i love him very much. he simply answered meekly. so, i love you too. but he mistook pain for love. have i become for another for someone to spit. then he began to teach me to quietly often look back at the door, when you are suddenly on fire, they will flog you. yes , don’t shrink, don’t squeeze the body, and you loosen it freely kiselyov lies and don’t puff up breathe in all ari and you remember good obscenities, well. i asked if they would flog again. and how calmly the gypsies answered you, go to often they will fight. and why would grandfather find out and start teaching again if he now, on weight, it simply puts it on top of the vine, lie softly freely. but i’m telling you, now he’ll hit hard and pull the vine towards him in order to remove the skin then you wag your body towards him , it’s easier. i am in this business with me and the most quarterly i have from the skin, though

i looked at him with a naked face and remembered my grandmother's tale. about ivan tsarevich, about ivan the fool, such a fragment is amazing. you know, i remember, kisselyon lies. this is, of course, my childhood reading. i remember this scene, but i have left . exactly this phrase kisselyon lies. i absolutely i didn’t remember and thank you for reminding me of this, that, uh, alyosha, uh, well, as if trying on grandfather. yes, it's just a pity that through such torment, yes, yes, yes, yes, it's now they would say that this is a fashionable childhood injury. between tears, it hurt to remember that he had beaten me so severely, but i couldn't forget. gorky writes about this. this is an amazing story. and what's the contrast with another children's trilogy? yes, because the name of gorky's trilogy is childhood in people , my university, but this is clearly tolstoy's whole taxi, and childhood adolescence youth of such

things could not be, but there were others. yes, there were . yes, this is wonderful. thank you very much for agreeing, so offhand. this is, uh, a wonderful thing to read by gorky. well, here's what i remember very well. your work is on top. and i understand that it would be wrong to ask you more, but here is the okunarmiya. but i also heard and was simply shocked by the way you do it. there, too , there is a lot of cruel, a lot of rough, rough, violent - this is a book that came out in the mid-twenties and , in fact, this, but a different picture civil war, if you like for a century. yes, of course, i think it's epic. that's how the quiet don shelkovsky. it seems to me that this is the state army. hmm, because there it is

very motley, these are separate short stories. yes, this is a collection, but this is a patchwork quilt. it still expresses salt. remember the story, of course i told it to me at the age of 15. he was offered to read more than anyone, i did not understand how the women gave out a huge piece of salt for a baby. yes, to be taken on a train, to be taken during the civil war. and when uh the red army soldiers realized that there was salt, they were a baby, they shot her slowly, right? i didn't know how to read this time, how can i justify. do you understand this shooting? well , there was still no polyphonic perception of life, then we were brought up, very straightforward enough in soviet times. yes , quite straightforward, so uh, i realized that i could not read it then, but now i would take

it, of course, of course, with understanding now with it. uh, here is our 20th century russian, of course, this is this concentration, like poems-12 everything that happened to russia in the 20th century. there is so much violence so much tragedy. and how to read all this? here is lydia guinnessburg, a wonderful literary critic. well, he says that babel does not change his voice, that is, he writes with equal intonation about suffering and about beauty, the sun rolls down like a severed head. for example, he has an image. the first navelly transition. through the bars i even have such a question. fana, but how to approach this? what kind of feeling, perhaps, is one thing when a reader, alone with himself somewhere in the evening , reads such prose. and as an actor or a reader, if this word does not jar you, as he does it, babel is very ascetic, despite the brightness, he very much selected expressive

means. he's got everything so tight. they even drove a scander saying that even the very beginning of the story was too compressed, there was nowhere further to compress this spring. well, yes, well, so it was considered a skandar, but this asceticism suits itself, as an author, as a writer, that it is necessary to squeeze out everything superfluous absolutely. here, perhaps there is some contradiction here. maybe i'm wrong, but such redundancy, e stylistic constructions and the mechanism of feelings. yes, e, he is rather laconic not in the selection of verbal means, but in a row, because in the selection of any means for pain, yes, and he doesn’t have

it. we walked together with mikhail mikhailovich with zhvanetsky e, at one event. i say mikhail mikhailovich. i 'm doing a babel program now, nothing more difficult for mere memorization. i didn't have to. uh, teach. he says, of course , because it is a language, that is, it is 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 organic, which somehow shapes you very much. do you understand? i have always uh, it seemed very strange or mysterious, that yes, it is impossible to sympathize. that is , as soon as you 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 do you find such a father, how is my father? that is, if you think about this situation? 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 as you should, of course. eh, here it is necessary not as he said, dmitry nikolaevich zhuravlev must keep himself on the reins. uh-huh, you can't let yourself go. eh, that's all, emotional experience cannot be dissolved in this and cannot be in this you can’t enjoy swimming, but you need to lead a lot. uh, yes, the author's line hmm , the author's speech, the author's voice, that is , they felt the author's what was happening between these people. this case is a very

important story even in such tragic things it can be seen. for example, uh, when i tell students from tyutchev, uh, 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 murderous love. yes, of course, she was sitting on the floor and sorting out a pile of songs, how she took the burned-out hall , removed their hands and threw them away. yes, and the opportunity, love, ruin, love tragedy. this, yes, yes everywhere, she lay in oblivion and that's it, shadows covered her already, but i'm talking about the fact that tyutchev sometimes gets to some kind of look that is not available to a simple person. there is a certain private beginning of the world to be silent. what is silence at night, but somewhere at night, somewhere, money. yes , i was especially struck by the line, as if

the sky had flowed like an ethereal jet to the elderly. that is, it is possible it's easy to die if you imagine that the sky is passing through you. an amazing story in the questionnaires nikolaevich well, in general, in the theater it is customary to say that the main thing is the gesture, the main scenography is the main thing. how to stay on stage? yes, because the theater is the art of action, as we know, 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 he we have to play different texts. 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 literature that is weak, but it happens. yes, yes, there is something here . it means to compensate m-m for the lack of strength and words. uh-huh. i mean, if the word is strong, uh, talented, there's nothing else to do. it is necessary to express it exactly express it , you understand, it cannot be spoiled to convey it, but it holds itself, a visual gesture, not intonation, not costumes, the viewer also gets here starts. associate thinking of himself in connection with what he heard the user does not know all the fullness of the effect. yes, he doesn’t know, of course, 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 fazili iskander in concerts. 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, fazil, in the back. i i say the owner. how do you like abdul? he says, well, actually says very well. very good. tempo i still think that in the theater the main word. with a housewarming hostess, whose midwife tricks will be, granddaughter dance with you , i want to live now, i want this minute.

what are you, edge? flood me a bathhouse, my grandmother wants to wash off the dirt, a gloomy river tomorrow after the program time , we mentioned solzhenitsyn avangard nikolaevich yes, we have a program of the theater of the nation and

the period of the end of the great patriotic war is already covered, when he already fought is already close was. the victory was already close to berlin and suddenly it was for correspondence with a friend. these camps, these exiles, and so on and so forth , prepared hard for death. and how he survived and how he began to write books about it. this short performance, by the way, is about an hour and a half young actors. yes, our team marina brusnikina directed, yes, with

her youth and with me, andrey dubov was our pianist, because he loved music very much before receiving the nobel prize. can you imagine all this way? uh-huh this is a sample of a sample yes yes. yes, yes yes yes galina andreevna tyurina i made this script, which my colleague liked very much. yes, it was very captivating. somehow we did it at first in the art theater marina did brusnikina 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 got from the sole wife punishes the youth even before they leave the audience. yes, back off. i saw, you know, it was such a school for them. here are the fellows that in

art theater did it. 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. yes, it's one thing, what should be? well, at least with those who are in the orbit of konstantin sergeevich stanislavsky , of course. yes, yes softly. 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, like this he says that you can’t imitate anything, you can’t portray anything, he acts, probably, only to find some kind of support in himself, so you know oleg dal told. he is the life of the maly theatre. yes, of course, yes, shchepkinsky is famous, and he said that boris

andreevich babkin is an actor of the maly theater , the famous legendary performer chiparik, that he, already in his advanced years , was talking all gray-haired, i only now realized that nothing needs to be played. this wonderful phrase will open up a lot for me, because i uh, i really love what you do on stage, but i always wanted to understand 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 . i staged graduation performances with the students of the course as a teacher twice. ivanov chekhova and the guys coped with a less well-known play, but also very important guys coped in general, chekhov is very difficult, of course, for young people

they still know absolutely modern. here we are now, uncle vanya has a new premiere in art theatre. although the name of chekhov and the name of chekhov, and honestly to me, yes, and uh, well, we gathered for the first reading, the director came, he says, well, let's read by 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, do you understand these very days? i still think, maybe i'm wrong, of course, the greatest pushkin e. and dostoevsky but in chekhov begins what is our modernity. in the truest

sense, without any discount. lord of the distance , this is a person who speaks to us in our language directly and correctly kill nemirovich danchenko wrote to chekhov that give us tea, tea, tea, please. chekhov did not want to fail petersburg failed. yes, give us, please, because i feel that the modern theater is new new. in the theater, the new theater cannot be born without your plays, but this is so for sure, because eh , she’s not on zarechnaya at all, 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 secret of a big little one is that what we see now, well , i can’t help but say that in our museum, in the state museum of the history of russian literature named after vladimir ivanovich , the internet was completely opened after restoration

of chekhov's house on sadovy kudrinskaya. i know that once you considered this place yours, and i spoke there and read chekhov there more than once death of an official, there is a wonderful hall. here on the second floor, and now it is preserved there. this the hall was preserved. here is an amazing story. i invite you directly on the air directly to us, including chekhov, both as a visitor and, of course, as an executive. yeah , 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 it, it is not always convenient to talk about it, as if saying, well, shakespeare is great. yes, like kharmsa pushkin is great, well, when will this 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, 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, as she says nikolaevich leontiev, people's artist of russia , is our today's guest. thank you very much. thank you so much for the app 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