[000:00:00;00] if this oil, you feel it has become candied sweet, then this means that you are dealing with a romantic person , so a little relaxed, but if you feel astringency and the feeling that this is a leaf of tea, as if something with you is a person with a sense of will with purposefulness. this is a strong man . he perceives reality in his own way. so here is rose oil, it helps. to be ironic about all the provocations about everything that makes you, as if ridiculous in the eyes of other people, rosa will tell you yes, i am on my own and i am a completely complete person. i have the right to my own opinion, and so on and so forth. this will help to calmly respond to other people's opinions. this is something that may not quite attract some kind of collectivity, but

a person is very friendly with himself. this is a very valuable oil, which, of course, it is used in many, er, other forms, it also helps in cosmetology. it helps both in relation to well-being and in relation to the e- regulation of various processes, including hormonal ones, a lot, and there are a lot of questions decide these oils. and that's when i say that they solve issues. i understand that you may ask this question again. and how to use it here there may be options, for example, the same sandalwood can be worn in an aroma pendant, you can rub it in the palm of your hand. to do such a so-called pranayama pranayama is an exercise related to breathing, breathing is our essence, it is what allows us to balance. if you feel that something difficult is happening to you. just rub. is this oil or

rose or sandal uh, in the hands of the palms and inhale you can do a simple exercise. well, for example, at the expense of six inhale for three delay for six exhale three delay. and as much as you can, if you try to practice this, you will feel a lot of changes in yourself and you will feel that the events that stressed you, and you perceived them as very difficult, they begin to resolve themselves, because mmm is the frequency. that's what comes in is outside of our corporality, it is formed beingness. and this is how it works here. more one oil that i would probably advise using at this time is fennel oil. this is a very amazing tool, when you are very dependent on someone else's opinion, when it is very important for you to like others, when you must be with someone to be sure

to talk to him, because it is difficult for you alone, so fennel allows you to stay with yourself not to be afraid to say no very clearly see reality and not depend on someone else's opinion, especially about who you are and what kind of you you are, separate yourself from this opinion, and you become a natural present capable of making independent decisions, and independence of decision is now more important than ever, because, well, we know how many advisers and gurus and so on are now, but only your inner state tells you what you really should do and so, if let's say you combine all these three oils. fennel sandalwood - this will help you solve problems comprehensively. you can take baths with these oils. you can, as i said, before diluting them, for example, add them to milk in turns one to another is not instantaneous, so that

they have time to make friends. this is a prerequisite, understanding what you want from them. you can dilute this solution with milk and these oils in the bathroom, lie down in it , think about something very good. and this will adjust your subtle body, it will adjust, not only does it penetrate the subtle body, but in general under the skin. oh, well, sort of fixes all those violations that you have. but more than that, this beauty affects both the psychological state and the skin and the tone and physical condition. it's very healing. this very helpful. and this is what saves you from some radical, perhaps unsafe, actions of pills or something else. it's very. naturally. this is very relevant in our time. i think this will help you deal with all the things that may seem difficult. and even if everything is fine, it will still make you very attractive

, very nice. clear understanding of what is happening around. yes, and in general, there is such a state of affairs when you interact with a person who in itself brings good luck, you become infected with this dacha. you become infected with it. you live in this atmosphere. if you yourself produce some kind of sadness or try to listen to something sad with pleasure. you live exactly in this frequency response, therefore your idea of ​​what is happening is your understanding that what is happening is a change, that all this, in principle, can be solved and each of the issues is not necessarily solved by an act from what you think about it. how do you formulate it for yourself and why is this chess game turned to you in this way. means from

you need certain answers, decide them wisely, and then you will see not only one-time possibilities for a solution and a result. you will get the opportunity to live. much happier otherwise. it was a witty podcast, we talked about july about essential oils, and i was with you dear svetlana. you can watch all episodes of the project podcast, paws on the website of channel one one tv point ru this is a podcast of eisenstein's witnesses, its hosts are i am a film historian natalya ryabchikova and my colleague stanislav didinsky in this in this podcast, we tell you who and how created classic cult little-known forgotten soviet films. we get into the secrets

of film archives and tell. why watch soviet cinema now, how to better understand it and how to get the most out of it, and today our topic is the ninetieth anniversary of the wonderful soviet director russian director alexander minta and his film, gori gori, made in the late sixties. my star. stas why is it important for us to talk about alexandunta, because this person, who in many ways laid the foundations of the attitude to the cinema, as a kind of mass spectacle, this new standard of the soviet blockbuster. remember the fairy tale of wanderings in the film the crew. this, of course, was made by metal, which thought about how it is generally abroad. they rent mass cinema in those years when he was actively interested in it and subsequently developed his theory of the concept further directly into a three-act structure, as any mass film is built in general. there is the first action with a plot, the second and third, where the climax and denouement take place

total. that's metal in that sense. this, of course, is such an amazing and evolutionary path of the soviet director, who began with children's films, in fact, who was actively interested. what does his colleagues. including even participated as an actor, and on the set of his colleagues and then the film woe woe my star became a turning point for him in many ways, we are in 1967. alexander metta has already released three films, he graduated from the gig he studied with andrei tarkovsky and vasily shukshin wonderfully, the incredible workshop of mikhail roma according to alexander naumovich. well, it's not like he's learned a lot. he understood roma more when he had already re-read those very lectures. released in a book edition and the sixty-seventh year is important in soviet cinema in soviet history, including because the fiftieth anniversary of the great october socialist revolution was widely celebrated , many special films were released and apparently

alexander meta thought that a would be great. show how a new revolution began soviet art was in the minds of people at that time in people associated with art. yes , when they think about the twenties, and in the early twenties, sergei einstein, first of all, everything here is meyerhol and the idea is to show how such an artist is. e, the revolutionary exists e not just in a situation where the entire state system is changing. yes, but when in some periods the system changes almost every day, when such men are the political situation. how is it not clear who is in charge? yes, what kind of ideology is pressure, how to behave situations where the world? the limit is unstable. yes, and somehow it was red comes to rob whites come to rob was in one film, this story is about how to live as an artist. yes, when the conjuncture is always different, does he need to follow this office or, on the contrary, does he need to save himself, and for cops it was

such an attempt to answer this question for himself, including by himself at the expense of these three heroes, in which he would show us on the screen and tell about that era, first of all , to the children for whom he made films, previous this trail of these doors and other wonderful films have been ringing for years. and when we say harry harry is my star. we pronounce it so easily. in fact, the name appeared, probably, the very last in this film. and when we look at the documents about how it was created with them, we see a series of names that, first of all, include the name of the main character, first of all, they came up with a surname from cream. here is a creative pseudonym. of course, of course, the art of the revolution is for the masses, and the witch is that. that from which it grew in general, uh, everything, this content movie. we have a photo from the soviet screen magazine, which shows how the main character should have looked if everything was staged the way metal intended, yes, a hero appeared.

at first his name was pavel from kremas, then vladimir mass appeared the term of the genre definition of the genre comedy about from kremas and appeared in the process of writing the actor for whom all this was written by incredible wonderful actors, director roman bykov, and him from kremas - this is an artist who does not recognized as old. uh, at the beginning there is a prologue where he is in the sixteenth year in 916 just an understudy for some tragedian and hopes that someday he himself will be able to ask new ones, like you, remember this prologue, if the literary script ends with the phrase that i will show you all yet. and here is the sixteenth year. soon the revolution is coming and so on and so forth, well, this scenario in general. wrote, of course, not one , he wrote it together with his permanent co-authors of the creative group, but on the duma frit. ah, such wonderful soviet scriptwriters, and there was even such a term as the fridun script, well, the script of frid and the duma sometimes

so their colleagues spoke about them with irony. here's to the mint. it was such a creative union that, in general, worked for him as a director for many years, in general, yes, yes, a lot of films. not so myself. this recalls funny that the screenwriters themselves were not very happy and every time they swore to him, and to work after the next release of the next film, and then they returned and he asked. and why well, so others are even worse of course, the story when the scriptwriters are dissatisfied with the director is an absolute classic, universal for all countries, and times and peoples. yes, screenwriters are always unhappy with what they do directorial scripts. here, the script seems to have become quite easy and quite fast. here they applied. in the summer of 607, and in general, at the end of the year, there was already the first version of the script and the script began after the prologue quite festively in a small southern town, boiling water appeared with e, a wandering actor traveling on the way to moscow, we

can see a fragment, then how it looks in the film ending up the stray theatre. art of the revolution see the tragedy of the frogs of yulia vladimir's spiral and hiding. you romans remained friends and here is

one of them. meta later recalled that he was very attracted. this transformation of a wagon into a theater, the transformation of a small curtain in an actor's cape, everything is very much what we are talking about now, warm lamp, yes , home-made, but how it is really created on the run and should attract viewers, it is clear that we see a completely different thing on the screen actor. not rolan bykov, and this is the first drama that has befallen. uh, the filming process, but while bykov appeared to him other actors were added who remained in the film. in the end, a wonderful character was written for yevgeny leonov. the illusionist, as alexander ivanovich calls him, is a person who is engaged in showing films. well, that is, and after and who you replaced with oleg tabakom, which you now we saw them on the screen, he perfectly, in principle, joined the three actors in which

the director himself was originally. she saw on the screen among the performers of the main roles, and just here is evgeny leonov, who played the cinematographer absolute amazed opportunist. this is another such bright work in this film, but again, who are these? characters? why, for some reason, three artists? yes, on the screen who they personify, and the third artist oleg efremov yes of course , who does not have a single word in this film, in fact, not a single replica. why because they were in the script, of course, because according to legend, efremov said that i have so many problems in the theater. listen and go ahead, i'll just keep quiet and do whatever you say. i'm fine turned three the character should have been represented by the director’s thoughts, and such a composite collective image of the artist, the creator of the intellectual, and what bykov played well, according to later recollection, of course, and you didn’t quite fit into the fact that he wanted kalanbeks

too, uh, worried. survival of the creator included. e. hmm frankly. after all, they wanted it all to be latent, a tragedy, merhold, and so on, and bykov broke it - it does it too frankly, but methane could not do anything about it. again according to him and in his opinion on his happiness on the film paid attention soon after the shooting, well, they already reached about one-fifth of the useful footage after the soviet tanks entered czechoslovakia and this is important, because, but attention was immediately paid to what was happening inside country, ah and eh, after looking at the studio said that the film. in general, it may be necessary to close, but this hero of sadness is too tragic and melancholy. and in general , not in line with what we should now show the soviet audience, and then alexander did not offer to replace the actor in the same way and took tabakov

who created some incredible pherical, uh, sparkling game of this very cremas. yes, he ’s very athletic, straight out of the blue, it’s clear that he’s younger than bykov and at least made him a little thin and sad here, too, but then he’s more energetic and more optimistic. and this was in the spirit of what was needed. and who are these three artists that we will be on the screen, well, as he said about the summit, this is such a collective portrait of artists. what can be? he himself would like to be, yes, who he would like to be and, probably, he will never be the only one he is afraid of being a opportunist and the third one he is, most likely, is such a not very stable, but inclined compromise from cremas. well, the opportunist is, of course, some kind of geographer, and here the metap, they walked, well, together with the scriptwriters it’s quite fun. let's see an excerpt where the character of yevgeny leonov

shows the audience. inhabitants of this city the film is a fictitious movie, obviously yes, it was filmed back in 1910, a drama at sea. drama at sea for peasants laughter for women grief city take care of young mothers

, because it is necessary that the dynamo-mother, the machine with which the movies are shown all the time, gives an electric charge and, in fact , lively photographs appear on the screen. how can i say then why do we say that on the one hand it is about the twentieth and on the other hand about the present and then today, because this small film, which was made especially for the film you, we see three times during our big film comedy bascre masse or a brown star and every time he is accompanied by a new text and the context changes completely for one viewer, such for another viewer, such for a third viewer, a third and, in general, methane shows , including the kitchen of a soviet sgraphist for them, how can we mount , re-voice and, in general, play with another about the fact that cultural art, that’s of course funny, but then how then at the end

almost the original pre-revolutionary text returns, when the whites come, and in the city and beyond the genillion hero reproduces this nostalgic intonation for the times that have ended. what times are over? what is cremation fighting against? eskrimas, after all, he is not a bolshevik, he is not a supporter of any ideology , he is fighting, in principle, for the creation of a new art to replace that dead old academic art that dominated the theater, and in cinema, in many respects in the 10s. after all, the new generation of artists of the twenties. it was just rebuilding itself from this daddy. well, cinema, but papa's in the theater, which seemed to them well, boring, well, not realized and of course the revolution, a breathed life into a bunch of young people who decided to change everything, but at the same time, e from cremation is very worried that there are people who do not listen to his revolutionary dramas. they do not want to watch, but run to watch

. this is a tearful melodrama and especially. and he worries that a girl reacts very sharply and very dramatically to her, whom he picks up even a girl, and who becomes his companion throughout the film, which is so nailed to him and, uh, tries to somehow protect him, or something, from adversity life understands that he is a little sick and this girl is played by elena proklova, this is not her first role. but she gave her, in general, such a path to art, just alexander meta for 4 years. yes, this film, when he took her to shoot after a huge long search for the heroine in his film, is busy open the door then elena was not proklova, she was also 12 years old and she was brought to the shooting after some doubts by the second director alexander cops, who was part-time her native grandfather. and after that, lena proklova began acting for you. and in general, the cops already had also, as it were, in my head yes, the candidacy of the actress

for the role. according to christina or the rat, as she is called in the film and she already knew, she already worked, and with leonov she worked with roman bykov. she worked, and he even with efremov already by this time a and in general , she was, uh, almost ready to play a more serious role, and in this film, this communication with the stars of sovremennik with tobacco efremov, according to her, led her to the fact that she entered the moscow art theater school the following year. here is the film itself about art about how the artist, er, lives this art for her , became the incentive that she, perhaps, lacked. she only graduated from school in order to really start working in the profession, that is, before that it was such a childish, maybe hobby hobby, but in this film he consciously felt like a future actress. well, it seems to me that the most curious thing is for the context of the era. and the fact that she plays not about anyone but a gendarme play, which she puts out of cream with this is very

relevant and important. heroine of course , of course, recouped from the consulate sixties. she appears as the heroine of the revolution in a broad sense, but look, this is how gleb panfilov started the film and a similar character appears in his previous film in the fire-walker. no , even tarkovsky, who writes about this in his diaries, dreams of putting jeanne dark. in general, this is a very relevant figure for well, not so much for that era. how much for the revolution as a whole, yes, and the anniversary of the revolution of course , everyone in well makes you think about how it could be paid on the screen, well from krema copes with the means that he has at hand, but almost sets the theater on fire. i remind you that this is a podcast of eisenstein's witnesses where we talk about who and how created the classic cult small well-known forgotten soviet films and today we are talking about one of these films . it can be called a cult burn, burn, my star

, we do it connections with the ninetieth anniversary of its director alexander naumovich meta, in principle, this is an unusual film for soviet cinema also because he, well, you can say multimedia it has a story about the theater it has cinema, and the third hypostasis is painting - it can be said that even frescoes are sculpture, that is, visual art is static and it will pay off on the screen a wonderful production designer. boris blank and two artists from the soyuzmultfilm studio who actually created these incredible colorful , uh, drawings. uh, the statues are painted apples on a tree that the hero of oleg efremov creates . yes, this is alina speshneva and her husband nikolai serebryakov. here they are responsible, including wonderful, and the drawn inserts that open the eyes of this film , after all, the eyes remained there. and why are there these painted inserts?

but because when the actor was replaced, they no longer had money to reshoot something, they had to finish shooting a little later, they were allowed to do it, but for the same money, as was customary in soviet cinema. let's see, actually, how this art style, which, among other things, came clean from animation, was embodied on the screen. i understand you want me to leave as soon as possible. and i that's just located sit sit and

chat. interesting interestingly, the character of yevgeny leonov , the cinematographer, was the first to sit down, these paintings that we see on the walls during the filming and after the release of the film were compared with the works of non-rastaman copies. we can compare these works with chagall for some reason then this name was not used. it was possible that he was drawn not so well known, and the last of his last films, in my opinion, was called chagall, directed by alevich, which was filmed several years ago. here is the topic art interested him throughout his career. but this white officer is also very similar to someone, but not an actor, but a director. well, actually, this is the director vladimir aumov, and in addition to the director vladimir, the film also starred, for example, a marlinf, in the film of which alexander nauchmenta himself played in the film july.

rain, where he played such a nerd who loves to collect various facts all the time, they change, even they were later reproached for creating some kind of skit on the screen, that this is a friend different directors are filming in small small physical roles, what do they want to tell us with this, what kind of circus it is, but nevertheless, just this scene, these three artists had a dialogue between themselves, where, in fact, they discussed, at all. what is the choice? yes, what is the mission of each of these artist's credo and that artist, well , a cinematographer, whom he also exalts to remain an artist alone survive even in troubled times. this is the main motto for filmmakers. in this case , when the film began to be discussed, then it is clear that leonov's hero is a negative example. this is the very compromise that should not be in the life of an artist of the revolution and it was perceived, for example, by reviewers with some kind of apprehension, like

a negative one, but somehow leonov plays it. how contradictory it is, we like it, we get used to it. in general, we also understand his pain, his desire to survive even with the expiration of a decade. yes, and alexander ivanovich metal, turning his gaze to this film, recalls this phrase of leonov to survive. as in general, what was the task of the soviet artist, but survive in art. yes, this film is not closed. here you need to change the actor, you need to make some editing corrections. and you need to maneuver all the time that the film should be closed, but it just couldn’t be, it was quite difficult, because the reporting is complicated, and the money was taken from the bank, and in order to make any film, any soviet studio took a loan from the bank, which then , after the delivery and acceptance of the film by the state of cinema , was compensated with the help of the state cinema, the funds of the state cinema, this money, as it were, was returned studios to the bank this way. it was actually quite a complex system,

so just take it, but seem to be from some kind of project, well, it was practically impossible, yes, that is, it is a loss. and who will cover this loss, and for the cops - this, of course, is a school of life. in a certain sense, this film, because it had to fit into the border budget. and what we see on the screen, in fact. this is largely a compromise. how to save money and still make a good movie and he did it perfectly for himself - meta then worked out a combination and then these incidents also used, that this is on the one hand a film reflections of its theme. in general, quite serious. even if he sees his audience as high school students who do not know anything, and the artists of the revolution, the theme of reflections film reflections form of entertainment attraction - it's all bright, it's any format, and any material that somehow affects you. it might even be

fire smoke. and this is a big shot in the movie. yes , this is all that you break us from some familiar, and the feeling of viewing all that pulls us. let's take a look at this snippet. e with prokloklova, where she plays just zhanna shock. and where the fire smoke just starts on the screen, this very attraction, as einstein would say, who was very often talking about is-3 masses performed by oleg tabakov, they said that this is exactly the prototype of the

hero who created the electricians. it is interesting that in the original or literary script one of his names was three deaths in life or two deaths five deaths, but at the same time he remained alive at the end of the literary script the main characters leave for horizon e, to new creative achievements by opening to the creation of new theaters and looking at the fog. proklova girl kysy say, look, a very everyday comparison we call it everything that a hare is beer. brewing ah, from the cream, does not agree, yes or some kind of ideology. i don’t seem to be hiding behind our horizon in the film, the masses are dying saving , driving away the cart and actually dying from a bandit bullet, as i said because of the mission of one of those with whom he encountered together with

the greens. the protagonist of soviet cinema could to die in the twenties and even in the first half of the thirties, for example, chapaev then meant that this was a victim of the future revolution so that the revolution could be made correctly as a victim. yes, in the late sixties , this was no longer accepted; it violated the principle of a happy ending, optimism, and so on. how could the wrong people let him do it, but he was allowed to do it, because, well, unconvincingly, how the film would develop, because the rest of the artists. well, in general, they also die and from the cream, too, must only leonov remains to die behind them and in many respects he is alive, but real artists as an artist performed by efremov as a from cream with here they are dying with us, unfortunately in this tragedy of the revolution that does not spare anyone in its path, even its creators. and those who create it well, the artistic world is artistic inside out, again

a tragic ending. his approved film turned out. well, how was this film received, how was it assessed by the contemporaries of the colleague? well, this is a complicated story for me, still a little mysterious, because they themselves say that the film lay on the shelf, which we see from the documents according to the documents the film was adopted at the end of the sixty-ninth year, the film was shown, at the opening of the season in the cinema house it was then called a comedy for the sharp mass, then they showed the secretariat of the union of cinematographers, where people gathered who they themselves remembered, the beginning of the twenties was quite good. sergei yudkevich was there. sergey gerasimov was there, there was cameraman anatoly glavnya, and they assessed just like this, what is it for gerasimov, the final was unconvincing, too rounded, but he was very liked. here is this primitivist painting. it turned out that he himself loves such painting, he loves it very much, despite the fact that the sun made his films very realistic, very correct, very boring, according to some, and someone

said that the audience in the film are the ones who watch. doing with the cream, the mass somehow does not react very violently to them somehow, they don’t like it all. it feels like our hero is an eye that cries out in the desert. well, your final. why does your hero die , said anatoly the head, here he is killing green, but this is a work of art, it means something, it means, in principle , such generalizations treat artists like that, which, uh, andrey tarkovsky, did not give rest from all sorts of people who looked, why films, because the epoch really treats artists very differently, sometimes in a very unpleasant way , but it was impossible to say so frankly then, so i convinced all the metals that, well, it's just such an accidental tragedy. he is dying. there several times throughout the film and uh, it's reality that interferes with our game and so on, but nevertheless the art of it continues. it is with this continuation of art

that the change to is just connected. because the film has already been accepted, and suddenly, in the documents for the production in the state cinema, a letter appears signed by alexander rometa. this is already the beginning of the seventieth year, the letter is addressed personally to the head of all soviet cinematography, alexander romanov, and meta writes that we were talking with you, you advised us to change the name and we gathered here and thought that we had one of the scenes, our heroes and artists sing an old romance. burn, burn, my star. and it seems to us that this burning is stardom. yes, this is some kind of symbol of this very art that continues to live and does not die, no matter what, and so on and so forth. let us change the name and there remarque a does not mind. it seems that the film changed its name normally, but it even had a premiere in irkutsk. yes, the film crew went. it was the winter of the seventieth year, and

then emptiness. here's something like this failure, there are reviews, but no films in theaters. here, according to alexander not you , the film was lying on the shelf according to the documents, this is not very noticeable. not very visible metal recalls that even a positive review, no one could write. i only scolded, but it's not true. all in all, praised the film. not everyone understood. yes, uh, half a year before the schedule or against it, but nonetheless. this is when the film lies down, it really puts a copy of the film in the state fund on a separate shelf; it no longer gets on the screen from there, that is, a copy of the film is not allowed see in any cinema, but according to the documents the film came out the third category. that means he just had a very limited rental. it was shown, in a very small number of copies in a very small number of non-central cinemas, and not immediately after this very premiere in the winter of the seventieth year, it was released already in the fall of the seventieth year. that is, of course, they marinated, supported, showed little, but there is

one tenderloin. let's start from the irkutsk newspaper, where the reviewer writes such a wonderful film very useful and wide audience and interesting fascinating, but, unfortunately, if you want to watch it, it's a rental. we've already run out. although those who want to see still remained. let's return this film to the screens of irkutsk, i don't know if it was returned or not. well, i think what happened to the movie. the same story as with many other clients that today are read as cult ones, thanks to the repetition of color films on television, after all, but for color tvs. by the way, the original films should have been black and white, then changed, and the ability to withdraw in color the same money for the same money. this is actually another creative challenge for ah, aleksandra naumovich was. yes, how to make an even more spectacular movie for the same budget. well , a typical situation for a capitalist economy is not for a socialist nubik who made commitments and fulfilled them, but rather films with interesting rolling fates. she was from

abroad, because when he got there, and in germany, as a pencil case for meta himself, he quickly got a cult status there, and here are two such films that were appreciated with the german youth. this is tarkovsky's stalker and grief is my star. why do we actually need to watch this film now, re-watch it, or maybe watch it for the first time. in general , to think about what challenges an artist has to face. in general, how to remain a creative person if you consider yourself an artist and what models of behavior exist? well, as our predecessors, contemporaries, offer us , the twenties in the thirties, in general, in any difficult era. it seems to me that this is also you can watch it as entertainment . of course, of course, absolutely does not hide this, that he always makes a movie that will not make you bored alexander mitai. and by the way, he's a great film educator. he taught in

europe and taught for a very long time in moscow, and his method is precisely the creation of an effective work of art. well, he's talking about a movie, we're talking about, maybe, but any work that has a plot work in its composition. he was one of the main propagandists. this one under to the creation of cinematography from a three-art structure and focusing on this model. in general, he made all his soviet buckbusters, what we are blockbusters, we learned later. yes, the film disaster crew or other tapes, but even then, knowing the laws, how the market works. how the economy works knows how to count money. he understood that, as always, there really is a film that will pay for itself, and this is the main thing for a movie about her son who does not read cinema with art. i’ll have to measure it with money, if i bought it for myself two, three, four times, then the film is good. this main criterion. that is the task of the director. made a really interesting fascinating spectacular movie. and don't upset

investors. that is, burn, burn, my star is an example for us of how a work of art is created and an example of showing the person who creates this work of art and, uh, an amazing combination of multimedia combination of various materials in this film. and these genres of various genres confused someone in the early seventies and squeezed out and the detective said that the goskinologist mycel found fault saying you have a tragedy or a comedy. you decide what kind of strange genre of comedy this is, you didn’t understand this mixture of various elements of different genres in cinema, as sergey gerasimov said the classic of soviet cinema after watching this film, because mita reveals the genre. he tries to release it as well somehow. and this inner freedom it seems to me that in the end, for the sake of which you need to watch this film. it was a podcast of a witness from

eisenstein where we are film historians natalya ryabchikova stanislav dedinsky, we talk about who and how created the famous unknown forgotten cult soviet films and why we need to watch them now, how to find new meanings in them and how to get the most out of them , this podcast was dedicated to the 90th anniversary of the wonderful soviet russian director. alexandra is not you, goodbye. hello dear friends. we as you can imagine, i welcome you as part of the podcastlap project on channel one, this is anthropology. as you probably guess we are dealing with sacred music , which has never been heard anywhere else, and it is extremely important for us that we show people who have not yet been treated with glory by this

internet television attention, and therefore yours, as if they deserve it, but today the lord heard he did our prayers in such a way that literally for 3 days the most eminent vocalist of russia today turned out to be in moscow . well, the mariinsky is also dear friends. or maybe you should have started with it. well big theater, of course, well, dear eldar boy. let's show our viewers. why are world titles given today? for which ovations are received today on all continents, and here in all corners here are our vast planets. show us

something like that. well, let's have a little. maybe we can talk at your discretion, but it seems to me that first of all , these are the awards for great work, great work , everyday work and work on the works that the singer performs, when you have already passed some stage of formation voice device. then you, if someone manages to get into the opera house, and manages to work with excellent conductors with excellent directors, then you carry all this baggage, you save it for yourself. and if you are suddenly invited, caressed, it suddenly yes, it usually happens. yes? well, you are doing an audition somewhere, maybe you win some kind of competition and the director of the theater will hear you from i invite you to audition, and to the metropolitan or caressed or

well, you have a big mari theater there hear. and suddenly there is a miracle of thirst, when suddenly and others what is suddenly? i'm not inviting, tell me please, how many of those very hours that you spent, when no results are yet visible, how much is there that you are a shinless murtazina, but who taught at one time in ufa and at the institute of art. i studied with her every day for several hours and sometimes even on sunday how old were you i was 16 years old when your voice broke down you passed your voice at 14. i was still at school in high school. here but i i still went to her and worked out about once a week. here's a little fun. for half an hour of the rope we controlled the voice like that, listened to what the mutation was happening. that's when it all went away.

we have already begun to work. so, then the dense process had already begun, we were preparing for one show jumping. from the second to the third fourth competition for the exam. yes, because it was necessary to set some goal. come on, after all, we will remind our viewers. uh, uh, that fascination that they certainly experience when they listen to your voice. before before starting the work. i would like to introduce my pianist evgeny sergeev hello evgeniy sergeev is an amazing accompanist. i first noticed him at a competition in tver , the lemeshev competition, where he accompanied a wonderful contestant. and today he is a teacher at the agnesins institute. well, he also works at the conservatory. here, and the first work

that we will sing, probably, we will sing an elegy. sons

what to breathe?

there is no dream summary. well, here is just hello. good to start our conversation, because here these notes are forte which are loud. well of course it is the bass, as it is, is still vibrating right away, otherwise these emotional accents are like that. this is how

this finale is, when you sing these skies forever. this is a completely different voice paint , then what to call it? e your no, well, look, and there are different gradations in the voice, that is, there is a baritone. dramatic lyric yes there is bass. we, as they say, have an ufunda bass. it's quite low. bass is medium bass is high bass, and there are contami basses. this is also a high bass, but it implies a more concise repertoire more ligaments allow give out and here are such thin high ones. here, let's say, yes, low, bass, it will be hard for him to sing like that on average, it's also hard for you. here but here is a high bass yes to a drunken drunkard to do. here are the nuances. yes, it is easier for us

, and composers wrote more for such a voice than for low basses , there is a party for low basses. yes, but they are not the main parts firstly, that is, it doesn’t matter, and you sing konchak or igor, i sang igor here, well, in the future, when igor is sung and bass contabels and low baritones also sing boris godunov they also sing like low baritones, such high basses. that's why there's some here. well , the gradation of the voice, how your voice will lead you, how your timbre will sound, because one voice is only material. here, and there we are already working on the subtleties of it ourselves. and then, here's what we heard. and in general, everything you do, it's a whole performance, since your voice allows you to find

any colors. what are necessary for the home? let the performance suspect the figure of the director, among other things. and who is it director, and with whom are you dear icebreaker, she finds where which one to take eh? what timbre what color to take it you build this performance? or do you have a director? there is a director, yes, who gives the task. it may be, let's say a performance, if we take boris godunov, which we performed quite recently. but it was a modern production. and in a modern production , it was necessary to find a modern, not even that modern sound, but a modern approach precisely as dramatic as an actor and also sound, so that all this would be, but in

one whole, or cut through, you can show, although some passage from this, what are you talking to me about, well , let's say, if you take how they sang, here in the time of fyodor chaliapin this is the case of fedor ivanovich chaliapinnaya. the soul will burn, the heart will pour with poison, you will become hard, the eyes of the boys, yes, the boys are poisoned, and so on. yes, that is , this is this, take chaliapin and the time when it was today. it's a little wild. that is, today we have a different theater. today is different

opera. today we want to do more to give. uh, let's say, as the composer wrote , we will take the composer's line more then. ah, boris godunov simply has another version, and i think there are four different versions. x

you know it’s not by chance that you are called, as i will soon pour my steam, my heart. give way to milk, they choke with reproach and curses choke something and your head is spinning in your eyes.

above the kingdom grows and so on. but this grandiose menu-declamation was more in the time of fyodor ivanovich chaliapin. but today we need to find something in between, let's say the last scene. criminally and you are holy blood you are blessed with

light at night their velin pure heavenly wish you something else to achieve. although it turns out, what else is some such role that you dreamed of. and i still don't. or maybe it hasn't even been written yet. maybe there is no limit to perfection, we will improve. there is still a lot to work on. the main thing is that the soul sings, and when the soul sings. well, god forbid, what is your poet's soul? i know that your wife of incredible beauty and in the future would have the same happy face as she always has when we see each other,

thank you very much. thank you for your attention until next time. go