there are spectators around us, they may not see, but here is inky darkness. and so i had to sit in this inky darkness, because any light cut. these eyes are cut to me and thus i got into a situation of such an informational emptiness. and it's like meditation. it was a kind of meditation. i didn't read a single line. and now, when everything is gone, when all this husk itself collapses and other unnecessary information is gone, then the actually salted, so to speak, springs, obviously, they made their way out. i began to see uh, pictures, uh and these in the form of text. hear them. well, that is, you become a writer when you stop being a reader, but in your case, like this, ah, there are no rules, uh, and at first i didn’t really understand that this was connected with the operation, that is, meditation after the operation, but uh, right there soon , means, having returned to newspapers. i passed. eh, some person. he taught mathematics was an ordinary teacher, and suddenly found himself. the ability uh hmm in

your head to count uh, well, multiply huge numbers. here is the minimalist. yes, yes, yes, but before he didn’t have it, and he became, well, some fairs act to earn money. here he is asked for an interview. and how is it that such a talent awakened you. he says, yes, i don’t know, he did the operation and then with my text. i mean, i figured out what it is. uh, these are those who teach meditation, they are doing it right. every person should at some point, if possible, if there is free time, well, at least a month, go into himself to disconnect from uh information from the outside world, because it is infinite, in fact, one turns off to the other, you turn it on, yes, it turns out it will be cleaned and washed, then what you are capable of. and what are you capable of, maybe this mathematics? maybe something else like that, what if magic grief at the house itself creaks yes, when people, and the sanatorium live where it is? and they wake up completely different.

well, here's the skill. why, the great great novel , we all walk on some kind of relics relics. this is very conditional, very so we should. we think that we have already taken place, we should do this and that during the day somehow invented yes, somehow invented it is not so. you you can’t help but understand that anyone who has a claim to the throne is dangerous, i signed. pyotr vyatrovich, and what will happen to me now? i don't know great since june 13 at the first fight may be different no matter. what caused the pain, if there is pentalgin , a universal remedy for various types of pain pentalgin will do without pain. receive

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porch. she's already in that state, but it's wonderful. but the book is in short supply and now they wanted to print it there, which means the boss, who hmm will agree to print it, but only in the form in which they did it all. i looked there a little differently than you wanted, yes, what they showed me was not so, that is, everything was carved there. i say, no, i won't be in this. no, it’s clear, it’s clear, no, but we know better how to do it no, you won’t print

their. i take her and no. you leave we will, so here's a reworked in the form of doing. i say excellent, i'm leaving you and soon your hut will be rolled out on a log by your young guard, and where does he get the information from? this is understandable. there are headphones. clearly, everything came back. as a result as a result, they printed, as needed, and we talked about this, the debit. and now, as always, in the middle of our program of ours. a few words about another tolstoy about lev nikolaevich and this book has its own story. i bought it almost by accident and even thought of giving it, uh, well, such a gift for a person who understands literature, the old edition of 1912, but when i took this booklet, i will show you the spine in your hands. i realized that i could not leave her. here is a three-volume book, which e was published by e, beloved daughter. and the tolstoy edition of alexander

lvovna tolstoy, edited by vladimir grigorievich chertkov, and now in 1912 these are three volumes. here they are sewn together in one convoy. you can even see the boundaries between them, uh, and. hey, here's the reader. e. here in that, the first one is clearly visible, and on this title the reader of that time got the opportunity get acquainted with those works that tolstoy did not publish for many years, because he had a very difficult relationship with ambitions. yeah, to professional writing, we know such stories of conflicts within the family of sofya andreevna chertkov's wife. uh, lev nikolaevich, we know that this am edition is on him. here is such a uh hmm and a wonderful verdict is allowed to be printed free of charge, that is, tolstoy uh, well , practically, but hmm doomed

his works in a positive sense to what we call public demon, that is, for reprinting without a share of heirs. it's a whole social story, but for me, of course, it's mostly a fiction story, because, uh, here are the stories after the scores of the soviet era, which were included in the school curriculum due to social motives to absolutely brilliant things. father. sergius is here. khadzhimurat is the devil here. here, having two editions, too, as if the semi-finished things are the devil . uh, more than a year later er, after his death, and this, well, was such, as it were, the posthumous will of tolstoy, because for him literature. it was an act and an absence; literature was also an act. and after his death, these same works. eh, come to the reader. i would very much like to emphasize once again that

the book like a cubic piece of a smoking conscience, this definition of boris pasternak is also very important. she communicates and talks to us. even if we don't read it in its entirety. that's all that we, together with this nikitsky, told there, all this is the emotion that dominates us. eh, our communication with these works is important precisely because they are part of this book, which could be bought in bookstores and shops. in 1912, after a long wait, when these books of the story remained hidden in the desk, er, lev nikolayevich well, now let's return to another line of the fat family, by the way , nikitichne. and tolstoy well, there is one more. uh , a book whose value cannot be overestimated. and hmm yes. yes, i remember

you speaking somewhere. eh, i was at that performance. they said what it is each line, and you were already familiar, before howling, i remember this emphatic statement. you somehow singled out this novel, after all. and yes, now, thank god, i have forgotten it, so i can even clean it up. well, i, in principle, have a very bad memory. although this is the so-called memory of the writer. i read, so in one book they are funny. the peculiarities of writer's thinking, so this is a very common thing , the memory of writers, the writer, no matter how he remembers, and this makes a lot of sense, because if if you remembered, you could not. eh, that's it to give out the text. yes. eh, your own texts, which you remember the knowledge of such overcrowding, would interfere with you, what interferes, because when you are at work in

the moment, everything is in order with your head, but then it's all thrown out thrown out i had aunt and marianna alekseevna daughter. e, alexey nikolaevich hmm, she was, in principle, a professor of chemistry. and although she was adrenaliterary. and here i was talking to her. she says i am in my youth composed the elements. here they published it even in the new world, somewhere else, but i could not write. at least i would like to, because i have disgusting properties. i have an amazing memory. i remember everything. look, she pointed to the locker. bunin's thought stands there. she says, you can take any tom open in the middle. yes, apparently, yes open in the middle to read the phrase, and i will continue you further to the end. she says it's torture. tanya is torture to remember everything. this is torture and it is impossible to write in such a state, and she did not. e not just then you forget, but also at the moment of creating a thing. he must have been different in his head.

he keeps things in his head that are not related to memory, but the noisy dubrovo. yes, something like that has changed the state of the structure, when you enter the state of emotion, structure or emotion, there are emotions, but this is a structure. it's not certain what it consists of. and there was also a cosmic cloud, there is some kind of plasma spinning , you know, the devil knows that there is light there, there is no light there, or it seems to us through telescopes. we do not know. here comes you. some you feel the state, this is the very thing of those who, like, he went to wait, and you feel him. uh, the volume you can draw right there is some kind of it. it may be final, it must be the final text must be final and not all. eh, his sides are visible to you. well, well, well , i'll start, i'll try. that should be happy until the end you do not know, if you know what to write to her, no, this is nothing. yes, it's already late. no, you generally think, well, i don’t know there, how it will end and let it be so until the road, we will see. and when you go to this

end suddenly you understand? no, it wasn't really that expensive. we will now turn around like this, that is, he himself starts, if you live without calculation, after all, or is it discounts is this is lamps is this, well, good. you know, it's intuitive. i would have said. uh, here's a calculation in the sense that you can take a piece of paper and write a topic on it, but you have to, you know, at any moment, you throw it away, of course. by the way, his pasternak, again , comes to me all the time, uh, memory uh, in our conversation. he has wonderful such. definition we cease to recognize the reality of all things. eh, they acquire some kind of new dimension, and i quote approximately and we see the difference between the old image of reality and the new one that we just saw, we try to name this difference, it turns out art. yes, very much, it seems that something reminded me of what you are saying, well, when you, as you said then, i quote you

two again. uh, well, that is, here are the last details felt. uh, all the hair clips in this novel. hmm . it was a special occasion because there are few, what can you get hooked on? this is such a dreamlike reality. yes, there are quite a few meanings, uh, which are there, so to speak, well, as in a person there is a bone system, a circulatory system , a lymphatic system, a nervous system. yes, there are different systems. and all these systems are there, there is a jamb on which it rests, that is, well, in general, there are sacrifices. yes , there is less everyday life, because this is some kind of invented world. yes, in this sense, that is , it must be said there, he is not very much from the soviet. how is it different when you live in the soviet time, obviously. and you need to understand how to 93 rubles. a month to support a family of four , and the devil knows, but there is nothing in the store. well, not the smallest, it was less

. clearly, it was less. yes, i worked for one month as a postman, uh, delivering a telegram. works during the summer. yes, play yes, and they had a salary of 34 rubles. and it was possible e to go on a salary like that for a month. and it could have been by the piece. uton took the telegram 3 kopecks. it was interesting, in principle, well, yes, that is, four three four rubles. i thought intent. i also have to be fruitful, go to the book felt age. they'll talk more. there is about it, but about the soviet reality, but still a novel for a second. here is one of one of these nervous lymphatic systems, uh, i was missing. that is, i understood that the book needed to be built somehow and it needed some kind of. well , i also have a skeleton there that carries it, and i found it in the alphabet hmm that is, i understood what i needed. e roman and

break into pieces, e on the heads of a semi-finished product. and when i entered this alphabet. it quite easily roman broke up into these same chapters. wherein i deliberately rearranged the letters e in this alphabet. there, towards the end, i rearranged the letters in some places. the order of the letters did not notice this, not a single person. i didn't notice either, to be honest, this is also important because they say books. they talk about the alphabet. they say that the alphabet is the basis, but at the same time they already really have this alphabet. well, uh, well, i remember what chapters i should know, it's great, our dear readers. read the novel by tatyana tolstaya kys and you will see a modified russian alphabet with the old noble letter names the alphabet in the form of a verb is good. we all remember philologists. yes, i asked for florists. uh,

all the alphabets that were, because there were all kinds of and peter the reforms were carried out. uh, omega and some others. i do not know, or who advised him there? as you know about i am opposed to all this , you understand , because uh. yes, very sorry. i see that e forest is yat. uh, i see here and dialects. i understand that yes, villas in polish, yes, that is, uh, the fact is that the same letter kills the difference in the sounds that were there with it, but just, uh, yat, i'm very sorry, but there is no megu, because we do not have

a separate long sound about. is that the shock position. well, you know, it's for beauty, it's a pity too. yes? yes, this is what yes, yes, yes, yes in french, and in german that is, you are also against simplification. i am in favor of complicating this directly to our podcast our dear interlocutors, because reading is a habit to comprehend complex text. xenia establishes new neural connections in the brain you will not have alzheimer's if you want to get alzheimer's, well, don't read anything. yes, this is our slogan, by the way, i'm very fat talking about our podcast, because i'm convinced of this, the same applies to pen writing. yes, the pen does not write at all angles, but a ballpoint pen or a thick felt-tip pen there, it destroys fine motor skills, that is, reading is absolutely fine motor skills of the brain and so

accessible. well she's leaving because she's lying you have to stay on the internet. we hide the so-called tackle, yes long text. it's a lot of beeches here. as people say there , we are only used to having a short text that means itself. yes, yes, but i have to say. that's what i have to say that i myself read on the screen on the big screen. i can't on the phone. yes, these yes on the big screen, uh, and i must say that few people care about the convenience for me, so that i can read bad fonts, the inability to expand and make a larger one some kind of simplification. everything is also shown to students what format the book is. remember, you were a proofreader. yes? recall some kind of format corrector. i was a junior editor the more done the salary, the more, well, yes work record. here, sorry for the offset, but i remember some kind of format, and i remember it's 84 by 108 in one

thirty-second beat. yes, they again, as they say, they, because all this is gone. the text that we see on the screen. we have been released. here are a lot of people from this pleasure from this, this is running. and this is kant and this is e kaptal, and this is some kind of sheet. not the type of fonts, we are with you e helvetia, e, from academic we will separate, and m-m simplification leads to what we see, as if only the text is not burdened by anything, but such that it is sweet. here is the complexity. here, i would also draw these screen savers in books with medieval initial letters, so that some birds of the girl’s ribbon were intertwined there. yes, well, i know that you love it, you have killed it for years. in general, the book edition, i agree, well, well, but still we started with journalism and said that journalism is something incomprehensible or too general, but you

really have texts that hmm well, on the verge of fiction, but he is fiction. yes, this book in particular is one of my favorites. this is the felt age, which also came out some time ago about seven years ago , but nevertheless we perceive it as fresh, but how do you feel about it? this memoirs are sketches, there is a lyrical hero, that’s just a story about a person who, uh, shares his everyday experience, there is no cross-cutting plot, what kind of book is tatyana nikitichna tolstoy's felt age here i have collected different texts of different times, uh, that are connected by more or less one theme uh, stagnation. that's how we lived, how i lived, and the seventies with the beginning of the eighties, maybe yes , it spilled over. eh, here is the stagnation, no, the date, here some moment has stagnated and you live, what is there, the main thing is the absence of a deficit is not simplicity. there everything is the main stiffness of movements. you are

not enough where you can move to go abroad does not exist does not exist. just some weird people. sometimes some komsomol workers. yes, they go abroad, but not for us. here we are ordinary people. we do not understand how to do this, even in bulgaria you will not get. well, what else incredible dexterity and survival of people wit, which they use in order to survive in this situation. large plywood plywood come from. yes, no one will give it to you, so, uh, the engineer thinks. hmm, he goes to the director or some boss there and says and holds such a small plywood. yes, and he says, semyonovich is there . here, i need to take plywood home. ah, well, tell me at the watch that they missed my plywood. a then let kozlov pass with plywood there. hmm that

he is, then there is a huge plywood. it's astry smart. you have some kind of reality in the magazine science of life was wonderful, but the section for the home master advice, right? a toothbrush to a ballpoint pen refills for a ballpoint pen a remote control for spraying paint from a remote control for inflaming paint a second shirt of a board a mop can be made from some even rubbish and that's it. eh, the felt age is just such a book. that's exactly how i perceive it. this is a woven portrait from scraps. ah, a decade and a half perhaps that would be the right word to say. uh, it was forever until it ended like this is called one of the books about this time and uh, we talked about a recent comparative book and about an older time hmm and we will certainly hope that you will give us new books. we are waiting for this, but some circumstances that

interfere with some things. for example, i had conceived such a collection dedicated to food, and i just don’t have enough volume. e so that it turned out well i am should think about it some more. maybe i 'll do it now, i don't know. eh, i have one plan, then i have another one, in which i will not speak, and not to jinx it, because i will say everything as i say. it doesn’t work out that way and a book will soon be published, uh, dedicated to the memory of alexandrovich timofeevsky, we are his friend, who came up with the name felt age, he is the son of the wonderful poet alexander pavlovich timofeevsky book. it consists of two parts. it consists of conversations about culture, which i mean with him there are about five of them uh-huh and i think it's unique genre. so you say, a publicist is not a publicist. no, this is generally a new genre of some kind, this is correspondence from two angles. so let's say correspondence yes, memories of him

memories there is a check of 30. so i found one who agreed and were able to write memoirs about him, and somehow we fixed some kind of image of him. already there is a bright person. it is a pity that he is not there, he is missing. we will wait for your new books, both this and others, and i can only rejoice at how much we have coincided today, and we have coincided in the main, we have coincided in that modern man needs to read to maintain brain activity and normality. uh, we had another edition of the literary podcast. let them talk, let them read, and i am its presenter dmitry bak, we were their interlocutor tatyan nikitina tolstaya, and our modern wonderful writer, i don’t know, maybe a publicist in part. eh, i tell you what i always say at the end of our programs , read with pleasure. hello this is

a podcast of eisenstein's witness, i am a film historian natalya ryabchikova and my colleague stanislav didinsky tells about who and how created the famous famous cult forgotten and completely unknown soviet films. and why do we need to watch soviet cinema now, we climb into the jungle of archives in order to understand how we can watch it now and how we can get the most out of it. hello, my name is stanislav dedinsky, i am a historian of film animation, and today, together with natalia, i will tell you why russian animation day is celebrated on april 8 or march 26, according to the old style, when

the premiere of the first russian animated film that innovative viewers knew much later, and the film was a wonderful lyukanida vladislav stareevich. who is vladislav starevich? what's so beautiful luke yes when did this even happen? this was in 1912, when no one knew the word animation or animation yet, but some experts knew what frame-by-frame shooting is, with which you can frame by frame, step by step, to revive some objects on the screen, well, let's turn pupae one handle in and the second handle on barely slow millimeters. and then turn the handle of the movie camera, filming the next frame, and later, when this titanic work is done, it all comes to life. on the screen, inanimate objects, starting to move, what did the audience see then on april 8, march 26, 1912. let's see, shall we? here is a secluded corner of the park,

where geras swears. luca nige eternal love. i swear on my honour, he exclaims the mustachioed i have never seen a beauty like you ilyukanida. my heart has not beaten yet, it has not stopped as sweetly as near you and the beautiful lucanida bows her head to his chest. suddenly an angry exclamation is heard, so you fulfill your vows. and you are a game you that is, a beautiful lukani. yes, this is one of these bugs, and the audience thought, and in general , they had every reason, because the advertisements emphasized in every possible way that they see the drama of medieval life, which is played by natural insects. beetles and , in fact, it was pretty large beetles, but, because in order to create these dolls we don’t know what it is to create them, and the author specifically

used them as prototypes. and stag beetles are such large insects. he vladislav stareevich was such an amateur entomologist and at the intersection of his interests. he thought that the most suitable material for making his paradid films, and these films were, of course, parodies of costumed parodies, and tapes, which were very popular at the box office in those days. well, in general, he decided that it was necessary to force the audience believed their insects and disassemble such a typical scene, and they believed for about a year, everyone was sure. why a year because we know it's been advertised for about a year? the films are in such a manner that it is precisely the trained insects and, in fact, the starevich himself went down in history with the same nickname as the trainer. zhukov a. believed believed not only then more than years ago. now people are absolutely confident. but those who did not tell me anything about this, that these are real zhuki alexander khanzhonkov vladislav tsarevich fooled not only russian viewers, they fooled

european viewers, because in 1913. and these films were released in the british film distribution in the uk and local magazines published an interview with a certain professor lozhkin, who talked about how hard it is to train insects, that ants cannot be trained. in general, it was a very correct commercial strategy chosen by alexander bukhanzhov. like what kind of industrialist who was the producer of the film, as today would be told in order to so that these films were promoted on the market and people willingly went to e, because it was an unprecedented spectacle, i must say why. starevich became the first in fact, and not so long ago we learned the name of another early russian animator alexander shiryaev, who was engaged in both puppet animation and hand-drawn animation, but in his main profession he was actually a chryographer. he worked in st. petersburg. it was his hobby, he sketched the movement of actors and created puppets in order to remember himself and then

show some steps as a dancer, and this remained his hobby. that is, it was never seen by anyone except there friends of the family, and then lay for more than a hundred years in the home archives. and just at the end of the twentieth and beginning of the xxi century, it was pulled into the light, and the starevich had a producer. of course, we didn’t call him that then, but, uh, alexander khanzhonkov was the first real russian such, uh, filmmaker, as the film producer then said, he took stareevich, but under his wing. yes, he understood that this strange little man who prefers to do everything himself turns the handle of the movie camera himself their animals. and if you leave one practically in a locked room for a while, he will bring you one cartoon, the second cartoon, and moreover, an old man with his very own. it seems to me,

a caustic sense of humor, even played. and actually you are not accidentally on the air. these are parodies in their hometown of kovnoy. he became famous as the winner of masquerade costume contests, practical jokes, and in general , in every possible way, and caricatures, including for the kovno mirror and e magazine, eventually decided to go to moscow, which was a graphic center, and the country a to alexander khanzhonkov, so that, together with him, uh, work for him and shoot his strange films and alexander dzhonkov. took a bet. he didn't know yet. that the old man should be set not only as a master of animation, but also of special effects, which he masterfully created in his later feature films, where he again used the method of frame-by-frame shooting in order, for example, to create the devil’s jump into kuznetsov’s pocket of vacuum in the film, and the night before christmas well, if we talk about his sense of humor, well, remember him in the second film revenge of the graphic operator. there, a grasshopper acts as the main character

, who is out of revenge, and mr. zhukov, who plays tricks with a dragonfly, a funny dragonfly dancing in a cabaret, and a grasshopper is in love with her, removes the price of a deltater on a movie camera through a keyhole. and then at the end of the film it demonstrates this and this is another amazing example of the ministry of starevich, as a master of special effects, and on the cinema screen we see a film within a film let's see, right?

here is a parody of a parlor melodrama. we have a married couple a husband who loves to go on a business trip, and on this business trip they first visit a cabaret where beautiful dragonflies dance, and then goes with her to a hotel at home , that is, to a hotel of love, where does a grasshopper offended by him go, who works part-time cinematographer. here is his strange apparatus inside his leg, in

which he turns the handle. and here is the same movie camera. and he is the same offended cinematographer, and then they show us what the wife of mr. zhukov is doing at this time, the bugs come to her. eh, her beloved artist. mustache. yes, he draws her portrait. and there, that is, they also show everything, and then, like, reconciled , uh, husband and wife go to the cinema. and there we see some absolutely incredible scene by the standards, again, 912, more than 100 years ago. we have a screen within a screen, moreover, we see another film inside the film in order to believe in it, i think we need to watch it too. risking

the nature of cinema because the world will look through the keyhole. this is the essence of cinema, because it inside his film released by the factory shows the logo shows that this is khanzhonkov's factory that is, this is some kind of product. cut yourself. actually plays very well. he feels the audience of viewers and, for example, here's another one, and the story is about his specific sense of humor and understanding of the work of the psychology of the viewer, and there are memories of how he

was engaged not only in puppet animation, but also in hand-drawn animation, there is also a famous experiment of his in this area. in general, he drew a fire on the screen, he took the film, scrawled on her. and as it were, how it flares up, typical examples, how a fire film begins. sometimes the film caught fire; it was made of combustible materials in those days. and so he painted the scene of this fire. and when this film called a new year's joke, the audience began to show it on the screen. people. first santa claus, and then a blur that blurs like a fire situation across the screen, and fires were one of the scariest things in cinema. at the beginning of 1910 , very tragic incidents were notable for burning cinemas. in in general, the audience began to run out of the hall in horror. until, finally, such a mechanism came out and said that it was all a joke. i'm fine, nothing's happening, please stay. it is interesting that starevich almost did not do hand-drawn animation, except for such cases, but in the twenties, when private cinema ended

, the soviet cinema of starevich left, and settled in france, it was animation that became the main method of soviet animation, because it apparently was faster. yes, it was more profitable, because it was possible to draw all sorts of maps in formal films. or they used a shift, whether the pieces of the figures were flat, and now they shifted them by millimeters. but it was still easier than voluminous old-timer dolls. he has, of course, absolutely manual labor and most of the cartoons in the twenties were sometimes political. they were sinificel. true, when artists painted their favorite movie stars, they encountered them in one film charlie chaplin harry loid. mary pickford got there soviet girl in this rendered hollywood but still more. some like that, uh, pop soldier. uh , zigavertov made one of the first soviet cartoons, which was the name of the soviet toys directly from the political charm. here they storyboarded it. eh, as now we have a new

year is not a new year. here the tsarevich congratulated on the new year, and he hangs digvets on this new year's tree of his for all the obsolete heroes of pre-revolutionary russia and beyond. actually, puppet animation begins to revive only in the thirtieth, when sound films already appeared, when new people appeared, who became interested not only in dolls, but also in the combination of dolls and people, what was it like? well, you can’t say that these were some unprecedented experiments, but for soviet animation, of course, it was generally a novelty, because, well, firstly, in the twenties they did not understand for a long time. and what exactly did animations do were artists, and enthusiasts ivan ivanovna was one of the coffee and in soviet animation, who were inspired by the films of stareevich, who began to work, and in a small information workshop at a film factory, as an engineer. russia advertising films in the long run carried animation.