here are two children who dropped everything into the well, and then burned the last ice and were left alone at night more sadly. yes, there to one tells the boy's cucumbers for mom, stole cucumbers, brings cucumbers to mom. here's how if deniska rather, dragunsky brought cucumbers to his mother. mom would have burst into tears of happiness, yes, and mom from nosov's story says where she got the cucumbers. he says, well, here in someone else's garden. she says, go and return the cucumbers, uncle to this boy. here, he was already driven away. yes, and what does mom say to that? here is the mother from the story of the nose? yes let i'd rather have no son at all than have a thief's son. that is, she sends the child back to this so much gun runs. come on, it's just balabanov for children. well, i don't know which is worse. unosov, indeed,

there is something in common with the balaban. he loves policemen very much and introduces this image of a policeman all the time. well, it’s true that nosov still has this policeman - it’s conveniently styopa who approves order, but, nevertheless, nosov , uh, has some coordinates of good and evil, which are very clearly presented to the child by adults. and it gives a sense of security and order, i think, but at the same time, a little, uh, gives some kind of edification. well, of course , security is certainly not a secure sense that the watchman will not shoot this boy, then naturally. it's scary, it's not scary. why yourself? that is, in principle, that's enough for me. here’s one thing i thought that if i hadn’t read it, i would have thought that this was the story to the boy, he stole cucumbers, brought everything to his mother, period, that is, you can burst into tears and leave and read nothing more. ok then, what else was there to decorate. it's better to eat. mom at least, yes, but dragunsky but these are

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this podcast is a must-read. i am aglaya nabatnikova. director, writer, sophia remis is my guest. the author of the notes is gosha kunitsan, a very popular book, and ivan shepnigov. the author of the novel. stream today we we discuss e nasal dragoon classics in children's literature. why are they unique in nosov and dunno and in stories. eh, a lot is given to a particular system of society in which the child grows up, this system explains to him what is good, what is bad, bad, bad to deceive, bad to steal. there will always inevitably come a punishment for bad deeds , a certain one is read. well, that's the socialist ideology. and this is a lot. dunno it seems to me, yes, i don’t

know how on the moon i don’t know how a certain model of society is drawn in a sunny city. and this important. and in dragunsky, it seems to me, rather the emotional world of the world of relations, we can say the hero of dragoonsky, they live out of time, of course, that is, unconditionally. there is a sign of the times, there is even a wonderful book of comments on deniskin's stories. i don’t remember now, the author is a very good book, where all these signs of the times are analyzed and, uh, the fact that deniska lives there in a communal apartment, there are five people in a room and many, many things like that. here, uh, but emotionally. yes, it's easy to imagine now these heroes. uh, just clean up some utilities there. now there are also something. well, there are some signs of the times from the series mom, tired of washing dishes, and engineers have not yet come up with such a machine that washes dishes. and now the boy is trying to invent this machine, they were spinning

an electric plotter. but the most important thing, probably, in this story is that dad decides to help mom. they don't leave him. all options have been tried. there for low offers. the whole scheme, as is. her from one plate , the scheme of deniska proper is proposed invent mom with a hint to dad and deniska. says she won't do the dishes anymore if they don't come up with some clever way to get her to wash herself in some way, so it's clear that mom hints to dad from the very beginning that it would be nice to wash the dishes, but that's it again he understands the relationship very well, this hint is and just these relations between the parents, this whole thing and, uh, deniska does not understand, he really thinks that some way needs to be invented. he sits out of the britain, he came up with such a conveyor, when mom prepares a bowl of soup and the first member of the family eats it. so then while the second one goes to wash his hands from the same plate there, well, that is, one plate is used there for the whole lunch or dinner, or three plates. but

dad understands perfectly well, everything at the very beginning and as a result, of course. he says, okay i know with her not so tricky. yes, well, actually. the red plan is that dad sometimes washed the dishes, it seems to me very even. it seems to me that it is important that deniska's father is the author of his own text. yes , as we understand it, ironically enough refers to himself and we see this character's dad also from some funny funny side. there is some self-irony in this. just at the dragunsky himself, as i understand it. that's like a children's writer. yes, this is not a story, with his son. yes? this is a story about him and it turns out such a slightly collective character. he is not a collective of the whole world, he is a collective of him and his son. that is, he takes situations. e from deniska's real life most likely imposes his adult. here is this experience and

my childhood experience. it turns out like this. here a synthesis of all these emotions of children and adults, and these very ironies in relation to the pope. she just refers here, because he is trying to understand right away, how he sees it, how deniska sees his father at the same time yes, well, that is, this is such a split and mood and mood of the personality. it's great. somehow we see several points of view in one story at once. and this is very cool, it turns out. everything is fine. i can't help interfering. the topic will just go away now, but cool details, well, compare. now you have spoken them. yes nosov boy stole cucumbers and brought home the dragoon boy. i threw cutlets and threw them away, but this is the pole. it is fundamental in this tragedy that the boy is again thrown out by the dragoon, that is, the porridge outside the window does not want to eat a lot of food at home and the child is not afraid that

there will be no food. he stole the food and brought it home. well, this is the difference, after all , a prosperous world, nevertheless. it always ends. fine? everyone admits their mistakes, because as a playwright he wrote, as textbooks are correct, but how does not happen in life. yes, it doesn't end well. no, absolutely not in one word, that is, no. i believe believe. here in this melancholy, but in how everything ends well, but this must be added at the end. i never believe. i say to me why am i enough? it seems to me that the story of the nose ends at this point, the boy stole the cucumbers home. say uh, don't you think that children's writers, they look at the world more honestly. there is a point where children's writers remain children in the sense that they guard the ability to i am forced to use the wording

of a non-children's writer, but we are still my favorite in leo tolstoy's wording of tolstoy to look at things simply and directly, just like a child we are all adults. we live in a world of false lies, hypocrisy and everything else. yes, probably everyone understands everything so beloved, but everyone is watching that people play each other, their eyes are smiling and they say we’ll fix it well. all the same, you understand that everything is bad. well , that's what you need. and that's how society works. yes any any, naturally yes civilization, and children retain this ability to see things as they are. this is the main thing, the difference i also retained this ability, but i look at the world rather gloomy and here it is to cheer myself up. yes, i suppose, well, in an adult, but i overdo it, writing some funny things myself will amuse everything, but in a nursery, you asked how it would be, that's why it was scary that it would not be possible to convey, uh, modern prosperous

children. yes, who are not afraid to throw away, as if cutlets and do not steal cucumbers. yes, that's for mothers, how would they not convey their longing to very sad stories. and these are just those stories where children encounter the world of foreign adults, because the children of the dragoon live among. these are good children with good adults, uh, these are all the relationships where they go, there is a lot of movement on sadovaya, where they go out on a big bike . . well, there is no such question, because it is impossible and it is not necessary do. no put proves that you can not do your look is impossible. this may be the nature of the time, yet nosov worked a little earlier, but at some point they crossed paths , because we already had more lived with them

, by the way, in many respects similar lives, one had a relationship with the theater of the other cinema. uh, both of them, there are two wives there, uh, well, that is, there were a lot of all sorts of intersections. another question is that nosov was gloomy in character, it really is, and dragunsky was very party-going and very, uh, cheerful and his yes they always talked about him as about such a person, of which there are many people. yes people holidays. it seems to me that this should also be somehow felt, of course, to speak, as if only now they noticed that, well, everything was somewhat gloomy. it's simple. i do not see again myself gloom and honestly. i listen to you with great surprise that you are so good at remembering one such shaky proof, of course, but i can say it anyway, and one of my favorite writers is dmitry gorchev. unfortunately, he died early. in april of the tenth year. i remember exactly that day when i read that he died. well , he died very early, very big could be even more

written in short form. worked. he has a small, branded one of his again one of the phrases, for which constantly spins in my head and such a distilled longing, that you can’t think of anything better. here he loved this melancholy. here it is in everyone for me. here, but gorchiv loved nosov very much and he described that he constantly traveled in trains. between he lived in a village in the podskovskaya region, he traveled to st. petersburg. well , on business, work documents, that is, yes this train, well, in the search for a book, he constantly describes the villages in the compartment. you put out a can of beer laid out, do not know where on the moon, and everyone looks like literature. an interesting adult was put by a stranger to me, such an adult, gloomy, uncle, bearded, so unshaven scary, as he reads. well, i 'll translate a little now, he reads such garbage and laughs. and all i need is for people to smile more, dmitrievich writes, it is very

characteristic that the gloomy city now loved this gloomy nosov, here is more. e pro world. here are these foreign adults. we somehow encounter this alien world in these stories. in what way does it manifest itself? it is basically conditionally possible to divide dragunsky's stories into three parts, there were a lot of them for 10 years. i wrote even more. and now, probably, uh, this is the exit to other people's adults. it's more like the last part. where actually. here are these beautiful children from the world. good children, yes , meeting with conditional adults there are not necessarily adults there, in the story on sadovaya there is a big movement, but they meet spam with a guy with a teenager, but from another world. where the garden tattoos obviously sat, my grandmother begins to tell about dying of double appendicitis. yes yes. the children suspect that something started there with the fact that the children received a long-awaited bike.

and, uh, pleasure, yes, yes, and that is, it was just happiness and, well, if this teenager is short, he lures this bike from them and leaves on it and they discuss. that's what can happen to him there, maybe something else hit him with a car, then is for these children. they are waiting for them to return. they are waiting and they will stay like that until someone tells them that there is nothing more to wait. yes and these are the sad stories of gonsky in the morning. they are like that too. just lyrical stories. well , there is, for example, such a story eh under the bed, where the boy eh plays hide and seek and is accidentally locked from an adult woman in the room. he sits under the bed and is afraid to get out , imagines what will happen if he stays there forever, if she and he are embarrassed to get out, because she already took off there some part of the clothes, that is, he understands that the further, the worse, and now she has already gone to bed. your adults

tell dragunsky all the stories of adults. they are simply shown through children's optics. but they really can be completely contained for adults, and there is not an event, yes, they unfold, but from some of the sensations it is called a whole story. yes, this fear that he will remain sitting there, then, of course, now to save her. there, his dad begins to look for already adults. here is the case when you tell your nose saves you. adult. by the way, here we were talking about the police yes, in the promillion in nosov's stories. there is also a story where the boy is just the opposite. it is as if he is afraid of a policeman so good that he even stopped playing. you agree to help this child with a lot of stories and a nose about this super thin policeman who understands that the child is afraid of him, but he makes sure that he helps him, but the child is not all the same not afraid. that

is, here are some adults too, well you are the police, who is the representative of the authorities , that is, accordingly, the child gets the feeling that he is protecting, that the authorities are taking care of him correctly, i don’t even remember bad adults at the noses. here dragunsky there are bad adults and their strangers and families absolutely definitely and good adults from the school. this is a great music teacher who listens to everything i like, what i don't like. there several times deniska loves, uh, horses with kind faces. yes, honey, there is magic, which means he has a friend, a bear, who loves love something. i am borscht dumplings. he sings all the food he loves and at the end when maybe something else you love. that's besides the food. well , kittens. he says, well, that is, that's my grandmother, but immediately character. yes, there are two stories, two characters. but mishka - this, as far as i know, is real, and deniska's friend yes, a real-life boy.

it is clear that and viktor dragunsky was watching them, well, it is clear that everything is made up by the guys. yes, one of the dragoons often complains that you have been asking all the time to become a writer, yes, and he is very diligently ksenia dragunskaya region became writers and so on the turks already remembered, apparently you had him in mind, he wrote a few comments. yes, as denis tells denis viktorovichsky, here, yes, several books, well, one definitely seems to be more than one book in the comments below. so where did he explain, how it really was, well, relatively speaking, as he remembers. this podcast is a must read. i am aglaya on batnikova, director writer, visiting me. e, children's writer sophia remis and writer ivan shepnyagov. we are talking about children literature that is interesting to adults, namely about nikolai nosov and viktor dragunsky vanya, please tell me, being a children 's writer in soviet times meant

making very good money, and nosov and dragunsky, in general, became popular precisely thanks to literature, although they also cinema and theater by some other activity, but you can say that it stimulated their creativity such a profitability of this children's literature , the breadth of this occupation, or it doesn't matter at all. in the case of a children's writer. eat just some creative way of perceiving the world. there is something else. it was all about profitability. this is not in the sense in which we are now talking in that sense no, well, it was some kind, in fact , the state grant is very large, you don’t even know that they sold many copies. they just paid him the market price. no, they were government sponsored. i don't think it inspired them in any way. i think they would have written and without it they would simply not have published them, and we would have opened them there through, well, the state gave writers dachas. they could afford, a certain standard of living with gogol took. from nikolai, these were taken from the soviet

state. yes, we do not take from anyone, thank god this is freedom. yes, this is freedom, poverty, yes , and the unknown. this is good. well, with the unknown, i would argue, of course, i don’t think that this inspired me. well, no, no, and we can say that they are relevant. today we can read them today and the nose and dragunsky, moreover, the nose. we can moreover, it seems to me, not so much has appeared, but realistic stories are funny, a inventive about children. eh, now there is a lot of cool modern literature for children and teenagers, but there is still a little humorous among it, but something as funny as dragunsky's has not yet been written, and it's a shame. but you are not so funny to me, it turns out funny. i like to write human envy when i read

a story, let's say, if i were an adult, and here i am driving in a car with a child, we are. we turn on this story, and he laughs and i laugh audio version. yes, this is a marshak check. yes this and a child is interested in an adult with good taste. yes, it's very funny and really cool or nosov fedin's story is a problem and the boy is trying to uh, have a funny nose. he folded, he listens to the radio trying to do his homework. he can't do anything else because he can't concentrate. it's really funny. it was a bell. that is, this is lined up. invented , they said that this is ridiculous. we joked laugh. well, it's not charming. this is not cute in itself, as convenient for russian mechanistic filmmakers, therefore, yes

nosov from there, of course. well, apparently not. well, they're just different things. we have you really have dramaturgy. uh, very stories that are a lot like what could be a script, let's say, live hat is actually a finished cartoon script, so it's interesting, you're not interested. he has a lot of screen adaptations with us and both have a lot of screen adaptations, and, uh, from my point of view i don’t want to offend anyone, but the dragoon skill has a successful adaptation. i just have them more difficult to bring them more difficult. there is a lot to do with language. there are a lot of language constructs that are funny exactly as long as they are written. uh on paper when you uh see it. well, how is it transferred these remarks? uh, they do dramaturgy and, as it were, that is, some events take place, it ceases to be funny. there are stories in which, of course , they are very funny dramaturgically, but more of it is in the language. yes, if good

literature is literally translated onto the screen, this is not usually the case. yes, it doesn't work. it's basically a screencap. it's very complicated story. i didn't understand that. so it to do, i and have not learned to do. uh, script to my own uh stories. yes, it's very difficult. vanya is cool that both the nose and dragunsky work very simply; they can’t have very simple dialogues. where, where there, the tori is just the most difficult thing in general, in principle, in life it is difficult to write difficult to do simply, but simple to do is difficult. the simpler, the more difficult this is incredibly, cool, of course, yes, this is not repeatable. well, that is, these are dialogues and levels. i don't know, but again we remember cinema constantly levels, again, i don't know, well, it's so strange. well, no, i won't say if well, no, tarantina, well, tarantino that is , you're comparing noses to you side. well

, this is the level where you think it's very easy. and you try, yes, it is impossible to repeat the dialogue of these boys. it seems very simple that is why it is impossible to repeat, therefore, i answer the question of denunciations and dragunsky in his own. simplicity. they knew how to do very complex things. yes, there is no feeling that literary editors were specially picking with this text. yes, there are dialogues. at dragons. i said, mishka said, lyonka, said 10 times repeated said, and it does not seem. eh, one works. yes, it's great. for some reason, this sense of language is natural, for some reason it is believed that we speak one language, but we must write in a completely different one, and they do not intersect in any way. actually, maybe dragoonsky's nose was broken too. this is the fourth one. well, how would this be another coolness, because the only language of the existing physical reality. it is the oral which is produced by our speech

apparatus. here are the masses of these badges on carriers. which we will call written language. it has little to do with this very, very large contract, in which a huge number of all kinds of errors are inevitable, this is a big convention, but therefore a strange situation. when well, she always seemed strange to me, she always was that here we speak so badly, and we will write it so well. well, that is, we discard the basis and take the convention and make it again to the question of falsehood or death. you know what i'm talking about yeah an artificial contract is recognized as more real than a real one, as it were, well, the essence of the matter, yes, and nosov is not gogunsky, they are still cool in that they realized that, well, you don’t have to be a literary editor, that is, remove uh, you just need to come up with something from life here, and here the next difficulty cannot be literally transferred to the oral carrier in the form of a sign. yes , sounds are transmitted to letters, you can create

and what it is like. spoken and this is simply the hardest level. yes, higher like this , yes guys. thank you very much for interesting talk. this was a must- read podcast. i am a film director and writer. my guests were the writers sofia rails and the writer ivan shepnigov. we discussed nasal dragoon classics of children's literature. hello this is a witty podcast with you. i’m svetlana dragan and i have a guest in my studio, a degree, dedications, which are questions of music, culture, philosophy, theosophy, if you like, and metaphysics does not require any comments and

additions, perhaps, this is more than everything else that you probably know about this man. this is lyubov kazarnovskaya hello lyubov hello svetlana, i will start with the very conspiracy, so to speak, topic that is being discussed lightly, but it seems to me that it is just a sacramental topic today. uh, well, many probably heard that a certain musical frequency in the settings was changed from the one that steiner and not only steiner kepler and pythagoras and plato considered the most harmonious, which were combined with questions of the cosmos of god's higher forces, if you like and suddenly, but literally hmm in the eighteenth, in my opinion, even a century there has been a conversation about

changing this frequency in some way. we guess for what and why? but we are people who generally understand this story, but technically and let's say, touching it so tactilely, like a musician , we don't know what happens in this how it happens. where did it come from? how do you feel about it? and it's kind of technical. it is possible to experiment with this. hmm, to manipulate, how professional musicians relate to this, svetlana, i will begin to answer this question in layers. where did frequency 432 in all ancient sources and in platonic writings this purity is indicated. why is it perfect? it seems to me that such a moment, which was captured by ancient people, philosophers, who were very friendly with music, understood very well the structure of the universe, what are these harmonic octaves?

one fluctuation is the first fluctuation that the human ear does not catch, but this is the beat of the pum's heart, pum-pum multiplying. and this oscillation we come to the first note of this divine octave note c which is caught by the ear in purity 256 and in this frequency the note a upon which everything is absolutely built. why can you and i guess about this for this is this center, ours is our pineal gland. this is our third eye, which is hidden there. inward means adjustment of consciousness, adjustment. correspondence of you with all cosmic vibrations with all the energies of the earth occurs in the most harmonious, purity. she 432 they call her purity

giuseppe verdi verdi e, he insisted on this frequency not by chance, because when checking the baroque tuning, which was lower than 415 417, because these are gut strings, because difficult to play, when the strings are strongly stretched it is very difficult and to sing all these graces with a finger and voices. this means that verdi came to the conclusion that basically romantic music , which began to be played in the 18th-19th centuries with the advent of a large orchestra with the advent of metal strings, sounds best in a tuning fork in 432 without straining the voice, without straining the fingers of the instruments. we create a certain space, a luxurious space of warm sound, which is absolutely harmonious with all vibrations. eh, so to speak space, respectively, and our body and

indeed voices sound in 432. nominally instrumentalists protested, because a very sonorous tone is violin, especially the vienna philharmonic. yes, and such as really brilliant orchestras, like the viennese one, they said that we should sound as bright and sonorous as the voices, and therefore they brought this system sometimes in the venev vienna opera, and by the end of the performance, 444. that is, if you you sing aida and your most famous one, the aria at the nile sounds at such a height, then the soprano seems to that she is pulled simply by the ears, and she barely draws out these notes. it's very difficult and that's why this shift in votes happened. that is, what we now see in the newspaper is written, it is incorrect. uh, wrong cast, wrong selection of voices, because higher voices began to sing, that

repertoire. which is written as verdi writes media watch middle voice is a warm voice that covers the range of upper notes that sound round and lower notes and there were such teachers as imanuli garcia who raised polina viordo. this is his daughter and maria malibran, for whom there are no russian operas, such as calving. and there is a hotel. verdi is a hotel in russia well, they said, we bring up our girls in three octaves. that is, a three-octave range , maybe only when it’s convenient for the singer, when the larynx lifts up, when it’s embarrassing for you not to take these notes or the lower notes, and therefore verdi insisted to the last, but he became in 1939. and even before that, there were these conversations. what exactly did you

say? you began to say that and why not not raise the order? why not give some new sound? something like improvisation or is it a special task to take and create e another setting that you understand, if you approach, uh, this from the point of view of the one that we understand and know, but the destruction of the harmony of space. after all, it happened on its own, it was the middle ages, it was, then there was the renaissance . then it started again. this is the fermentation of minds, when a person began to humble himself in his e greatness in his dignity in his such some kind of harmony with the environment. and it was the task of keeping a person within some limits when he is afraid, when there is fear in him, when there is in him. the mania of all

the processes that are taking place around, in my opinion, is the death of even frankly saying this. yes, he said absolutely. he said that i don't need a person who leaves the concert hall in a harmonious state. i need a warrior who is tense, who gathers all his aggression and power and goes forward. well, it seems to me that the topic is sort of like a private one, sort of like a musical one, but on in fact, we are living in such an e, a turning point both historical and physical and plowed civilizational. yes, i think that the entire solar system is connected with this and the question is, and the vibration frequency is the key to us, it's kind of like it's not very clear, where is it, how to touch it? yes, but in fact, this destruction in the relationship with the higher world with the subtle world. it actually gives rise to those problems

that we face and may have reached some kind of crisis point, not understanding that the beginning of all this. yes master key, he is in questions of precisely frequency settings, because the cosmos itself and the sound of the planets of their interaction are completely in tune, corresponding to 432 hz, moreover , when the orbits of the planet, and approaching they sometimes diverge, but they have their own cycle, that is, they always are in harmony . and then, probably, the higher powers heard us, and we heard them, and then , probably, there would be no talk of degradation. how do you think a musician in general is a person from culture who has, uh, a direct or indirect relationship? here's to this story musical, because this is a direct path simply to god, and wagner also said this, musicians are aware of this, in general, something is happening in this environment, so that, well, maybe somehow understand

to correct the situation. and you know, i even had such an experience. i spoke about this in st. petersburg. e in the famous space is very popular today at svetlana, what svetlana did here is a thin person, she rebuilt all her instruments. and in the art space and their orchestra they play 432. i tuned my instrument at home, where i i am engaged, 432 my singers, my trainees and singers come to me on the air, how comfortable it sounds, and my instrument i am an instrument, how i easily tune my instrument, because the whole space works for me. it should be the will of the musician, but they don't want to. yes, yes, that's how it is is that a conflict? is it legal against you, how is it observed?

this or that trend, musical in frequency. and you understand, here it is necessary. i think to dig deeper, because you mentioned rudolf steinar. e of the great philosopher, who a yes, who budded from the theosophical society and began to carry out absolutely her own topic. yes, that is, the disaster of a man of his mind, his attunement with the environment, it was necessary that he began to be very criticized. but people like mikhail chekhov are our great actor. yes, he said that what steiner gave me. this is the feeling of the tone of my interaction, as an actor, as a ritter, as musicians, because chekhov was a wonderful musician. he heard the tone. mm, like artistic communication with the text. and here it is not only in the musical context. this is rhetoric and you are this

tone, and the ratio you draw per liter. in front of the viewer. before them passes images already from your timbre. and from your voice they want it today. no, they don't. moreover, today is not the time for timbres. today everyone listens to each other. especially those who are in sight today, here are the young singers and they say, oh, i will not listen to the old men , i will not listen to this amazing tone of voice, and i will listen to those who are in sight today, and i will adjust my timbre to someone then under their y and so on. that is timbre beauty voice, which depends on this here is a ton relationship with the text with the music with the setting you need it today. so i

think that's why we're here, because we're actually going to touch on this. uh, science like cymatics huh? and this is what, this is practically a transformation of matter and eventfulness. this is sound. this is tonality. this is a vibrational impact, it is an ongoing process. as in personal life. so in general. throughout the solar system. oh, the birthday tea sale is with you. wish it was like this all year round, ozone sale floor rack for 3.599 children's pajamas mika yumi for 399 sokolov earrings for 599