material, you 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 just have to adapt, no matter what. on what kind of emotions, how would theaters get ahead of reality, how does 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 these situations change every day. the name in

the rings somehow evokes associations with some snakes. not only garden, there boulevard and so on. it was implied, the target, it was generally implied by the target, just like zhenya, it was also implied that it seems to us that we are protected, and as a result, this defenses are targeted. 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, well , imperfect is the first and second that the text and theatrical text in the broadest sense of the word. he is ahead of reality. well, yes, the intuition of a very powerful artist often works for me beloved thought that we ended up inside dostoevsky in general 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 roma . i would take 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 uh terrorist crimes, when the meaning of the crime is not to take possession of property or revenge or give vent to feelings, and send some kind of signal some theory some kind of photograph so the theory of raskolnikov turns out when you begin to understand it. eh, as it were, directly, here you understand, not only they told you there at school, yes, when you begin to understand it, literally. this is a completely impossible thing, because how to say 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, how would we go now, and it's so far away.