uh, at one event, i say mikhail mikhailovich i'm doing a babel program now, nothing more difficult to just remember. i didn't have to. uh, teach. he says, of course. hmm, because it's a language, that is, it's its own language. here babel is very helpful, by the way, the performer understands that this is not some kind of language that can be gleaned from a dictionary. yes, this is some kind of organic matter, which somehow shapes you very much. you see, i've always, uh, found it very strange or mysterious that, yes, you can't sympathize with that. so how only you will try to have pity on someone and die, because when a young jewish woman lived, she says that her father was killed and her hacked father lies nearby. she speaks calmly, and where in the world can you find a father like my father? that is, if you think about this situation, yes, what lies dead, i don’t even want

to say it. is it possible for them to react directly to sympathize, or do they also need some kind of distance? if you try to sympathize with such a mountain? such a cutter, such a performer or performer are you? yes, i'm interested. exactly how you should certainly. uh, here it is necessary not as he said, dmitry nikolaevich zhuravlev must keep himself on the leaders yeah, that is, you can’t let yourself go. eh, that’s all, a sentimental experience , you can’t dissolve in it and you can’t bathe in it, you can’t enjoy it, but you need to lead very much. oh yes, the author's line. yeah , the author's speech is the author's voice, that is , they felt the author's what is happening between these people doing it. this is a very important story, even in such tragic things you can see it. i like, uh, when

to students, uh, uh, telling tyutchev, i say that there are some of them there . of course, there was no cruelty in the verses. there is death. it sometimes happens there in the deniseev cycle, but nevertheless there is tragedy. yes, of course, how deadly we love. yes, of course, she was sitting on the floor and sorting through a pile of letters, how she took the burned-out hall , removed their hands and threw them away. yes, and there is the possibility of love, collapse, love, tragedy, this, yes, yes, everywhere, she lay to forget everything, she was already covered in shadows, but i'm talking about the fact that tyutchev sometimes gets to some a view that is not available to the common man. there is a certain private beginning of the world to be silent. what is the night of the world silence, but somewhere at night somewhere there is day? yes, i was especially struck by the line, as if an ethereal stream through the veins of the sky flowed. that is, you can just die if you imagine that

, uh, the world passes through you, uh, the sky, uh, amazing story, he is like nikolaevich well, in general, in the theater, uh, it’s customary to say that the main thing, after all, is a gesture, the main thing playography is the main one. how to stay on stage? because theater is an art action, as we know, is still according to aristotle, but in the theater there is a word, as in literature. as for the word in the theater, it has some specifics , what happens to the word when it hits the stage, when the actor pronounces it. you know that since we have to play different lyrics. mm, we understand the value of a good text. a strong author is strong in terms of mastery of the word precisely when we play weak literature, but yes, yes,

here it comes with something. it means to compensate m-m for the lack of strength and words. uh-huh there is, if the word is strong, uh, talented - it's nothing else to do. it is necessary to express it, to express it exactly, you understand, it cannot be spoiled to convey it, but it holds itself, a visual gesture is not intonation no costumes get here and the viewer begins. associate thinking about himself in connection with what he heard does not know the fullness of the effect. yes, he doesn’t know the audience everyone thinks about his own, when you are armed with a strong word, then you are protected and you are protected from failure because you are the author he gives you, he gives you,

and he works for you and find out, i once read in concerts they drove an iskander. once i invited him to a performance at the theatre. he watched modern sitcom. well , then he sits behind me here tonechka , his wife nikolaevna yes, yes fazil in the back. i say they drove abdulovich. well, how do you mean? he says, well, actually says very well. very good. tempo i still think that in the theater the main word. vascular disorders blood clots varicose veins causes these health problems can become bad blood vessels, the drug angionorm improves microcirculation, reduces the risk of blood clots, relieves inflammation and strengthens the walls of the vessels of angionorm, keeping

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patriotic war, when he already fought , was already close. the victory was already close to berlin and suddenly his correspondence with a friend begins. this is his ordeal. these camps, these links , and so on and so forth. how he defeated cancer yes yes. yes, yes, and the lion da was hard preparing for death. and how he survived and how he began to write did not absorb this experience, which did not endure. yes, and how he began to think about russia in general in the 20th century and wrote books about it, about its history, and its fate in the 20th century. that's about this performance, this short, by the way, an hour and a half young actors. yes, yes, we have a team, marina brusnikina, the director, staged our yes with her youth and with me, and andrei dubov , our pianist, because alexander zaichik

loved music very much before receiving the nobel prize. all this way. can you imagine, this is a sample of a sample, right? yes. yes, yes, yes, yes , galina andreevna tyurina made this script, which she perfectly liked my colleague. yes, it was very captivating. somehow we did it at first in the art theater. marina did brusnikin for the anniversary of alexander savich for the centenary, and there it was very much in the seventeenth year. yes, and there are a lot of young people there , almost all the youth of the art theater were employed. you know, i saw at the rehearsal, what an impression i was to punish the youth before they go out to the audience, yes , back away, and i saw, you know, it was such a facet of the school. well done, that they did it in the art theater. you know, i even spoke to our young artists afterwards. they remember so much. this is this

solzhenitsyn project. as such an important personal story for themselves, which they experienced, it always happens, probably. yes, it's one thing. yes, as it should be black, so it should be well, according to konstantin sergeevich stanislavsky before those who are in the orbit, of course, yes, just gently-gentle. eh, some time ago i grew up with a phrase that nothing can be played. you need to grow it all in yourself. yes , of course, they say something like this, stanislavsky that you can’t imitate anything, you can’t pretend to act, probably only to find some kind of support in yourself, so that’s when oleg dal told. he is the life of a hammered theatre, of course, yes, shchepkin’s famous one, and he told me that boris andreevich babkin was hammering the theatre, the famous legendary performer chipar, that he had already been champions of his inclined years

. this wonderful phrase will open up a lot for me, because i , uh, really love what you do on stage, but always thanks, it's clear how it is, how it is from the inside and here thank you so much. by the way, yeah, we haven't mentioned anton pavlovich chekhov yet. yes, this is also a whole universe of graduation performances with students. yes, i left twice. ivanov chekhov and the guys managed a lesser known play. she is also very important. the guys coped, in general, chekhov is very difficult, of course, they absolutely know for the young. here we are now , uncle vanya, a new premiere at the art

theater of the moscow art theater named after chekhov and chekhov yes and, uh, we gathered for the first reading came director, says, well, let's read the roles. here is the first time everyone saw each other and began to read. and you know, at this reading, i was suddenly absolutely surprised in an incredible way by how relevant it is, as if chekhov is our contemporary , ours, and this is how it happens to be a classic. do you understand? i still think, maybe i 'm wrong, of course, the greatest pushkin and dostoevsky, but in chekhov begins what is our modernity. in the truest sense, without any discount without distance. this is the man who speaks to us in our language

directly right to kill wrote. nemirovich danchenko chekhov that please give us some tea. chekhov did not want it to fail petersburg failed. yes give us, please, because i feel that modern theater is new new. in the theatre, the new theater cannot be born without your plays, but this is so true, because she is unspeakable in general who i ask the students. they answer. i am a seagull a seagull is an amazing phrase. it is not clear what kind of person is in each person the mystery of the big little one is that what we now see, well, i can’t not to say that in our museum and in the state museum of the history of russian literature named after vladimir ivanovich , chekhov's house on sadovy kudrinskaya was recently opened after restoration. i know that once you considered this place yours, and i

spoke there and more than once read chekhov there as a smerchinovnik. it's a wonderful room. here on the second floor, and now this order has been preserved there. here is an amazing story. i'm calling you directly on the air directly to us at chekhov's house, and as a visitor and, of course, as an executive. yeah s with the pleasure of an artist here we will be terribly terribly happy, because, of course, avangard nikolayevich, every second of communication with you is happiness, because talking with you. eh, you involuntarily join what is considered to be a classic, but it is not always customary to talk about this, so it is convenient, as if to say, well, shakespeare is great. yes, like kharms pushkin is great, uh, and okay, when will it all end, in my opinion, chekhov is all over here and it’s not customary to talk about it. and it works with you. eh, it’s not for nothing that our uh, the podcast is called. let them talk, let them read. of course, we spoke with you, but

we spoke primarily so that everyone who hears and sees us, uh, would read literature more and love it, like nikolayevich leontiev , people's artist of russia, our current year. thank you very much thank you very much for the offer because of the conversations, which is very interesting. thank you, i am sure that we are with you more than once. see you, all the best. thank you , stirlitz has never been as close as a chess partner you are not interested in me stirlitz will fall asleep now sleep 20 minutes in 20

wakes up in minutes and goes to berlin, it was a habit developed over the years, like the habit of watching the series of moments of spring, which these days is celebrating its 50th anniversary. and we want to figure it out. why does it still attract the attention of the audience, why did it survive its era and remain in ours and what does it talk about, and it is no coincidence that our atmosphere in the studio corresponds to the mood of this series. yes, this is a set of items that could appear, moreover, in the series itself, and these are items not only from the forties, but also from later eras, including including from the seventies, when the series was filmed and when the audience saw it, they saw everything there, in general, quite familiar.

and in this way he connected the generation of the war years to the post-war generation and continues to be such a link, and his popularity, which was extremely great in the seventies, continues to be surprisingly significant and we will try to figure out why and how it happened . about a soviet intelligence officer who strikes with the plan of our western partners ah, who are trying to rule out a separate peace with

nazi germany and continue to invite yulian semyonov to make a strong story, and on this topic, and here you need, of course, to understand. why liozny obey sergei gerasimov, who is known to us largely thanks to the successful film also about the war years, the young guard, and there, by the way, his student was an assistant. and after several years of just a little picture, she returned to the cinema and shot her first film in the fifty-eighth year. that is, she approached 17 moments of spring is already a very professional director, if you look at her filmography, she made a film every 3 years. and this is, in general, well, almost without ceasing. yes, the shooting script was released, that is, it was clear that she could and she could direct and work with actors. she could

really put together a team like herself she was tough she was. maybe even sometimes too belligerent, she even said that she needed people on the site who would fight with her. she needed to go to resistance. while the actors. she adored and believed that the actors were the most important thing and gathered around her some incredible crowd of people. she has, uh, let's say even hitler tried armor and kuravlyov, who later naturally, but played completely different roles in 17 moments of spring. it is strange that she did not use oleg efremova in seventeen moments of spring. although it was also one of her iconic actors. yes, not everyone was ready to go to the shooting for 3 years and, uh, this is a permanent job that required constant participation,

because the series then, unlike now, was most often filmed in its entirety, and only then after some time they came out, therefore, let's say stirlitz did not play on kent from maktunovsky, therefore, perhaps, it was not played for strizhenov although some then suggestions. yes, from the actors there, for example, marchil gomiashvili really wanted to play the tartar of metal, because for her they were not those types, but she didn’t like socks. she wanted him to play, because he had such an unpleasant little trait in appearance, she wanted him to there was this paint, but tikhonov appeared and, of course, began to continue this series nationwide, like a movie yes a movie for the big screen. and in general. you can really watch it on the big screen, it will not lose this movie in its entertainment and attractiveness, well, on the one hand. yes, on the other hand. still, it is black and white, if we remember that

it was 73 when it came out, yes, then in the same seventy-third year, for example, the tv series big break was released by alexei kornev, if you remember, yes there kononov comes to work at the school, and the adult students. he's here, he's seventieth, he's a color, he 's a lot of song like some kind of music in the frame, and there's a lot of documentary here. there are a lot here, as if from the previous one. and decades, even the twentieth anniversary of soviet cinema. it looks more like the thaw to some kind of movie than to the cinema of the seventies, plus a black and white image. in fact, it is also not empty. why because lioznogo, of course, relied on the tradition of perception. ah, the great patriotic war on the screen, people got used to the hot on the chronicle in the form of it in black and white, and uh, black and white film made it possible to create a documentary image documentary of what is happening, as if we were sitting here somewhere in the corner and watching how stirlitz

masterfully extricated himself from all troubles that he gets it's time to move on to the second chapter. chapter two filming history 68 years 5 years before the series aired , liozny began to work on the script and the script work took several years and then the shooting took another couple of years someone says, 3 years, someone says 2 years, and it was really the largest shooting, andropov says semyonov's jokes that the war lasted almost less than they filmed their series. well, of course, there are so many places of action in foreign countries that needed to be shown somehow on the screen. and actually, this can be considered in terms of production, because the shooting was carried out not

only in the soviet union, but also in moscow. by the way, vlad latvia in riga and in germany itself. yes they had to a and switzerland is somehow made up of different cities. and berlin naturally, and uh, it took a lot of time. cooking at the same time is the same television. we need to remember that in television there are completely different deadlines, completely different budgets, and the religious complained that if you are given some kind of budget for a movie, and you write down what you spend on what next. you may be seeking an increase in the budget and so on, but you explain what you need the money for, they give you. and here you are given some certain amount and further no one is interested in telling her what you spend on costumes. uh, these are fine for uniforms, but for cars, yes for this whole situation, but you need to meet this money, that's all, and she said that some

of the german actors were on her. in general , the evil ones are unhappy, because she, uh, forced them to shoot one and a half or two shifts per shift and, uh, did not let them go at the right time for lunch. and then she, uh, decided to let them go for lunch, right in the middle of the shift, right in the middle. prices all the time lunch time to go print. and after that they in general, they trusted her and brought the scene to the end and then quietly, well, relatively quietly. shlin to drink tea, still such a liozny, and the regiment commander in a sense, yes, who during the filming, uh, has to convince the actors to fight the circumstances, of course, this is in. in general, the main task of the director is to fight the circumstances on the set, because everything is unpredictable. many things are accidentally found many things. you need to think ahead, but uh, nevertheless, she managed and directed a very difficult film. for only for 3 years, not for four, not for five, not for

10. yes, while some of our favorite scenes, the heroes of the movements. it was e, or in the process of writing the script, that were born in the frame. that is, what brought there-liozny, as an author or in the process of filming, for example , semyonov did not have a wife in the novel, stirlitz well, how so? how can it be, but she didn’t exist, and this one-eyed hero, who plays in reality, kuravlyov yes, she came up with this detail, e.g. an eye patch, in order to obscure a little, so to speak, but the image we are used to kravlyov, but armored, which i move my neck like that. it's just that he had a raven shirt that was too tight and because of this , muller's characteristic movement was born. but they could have simply changed the shirt. and from such things it developed, but let's say the line of interaction between stirlitz and e, an elderly german woman, who in a cafe or fanta they

communicate all the time. yes, and climb. just emilia melton, wrote new text. if they call, i play chess, which was not so interesting to draw this line, and so it was interesting to work with this actresses. and what did she give her new replicas, well in the beginning. you can’t think of a scene and some actions for the characters, as, for example, in the scene where tikhonov bakes potatoes. oh, you steppe is wide-armed, immediately

engaged in screen time, we immediately learn about the biography and stirlitz for personnel with his habit of soviet habits. well, who doesn’t pearl potatoes on a campfire, for example, yes or apparently , that is, a reference to the civil war in which colonel isaev participated yes, when he was directly cooking somewhere in the field, this, of course, is important show on the main screen hero in as much detail as possible. well, the allious one had the task of filling the frame with many actors. let's get back. actually , to the reasons why the series has become so popular and open a new chapter three. the reasons for the popularity one of the things

that made the series so popular, it seems to me, is really the set of those faces that we see on the screen besides tikhonov , besides leonid pronevy, who perfectly played his main opponent. we see oleg tabakov, we see valentin gaft, we see a small video that is played big actors. come on evstigneeva how to forget how to forget rostislav plate for nevsky leonid kuravlyov, and the character played by kuravlyov actually. he, of course, has relatively little in common with the real prototype, because he was not one-eyed, but rather an eye patch on his department. and leonov and this unforgettable ship appeared, which was not seen in more than one film. let's see this snippet. eisman had been dealing with stirlitz's affairs for several days; he turned over a pile of documents, but could not understand why

stirlitz came under suspicion under the cap, as they said? actor first, kuravlyov a. secondly, yefim kapilyan, who voices that's all with his velvet voice. this is an incredible part, and the attractiveness of the series is those thoughts of stirlitz that we constantly hear some kind of cinematic, actually, a device, because we have to see the actions of the movie on the screen and a few years before the releases of not spring there was an example of a similar film. stylistic roma where, with his behind-the-scenes voice, the pace of retonation, which, in general, reminds us of capillian or vice versa, capillian resembles intonation. roma voices to us the thoughts and way of thinking of those people who are on the screen. and of course, how not to remember the radio operator kat, who at the same time, of course, is the heroine of numerous jokes. yes , and some greetings to sergei eisenstein, because

the baby is then another baby. but how else to make the viewer empathize? let's add a baby to him. eh, and that's not less. this scene, when she is being blackmailed, and the fact that now the child will catch a cold, of course, it is impossible not to react to this. and this technique is rather sharp, rather uh, so rude, maybe, but for television, in my opinion, the spectacle is just right for us , and she has a lot of such tricks and there are enough of them for all these 12 episodes, they are not they especially kill, of course, i found a lot of newsreels, which i combined with the performance of actors , sometimes literally within the same scene. yes , stirlitz is sitting and watching a football match, and football match while chronicle. that is, this is such a chronicle that could actually be re-shot, but here the task is not to show specifically this match, but to show, or maybe

this grain. yes, this is such an old image that makes us the image that was taken in the seventies that around it also perceives as absolute truth an absolute chronicle. that's why the black and white image is here. well, it’s just that without him there’s no way at all that there’s a feeling that liozny intuitively discovered some legitimate television, about which it was not yet written anywhere, but which she knew. uh , just from my experience as a director , for example, well, not only the music, of course, riverday all these jingles, but also the finals in each episode. it's clean and nibble hangers. the so-called there was on the verge of right. you don't have to turn on the light. stirlitz, i will ask you to stay. for one more minute it

's when the scene ends, and the most interesting place, and we indignant director have to wait for the next episode when it comes out to find out what happened next with stirlitz. these are the motives, yes, musical ones, which immediately tune us in one way , set the rhythm in another way, and at the same time, in a modern way. maybe 17.5 spring is a very slow series. and if you remember that it is based on an adventure novel about scouts, and spies, then the series is not at all like that. action

well, firstly, what we see on the screen, we see unusually atypical enemies on the screen. in world war ii, she spoke far as she recalled that if the series would have been filmed for a few years of what it was filmed, it is possible, and she would have to follow the tradition that existed in the soviet cinema of the poster image of the nazi germans. on the screen, these are comical, so ridiculous, and the bumper, in which the gun falls out of the hands of casco, converges on the eyes, and so on. it's a villain that's downright black and black villains. yes, that is, no matter how they are not people, but just such types. and the audience is already used to this ioliotic, of course, this tradition of depicting the enemy on the screen breaks and shows us enemies, but in the form of quite cunning inventive and most importantly smart people. yes, this is actually one of the mounted. why

does it show us on the screen, and the third reich, because to show how complex and dangerous and powerful the enemy was, the soviet union was convinced or a quantitative war, and plus this makes it possible. very interesting ideology between the characters, i can hang on any series, because it's just very interesting to watch. and i think that the same thing happened with the audience in the seventy- third year, when this series really united the families around, and the tvs and the electronic mail came in bags of letters, which, as usual, came to the studio just somewhere in nowhere. and she took them and read them and said that she really liked the letter of one woman, who seemed to her that she and her son no longer had a common language and that was watching the series. here are those 12 evenings. yes, 12 episodes, while they are watching, they are discussing it and it turns out that they have

a common topic, they have something to talk about, then the amazing thing is actually the properties of series that, well, a common topic for conversation. yes, plus the theme itself, plus this is all this whole atmosphere of the series, but really contributed to its massive success between different generations. we must not forget that there were a lot of references here. well, as if to soviet reality, we see on the screen, a complexly arranged, but a story about the apparatus struggle, which, in general , the soviet union was famous for in those years. yes , in general, the soviet bureaucracy watched, in a sense, a series about itself about how people ate while they were on a business trip, but this story with stirlitz's wife i know that eldar ryazanov, for example, the extreme responded sharply, and the inappropriateness of this scene. well , what is this scout for 7 years has not seen his wife, and he just looks at her.

as they said later, keep in mind , of course, not that there were no sexual relations, they were, but there was no demonstration on the screen, more precisely it was, but very rarely yes, in a neurotic sense yes, but here it is. maybe someone will see such british victorianism, and someone will see romance, and many viewers see exactly this, and that's it, but views. yes, this very collision, which is very narrow that time stamped reception on television. yes, this transfacator that goes back and forth and, uh, this is an opportunity to really get into the head of the character and feel emotions. and this, by the way, religiously was the most important thing. she said

that she works for the mass audience. its task is for the viewer to catch the thought, for the viewer to empathize, for the viewer to laugh, but get angry. well, somehow in general it was in suspense in good shape and that's the kind of scene. of course they do, and that's important. here is an important detail. the element is music, of course, if there were no perverted music, it seems to me that we would not be celebrating now. 17 moments of spring, because it's such an important part, because the series starts with it, and every episode ends with it. with this uh, jingle, again, we didn’t know such a word then, but it’s true rozanova, by the way, really didn’t want to let go of the stirlitz theme, the theme of the great patriotic war, and uh, she shot the next film and released it only in the early eighties. yes, that is, there she just had a very big break, because she actually wanted to continue this theme.

and even it seems that she wanted to film something else from semyonov. but they say he would ask, they say that they had conflicts there, namely, about what she added in the seventeenth knowledge of spring. yes, these are the heroes of these replicas. and in fact, they say that she wanted to put her name on the credits, including as the author of the script, but they didn’t let her do it and then they didn’t give it unfair, because in general , the millimeter is on a par with the nominal. as we see it , it seems to me quite rightful co-author. uh, it would be a film and not only because she is a director, because she came up with a lot, mise-en-sin some female images that were, maybe not worked out so well. semyonov has a man. he, of course, would have lost a lot, because maybe he would have become a much sharper plot, but this is a hypothesis. this is my value judgment. it 's interesting, by the way, the idea that she made him really more psychological. the first

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