they came to listen. here, it seems , lopakhin is already on the way, he listens, no, to get the luggage, then, yes. all how many meters there are to the station at dmitry, i'll tell you. yes, i’m not calm, and you haven’t read it. i am very happy that we are starting a theater, but what is it , how is it staged? we know it was forgiving. i'll tell you explains, when the whole room is asleep on these words. i'll tell you not to sleep, but to sit like this on the edge. yes, of course, do not fall with pleasure, because these people. eh, what do they hear? it's far will remain. she's not in the yard. uh, domra nevskaya yes, he will get his luggage, then, yes, all uh, my father, he really was a man. here i am in a white vest and yellow shoes with a pig's snout in kalashny ryad. but the rich man has a lot of money, if

you think about it and figure out that a man leafs through a book like a man and read it. here is a book, i did not understand anything, i read it and fell asleep the soul of a dog. they didn’t sleep all night, they smell that the owners are coming, well , the dogs don’t even hear, they can smell the lopakhin infantry walking with their noses. he listens for the fourth time and indicates to us that it seems they are coming. well then everyone goes right across the stage, the famous scene, i'll show you, i'll tell you this is how bad directors do this. wait as they put a good director. i go to the cherry orchard. it's completely different there. yes, yes, vova is a director - this means that he listens because of chekhov. this is how the curtain opens. so, and there ku-ku-ku-ku, that is, it was. why yes, yes, yes, then it means dripping so drip drip drip, then in the buckets, talking about the ocean train cuckoo. ku-ku, boo-boo, thank god so

the whole performance is dead, because the whole hall what to do when tell yes , the whole hall, together with carols, does so , sleeps forward, then back. everyone sleeps terribly. it's impossible the door opens and everyone yells lyuba russian spit honey cossacks. they are waiting for all the domestics waiting for her joy. she comes from paris, that's how the situation should not be played. they are this bloom, bloom, bloom, you know what kind of booboo and that's it. will it be on the next tour? you don't suck. i don't know, but i don't know, i'll definitely tell you. i have a very funny performance, but in the finale the berry picker, when lopakhin really cuts such a baluster with an axe. this is how chips fly to the last row in the center of the country so scary. so scary, god scary. i didn’t understand, the endings

are scary, because the audience pays money for tickets in order to cry there at the end according to the testament of the classic. why are you laughing? yes, laugh at yourself. i understand. that's all. well, all the same, i say, i generally like it when they laugh laugh laugh later. i'm not crying, so more god god we believed him. we thought it was kolyada the clown pan. something is chatting there, it turns out that my next question was just that. you all mixed it up beautifully. the next question was just, well, about the style, about the principles of the kolyada theater, but now i will very sharply, sharply move it away from me, because well, chekhov is simplified by this oblique and, uh, with these bari dances there is no such thing. chekhov has 7. no. look look what's there look what's in the text before your uh scene. uh, in which the text does not need a soul there. now i 'm going to faint, there, er, they love

ranevskaya lopakhina. yes, this is not a word, but somehow came here. yes, there dunyasha say that the infantry in the proposal did it. eh, everything is absolutely tied up with this whole system. as we now speak and fall all this is done. it's interesting in the visual yes dmitry well, tell me, even my story doesn't give a damn about me at all. tell me, i 'll tell you tonight. tell tell. so you put on a skullcap and cease to be a director, as it were, yes. in fact , the director who pays the salary and money considers. so dunyasha is the thinnest. chekhov's is that the sound reaches its ear, despite all the applications. you will explain this, i understood the artist, he will tell me my brain hurts. i understood better this is the best director, yes, let a couple of days into

your eyes. i'll tell you. oh, what a clever girl, my god, what they do here on stage. that's the main thing that i did in any way. and what am i doing our interlocutors. uh, after the end of this program, chernyshevsky changes , that is, nikolai kolyada becomes a tv presenter. i'm going to direct. this is the main the outcome of our conversation. and now, nevertheless, explain to such a skeptic and layman and not a director and not an actor, but, but a person who believes that the text in general , they very often need to be performed, explain what kolyada theater is not in the sense of an institution. and in terms of style, dmitry can do everything in the theater, that you don’t have to pay in 2 seconds, i’ll laugh. yes, here you are a student teaching technology at school, you know that there is technology there, there is acting. it's all possible to play an extension event adjustment, my god, thank

god, but the soul is quieter, wait, let me i say, but sincerity can never be played in the theater, either it is there or it is not, goodbye. here in my theater, forgive me. sink real sincerity and i achieve it, if it is not, if it is not and there is no sincerity, everything everything is to hell, and that's it. the rest it doesn't matter, but again it was a bad word to argue with you sincerity. i've already started to get so wet and calm down, i think, well, no. we're going to meet this person now. no, let's not go. i work in the citadel of konstantin sergeevich. i love alamanov nadezhda petrovna the great fashion designer, brilliant, and suddenly she began to write a play, but because she did not leave in the seventeenth year, she was a supplier. ah. yes, they let me in. so, when we were on tour, in the museum of em hut, and i looked, there, everything, everything

connected with it remained there quite a bit. here she is, she said before she died. eh, i'm probably going to die soon. i have two drops of cats left, my name is piekha chekhov and shterbrod. row in a joke that he said to this book that you're a bitch they consider their stern plays or two a drop? yes, two drops, even though i wrote plays where she writes about stanislavsky hmm, but she doesn’t say, well, i came up with, i came up with, these are the worst words, because if you figure it out, the great stanislavskys have turned into an icon icon our icon again ask people dmitry exhibit imagine he wrote a book in the thirties called my life in art. now, if you're any of the actors now from the playwrights to the directors. you would write my life in literature, what would happen to you. what kind of arrows would you fly you understand, and he allowed you to do this, he

considered himself gods during his lifetime. lord, forgive me, lord, and i didn’t write her last name and lamanova on posters. although she makes costumes for him and wrote. i pretend to be quiet. it actually rises in me absolutely not. you do not rise such a terrible anger, uh , sing achilles, yes , you cannot turn a divine living thing into an icon. look monsieur. see what's the matter, i repeat sincerity. if you let me finish. and what i don’t like, what you don’t give, but very bad word because no no sincerity. i sometimes see my wonderful talented guys on the set of tv shows. they say, so i only tell you, so go further against. yes, i love them, no, that's all according to stanislav, you are a bad extension from the construction site. uh, events and stuff. you know what konstantin sergeyshchich says. he says that nothing can be played. you tell me that everything can be played and i will pay. now kolyada says yes

, now i jumped up levitation, i'll take care of the stanislavskys, as i did. you see , look, it doesn't matter broadcast to the elderly. yes it's good. yes , russian grandmothers, grandmothers, idiots, you said. but look what sergeevich says , my most beloved person to any horse. i love young stanislavsky and so on. he says that you won’t play a damn thing if you don’t grow it in yourself. it’s all about, that’s why it’s so small, maybe an actor is suspicious when he plays a lot. yes topic speak for a very long time. let's get back a little bit, i took you away and therefore no, two drops koti she is small 21 pages. read what's there, and lavanov, how i represent because i have studied a lot of everything she stanislavsky. so let's say she met chekhov, i understand. now

let's talk, finally about your prose, here i am, uh, out of your hands a few months, probably already ago. yes, i got this book, a very cheerful good cover. i like this carroty nice quarantine color. these are our artists. katya kaluzhnikova wrote to the request. i say, draw me, katya , and my cat's bike. i found him alive, as if we were looking out the window on that one, flip over here uh on the other side. i understand, yes, sad stories here from the back. yes , look, well, uh, i really liked it. maybe i'll give you such a cheap compliment. i liked it very much. it's simple and it's hmm quality and uh real. although it's a strange compliment, because there are so many now. unfortunately so kind. it's just easy to learn now, but you've learned from you. and you eh? eh, well, from the earth from the black earth

, write all this, and m-m i'll tell you. i love chekhov the narrator. i love it and that's why it's not there. well, what are you bishops of the last studio in the ravine is all about. it’s generally cosmos, it’s not conceivable, not mentally, something blew an empty bottle, when they were sitting there by the fire, she came up with a dead child and said, i’m not a magician, some word. i forgot when and got on the cart and go. they are taking her, she is holding her. this is a dead child. look, well, it's impossible. it's scary to read. it's not just scary. this is written. simply simple, but the heart is breaking, of course. i wanted to forgive me, lord, to be like a chekhov storyteller perfectly now comes the second book called you do not be sad. i want so much that people who read my books or look there, how to somehow calm e say something and everything

will be fine. wait all, look. here i just don’t know what will happen in the second one, but i have an hmm impression on this book. uh, that's what uh, but this is absolutely not theatrical stuff, contrary to the dramaturgy, because there is no pointe. there is no connection there. often. yes, there is, uh, some kind of story. well girl, the saleswoman gets to know some guy fedya yes, for example, and so she makes some plans, thinks how to kiss him. but i can't. yes, all this is written with a big soul, and then fedya does not deceive her, does not take her away. everything will be fine. i want everyone to believe that it will be good, but look, but in other things, and where it starts badly, everything remains bad. yes, there, it seems to me, i just see this is such a physiological outline, then what are these resoluteists, right? this is fyodor mikhailovich reshetnikov yes, i'm two

a. well, well, i don’t know, even more, except for tv presenter, of course. what is waiting for the eastern after today's release, what other two tables of talent will open, but uh, in addition to the director of the actor, the director of the theater, the artistic director, armature, cleaners, cashier, main ballerina, well, all right, ballerina costume designer. uh, the set designer of you, of course, uh, hmm hasn't opened. and i discovered for myself. and the talent of a prose writer is wonderful. well, actually, uh for the end. i will ask the question that, uh, actually, in my opinion, which, thank god, you completely crossed out. hmm uh was the designation of our topic programs. so i wanted to ask you, and the author's theater, how would it have a future. it is possible today, but our listeners and social security. nicky, of course, knows that now we

are in the transition from the repertory theater, which is dying creeper- to the project theater or three recognized or some other words that i can’t pronounce. but the author's theater of the beginning of the 20th century, whatever you take, the author's theater stanislavsky nemirovich will even pronounce these terrible for you. here is the commissarzhevsky there, it was as if it was terrible, yes tairov well, on top, in no one in this place, copyright copyright theaters are everywhere, behind which they are just a chain of performances, but also a manner and approach. uh, hmm and so on. this is what de boerov says. well, where did they go somewhere during the soviet years georgy alexandrovich the great director was gone volchek leaves leaves disappears these people were also the author's theater. and they are often asked too. i was friends. what about

leaving behind you? yes , the wolf told me to puke there, he said, yes, what will be, will be. and what, and what is it to me, what difference does it make to me? what will happen after me, but it was and still was world favor, great way i really respect. stanislavsky was volchek was viktyuk was a tabakovite the kingdom of heaven is great, whom yes efremov people, near whom i even had to stand with some friends to talk to my plays, that is , the author's theater is not only the theater where one person and the cleaner and cashiers are directors and artist, any real theatre. so, you can probably say yes, genuine sincere real with the word sincere. i'm only on five seconds. i will reconcile, because i think otherwise, but today in our conversation, of course, everything ends in much the same way as in the stories and stories of nikolai kolyada, that is, everything ends on the route.

and everything will be fine, uncle vanya, we will see the sky in almaza, we will rest and people in 300 years will be better than us, we remember all this very well, and uh, that's why uh, i wholeheartedly from the bottom of my heart thank the playwright and so on and so forth and other things and the future tv presenter nikolai carols for this meeting. thank you see you again and dear, and i tell all our interlocutors invisible to us, as always, read with pleasure. hello on the air podcast zizenstein, 125, e and in the studio film critic artyom sopin and film historian natalya ryabchikova today we will talk about eisenstein's film ivan the terrible, which is not

only one of the most notable paintings in the work of einstein himself, but is probably one of the most significant films, in principle, in the history and culture of the xx century, because this film, which has collected a lot of features of different types of art. actually, thanks to this film, including eisenstein, he proved that cinematography is a full-fledged part of the world pantheon of arts, together with older views, painting, literature, theater and ivan the terrible, we see how many features are intertwined. in addition, this film, of course, is historical in different aspects. interesting historically, not in the sense that in that long history when he was filmed and even more so in that long history, which relates to our interests. uh, in the story of how historical science is now developing and, in general, ivan grozny is involved in this not only scientifically. how much from an artistic point of view, of course, because ivan the terrible

is a painting that, in general, can rightfully stand on a par with such works. like e. macbeth e, shakespeare or pushkin's boris godunov, that is , works that e represent a certain matrix, not even so much because of the history of our country. how much in general from the history of civilization, because it is certain , fortunately or, unfortunately, rather in this case. unfortunately, recurring uh, motifs in the behavior of people, not even necessarily kings. this is, uh, a rather complex work and psychologically interesting historical ones. and now. maybe we can talk about how this project appeared, where did it come from? in what years it was created, because, of course, you need to start with dreams for eisenstein, the thirties were very difficult. actually, as for the whole of our country. and uh, the rise of the great terror. at the end of the thirties. uh, it was especially

true in his situation, because he was one of the brightest figures of that left avant-garde twenties, which in the thirties was condemned in every possible way, who accused formalism. eh, and besides, eisenstein had this trip abroad at the turn of the twenties and thirties. we know how many. e military leaders, like many of their engineers who went abroad in those years, many were repressed from einstein miraculously, literally managed to avoid repression, because stalin hoped to tame einstein and, in general, despite the rather independent einstein behavior in the thirties, when he was going to direct the film. e, with his view on collectivization, a little bit not in general, showing it as a tragedy e of the russian village, everything went to the fact that einstein was to be arrested in the thirty- seventh year. generally. uh, the situation of the prohibition of that film in the village of bezhin meadow practically led to this, but stalin decided to give

eisenstein a chance. e, suggested that he put on a film about alexander nevsky here as well. in general. it's not that they didn't understand each other, but einstein made a film about repulse. eh, this mechanized of the knightly machine chained, vlad is actually this teutonic army and eisenstein. eh, it was considered just as a statement in favor of humanity against. uh, this here is such a dogmatic iron grinding machine. what, in general , was stalin's power, but stalin, in general, perceived this as a favorable context for himself. he took it as a film glorifying eh? well what he considered himself, although according to historians of the civil war. in general, with this, and it was not so simple. let's just say nevsky

as the predecessor of ivan the terrible and because eisenstein finally tried to embody those ideas, and the combination of the montage combination of the sound of the image that he went to, well, 10 years before that, and he finally worked for the first time with sergei prokofiev , a great composer who could to embody these ideas, moreover, gave from einstein, and also material for reflection. yes, for these theoretical analyzes of his favorite post- analysis and with this baggage. both of them approach already the fortieth year of their forty-first year and in fact. eh, just here initially even will work not only with sound, but also with color, but this is a separate episode, which we will talk about in due time. what about? the proposal really was very hmm peculiar, because here it is important to remember the context at this time , historical works are just beginning to come out that rethink the place of grozny in history, which, uh, strive and try to at

least justify these previously menacing creation of guards and eliminate boyars. that is. e hmm such an establishment of sole power. actually, what he did in the thirties stalin e, when he first got rid of the e mensheviks. these are sirs from the so-called trotskyists, and so on and so on and so on. therefore, this proposal, which was received in january of the forty-first year, a and e, was voiced by zhdanov, who invited from einstein for a conversation and suggested that he stage the grozny firm did not immediately agree , but from eisenstein a, in general, he took some time to think and himself recalled that for him such a hmm, as they say now, the trigger was the attendance of the gala evening. eh? the next evening on the anniversary of lenin's death was at the bolshoi theater in january 1941. and while thinking about lenin’s death, an event seventeen years ago, uh, from einstein, i thought about, uh, how scared

stalin was that after lenin’s death he began to destroy everyone around him and realized that starting from this fright in grozny’s childhood, uh, you need to start this idea, and then he will work on the script. he started to work. eh, i worked in great detail with a large number of historical sources. first i was looking for a screenwriter, uh, and. generally major figures were considered, for example, the writer leonid leonov, but by the summer, in general, he already had a script to take shape on his own, and then on june 22, 1941, everything changes. i just initially thought that the filming would be postponed, because it is very difficult and filming. and for him it was a very strange decision to continue filming, moreover , to provide the film crew with everyone. incoming, despite the wartime situation, but wait until then, you still need to say that a is clear that initially they were going to to do in moscow at mosfilm.

here is june 22, and then, and in october, the studios will be evacuated to almaty, that is, not just they , how to shoot a film about medieval russia in wartime conditions but how to shoot in evacuation conditions, when they actually don’t have, but those resources that they are accustomed to, at least in moscow, the forty-second year is actually spent on e, developing sketches, tailoring costumes, finalizing the script. here it must be said that sketches played a huge role. this is what eisenstein painted not so much as an artist to there were either wonderful artists in the film, if nikolai voinov was in the spinel, but actually, these drawings were such an emotional embodiment of the future film, because the film, in principle, is very graphic in terms of the nature of the movement of the actors. according to the drawing of their roles and in general , many actors even complained about the fact that einstein always makes them take some kind of, er, specific poses show that this is how you have to go. so you have to pass here with the window complained, and

some were fine because to collect such, and a company of actors, probably, by the way, only in alma-ata was possible, maybe in moscow he could not do this. this is a twofold situation. it is clear who should play grozny well, of course, nikolai cherkasov, who has already played nevsky, moreover, he is just an actor of plasticity, he is an actor of action, he is an eccentric actor and well, he is not in almaty, you need to catch him, you need to agree with him, but with a travel card, and then, and who will play the queen from einstein found it? he came up with the idea that ulanova would play the ballerina with whom he moreover, she is already familiar, but until they approve her, the theater needs to go to perform elsewhere. she leaves withdrawing impossible to have to look again he tried. it seems to me that half of almaty is about the cinematic cinematic and eventually settled on e, lyudmila tserikovskaya, who actively advised taking it. uh, executive video for the currency skuratu mikhail zharov was at that time the husband of tselikovskaya, and

uh, who saw her in this role. and, a, in general, insisted that a tselikovskaya played this role in general. eh, it is significant here that cherkasov started music. zharov played comedy roles . tselikov comedy actress, uh, serafima birman. in the thirtieth she played dramatic roles in the theater, but again she started with comedies, including comedies in films. we need to be sure to say who could play instead of seraphim , we see her. on the screen in the role of aunt e, the main villain of such a film in the role of euphrosyne, but there should have been even more famous more beloved armchair actress, and faina ranevskaya who was tried, who really wanted to play, but they didn’t take her, unlike ranevskaya, but. at least we can see how lyudmila tselikovskaya ended up looking in the frame, and how she looked next to the birman seraphim. we have a small fragment.

it cannot be said that if anything, he didn’t really compromise with the performer of the role euphrosyne, because the authorities imposed the actress polovikova, and the other actress and, in general, eisenstein when not he was invited by ranevskaya, nevertheless, he nevertheless insisted on his other candidacy as seraphim birov , he fit in perfectly here, but this is an invitation for comedians, at least there were actors with a comedic past with comedic skills. in general, not some kind of whim, because from the side of einstein a from einstein e, specially invites economic actors to the tragedy simply because they feel more. eh, the edges of conditional genres. i have a theory that he called in comedians, among other things, to it was easier, at least somehow, to survive on this set, because in addition to

the technical conditions, there are also conditions. it's just filming, this is filming from night to night, and it's cold. we have many memories. yes , how are they there for hours, let's say, they sat on the make-up? the energy went to the redesigned factories, so they were filming at night, they were malnourished, like everyone else, right? uh, they had steam coming out of their mouths during filming, it was colder inside the studio space than outside. it was also quite a serious test for the actors. it's great that serafima birman, like a number of other actors, left wonderful, very colorful memories of filming. in general, it is true for many. it was one of the most important events in my life. in general, if not the main one, that is, even a birman who would be proud of her theatrical biography, and she staged and played herself. but for her, it's all the same, this is a meeting with eisenstein with a man who thinks so

figuratively bright and so unusual. in general, it was absolutely. eh, such a gift of fate. it's even it can be seen in the letters of mikhail named, who played kursky, so he writes heavily. i got sick while sitting on the make-up. i'm waiting. i'm arguing with other actors. i don't understand what 's going on. i don't understand what einstein wants and then the next letter he looks at the pieces and says, well, eisenstein genius i figured out how it's all supposed to work. it's great. it is not in vain that we suffer here, and not all actors not always, but eisenstein understood what he wanted from them. yes, this is his highest idea or a lot of ideas, a conglomerate of ideas, why is he oppressing, for example, yes? why does he work with light like that? why did he refuse to fully use his usual cameraman eduard tessei and called andrei moskvin to these distortions. eh, of course , cherkasov suffered the most from them , who, in his reminiscences, eh, are rather critical.

e, he describes this experience and at the same time, he regretted that he told it to a journalist, e, dictated it, because for him it was also emotionally the most important , after all, as he later realizes by the end of his life, and the experience is here, because he was to play a huge amount. ages, that is, it begins. he is also a sixteen-year-old youth in the episode of the wedding to the kingdom and on the other hand. e, he, e, should have actually become an old man by the end of e, the film, as you know, was not completed ; the third series was not filmed; in deep old age. e as a child. uh, he was played by another actor there. eh, boy, but from the wedding to the murder of the staretsky, we look at cherkasov, e, the worst makeup. in general, which was done for several hours. let's see what it looks like. volkova once a power

and, of course, this is a very practical mask, yes, and a mask that gradually appears on ivan's face because here, in general. this is such a film, in many respects, about the self-destruction of the personality gradually ivan from a generally normal person. how will we see the scene of the wedding to the kingdom, how he turns into this dried-up mummy absolutely. i want to remind you that this is a podcast from einstein 125 we are discussing sergei's film eisenstein ivan the terrible and i am the history of cinema natalya ryabchikova and with me in the studio my colleague is a film critic.

artyom sopin, artyom what happened next, the shooting of the film, uh, about uh, actually began in february 43 and uh, the tension continued 43 44 and the fact is that at that time the evacuees in the alma-ata studio gradually returned, but er, it was no longer necessary to interrupt the shooting in the middle, as it was in the forty-first. and here they have already planned the production in such a way that a director finishes a film in alma-ata and a new one starts already in moscow a zinshtein. today i didn’t finish and didn’t finish, because the long and difficult shootings have actually all returned to moscow from einstein, already one of the last ones he stayed in almaty in the forty-fourth year. and uh, since the question arose that one series should be completed before the others, and it is important that 3 series were filmed in almaty. at the same time, uh, here, after all, uh, they completed the shooting of the missing scenes. the first series returned to moscow in the fall of forty, on the fourth in moscow they mounted the first series of grozny and in the winter of forty-four forty

on the fifth, the shooting of the second series continues. while the first is being prepared for release, and i must say that everyone knows, probably, that the first series received the stalin prize, and the second was banned for 12 years, but it is less often mentioned that in the first series were censored bills quite serious. eh, there, eh, right at the end he creates. this is the most oprichny army. that is, he ceases to trust, no matter who you are , surrounds yourself with this flock. in general, almost such a pack of wolves, and in general. here he will leave these er such well-trained people around him and there was quite a terrible one, judging by the photographs that have been preserved and published. uh, the terrible scene of the guardsman's oath, when the son of the chief guardsman alexei basmanov, fedor, speaks and speaks from his father from his mother for the sake of the russian kingdom of the great, and in fact the composition was built there in such a way that this son looked at his father, his own father, who led the guardsman army and said i renounce my father

from my mother and then turned to ivan and he spoke for the sake of the great russian kingdom, but puppy looked more and more faithfully. these are separate shots, static ones have been preserved, they are published. and uh, actually. that was clear. what he says, then what, allegedly for the sake of the russian kingdom. although in general. e motherland parents things, not opposing him, as a rule, but here, but it is important that he looks at ivan and this is for the sake of the russian kingdom. we understand this great one, that he gives a commentary with a glance, that he interprets it differently than it is written in the text. this was very important for eisenstein , because after that experience with the ban on the film about the village in the thirties, he realized that it was not necessary. put into the text what you need, uh, still do some things related to plasticity to a greater extent and just finish speaking through plasticity. but he, uh, that's what i think is the most interesting part, at least for me in

the first series. and he removed it, but inserted it into the second one, this is the prologue about little ivan yes, and it seems to me that she is very interesting in the second series, she lay down like memories and, uh, he in the second series, in general, i tried to insert everything that is possible, everything that is possible. and maybe, yes, according to censorship, but it is interesting, and, as it were , the development of the plot, how we non-linearly talk, but we talk. well, like in a detective, but we 'll see there now, a flashback, and not of course , this delay in filming. she, among other things , contributed to the fact that we have a color fragment, and ivan the terrible