why for a career? of course, i wanted to, but they didn’t offer me interesting scripts and roles, so i limited myself to singing, but then later many years later. i started acting in musicals. and now i continue to do this, i play on taganka now for the fourth season i play in a musical thriller with you are not the maniac with the goal of lex fleet street. uh, the main thing in the female role there is makeup. you, of course, it all started with a musical. mata hari love espionage, which was specially written for me by maxim dunaevsky then i played matron mother morton in the musical-what. by the way, i am the first and so far the only actress who played on the eyebrows at what point did you decide to go into this ass, not to leave? i just wanted to diversify my work a little. uh, i've never been out of jazz. he was with me always. but i just wanted to reveal my potential more. a little bit to turn to other music and

try if i can do it this way one film is not in three and also a black singer. it was the island of lost ships, there is an episodic role, uh, a phantasmagoric woman who, uh, goes into the water, sings, goes into the water and drowns. well, this is how the director came up with it. yes, and there was also a picture of an eccentric azerbaijani, in which i also starred as a black singer. in general, glue could put glue on me everywhere, but i really like to play in the theater. i feel great. i just found myself in this story. for me now, this is a musical - this is such a thing that i have been going to all my life, then there is, this combination, uh, dramatic

actress singer. well, the truth is, there is no dancing in the musical, usually a musical - it also involves dancing. here is love and espionage. i danced there . besides everything else. just knees turned, but here, but here you are not the same no. and mom morton is there too. she has such a role, she does not dance there. how do you manage to do everything? i don’t know, but there is a place of friendship for some kind of leisure or something, how everything has changed now. uh, it seems to me that some kind of disunity of people is observed, we have forgotten how to be friends with me like that. well, no, it doesn't stop me from being friends. i have a job. just vocal. i'm three to four years old. uh, i don't see vacation. i have an academy, my musical one , i have an institute. i've been jealous of the department for eight years now. hmm, and i've got my tour card. life stage shooting concerts travel tours and so on. i just don’t have any time for anything

before, it used to be when there was no institute, and when there was no academy, alla now turns out to be friends with someone. well, it's amazing, probably, for everyone. that's exactly how says, belarusian, we talk there all the time. well, when to live, when to live, because there really is not enough time to meet friends. well, some kind of race. well, too, well 127 theater branches uh constantly. well, in general, i will not list everything that we do, but there really is not enough time. the only one i have is iron. i go hmm to my family. where zero to the sister nephews. yes, in the summer iron to the country. this is my time, i just adore it and moreover, if you tell me something very important to come there or

filming or something right here, i'm not inclined. i say i can't. but i can’t allow myself such a luxury, unfortunately, i have a return, which i practically never use. now the holidays have begun, and now the children will go to the dacha without me, because i have no time. i prepare students for state exams. in july, krasnaya polyana also works for the agutins forum. uh, i also take students in my academy of teachers there, uh, in general, and in mid-august i start rehearsals. e new performance on taganka in which i will play. well, yes, you can say that the musical, but it's weddings. i will play marceline. in general, my life is like this, all this is all laid out like this on the shelves. and i say, i'm 3-4 years old. i don't know what vacation is. how

does it look so amazing. what is the secret? yes, no secrets. i believe that a woman should love herself. and that's work. this is serious work. don't just know how i do for me. it's already a way of life. uh, at some point. i looked at myself in mirror and realized i had to do something with myself. and what was overweight was 23 kg, which i lost like starvation 19:00 19:00 eat, yes, and then you don’t break down, then you start attacking the refrigerator, well , somehow, i encourage internal discipline and sometimes. yes, i can, after a concert, i especially always want to, but i do it extremely rarely

, anyway, here we are lovers of fat to make an object on the refrigerator at 3:00 at night. and the view, it means that once i also resorted to this, then, fortunately, i unlearned it, and i generally very strict with this now i eat the last time a day at 14:00 and everything that has left your menu forever is a lot of sugar butter. potato bread, in general, i’m sitting on carbohydrates, swallowing saliva and don’t feel like it, or i want it, of course, yes. well, you just know this desire, it goes away over the years. and what is my favorite food, but i eat pork, lamb and poultry figured it out. how many of them are all who

tour the country and pretend to be your teams, since we have 127 schools of branches of our studios, we danced quickly figured it out. yes, uh the legal way our producers in turkey they have taken up with this issue. and, as it were, those who worked under our name for 20 years paid a fine, after i am the host konstantin mikhailov , my main guest is the choreographer of russia alla bravo and the amazing singer, people's artist of russia larisa dolina and there were some joint tours remember. yes, some

funny stories. there they somehow played tricks together to reveal millions of these stories. we were young and cheerful. we didn’t get tired at all , there were several concerts a day, we didn’t work one had fun. they just blissed out like they were relaxing. lived as having fun basically. this was our vacation so creative. and on holidays, when the green concert guys go on tour, in the tour it is a green concert. this is a concert where musicians and artists build all sorts of tricks for each other on stage, well, not really, we're just joking, but these jokes are not for the audience. we are just for ourselves, well, for example, uh, my ballet, that means, once i wrote a sign like this caution zelenka and uh, put it right in front of me about

that what we just didn’t do, at these green concerts. it was terribly funny. not sometimes the audience saw it all, well, they didn’t understand what was happening honestly, and we rolled away and the most important thing was. at this moment, i can’t choke with laughter and sing the song to the end. because sometimes it was so funny, unbearably funny. just, for example, well, for example, it means, uh, i have my dresser, who has been working with me for very, very many years. she is a dancer. i never say ex because there are no ex dancers. and she has everything on her feet. naturally. i even mean they found some big box backstage, hid it there and put it on stage. what is there? something will happen at some point. we have it there. uh, there was a dance, there was a porto number that we danced a ballet with and in one and we opened the lid, marina was busy in a marine costume and the musicians started dancing the bullseye, they all rehearsed the bullseye there and

inserted a piece. this. well, i didn't know that. here. we are we. i think of something for them. they come up with something for me ballet, for example, there is always something behind the scenes . especially if we work at theatrical venues, there must be some scenery there, something that they didn’t find there, i sing, well, maybe some kind of comic song, someone from the ballet takes a mop with a bucket and starts washing under the floor on stage while singing. tin. yes, these were terribly funny, but the audience does not understand this. they think it's all staged, yes, but the musicians are just dying of laughter. and you have to keep your face. this , of course, is unbearable. be the brand that directly ashamed of happiness, no, there is no such thing. delicately all the same artists, all the same. i think they cautiously yes cautiously started because i remember mine when too. well, these

collections were. well, sometimes they joked right there. i remember a musician came out. she played the piano to him taped. eh, the keys, like him, and he he means, well, i how he yelled, i remember him, but he, of course, cannot be done hard , it is necessary that everything be. uh, just being so delicate and respectful to each other. you can think of anything. i i also remember one very unpleasant moment . it was many years ago, when i was still working at the odessa philharmonic. and we had such scenes, so one of the musicians had to go out of the briefcase onto the stage. some bricks were laid for him there. and here he is, and right before the exit he came up and took it, and he understands that he cannot take this briefcase. that's tough, you can't joke like that. i remember that we also toured

a lot and densely in one period of my life with just the trio mercury break dance, and we did a lot traveled with lyosha glyzin and his team. and here we also arranged greenery there. there he has a song in which valera maklakov comes up to the piano and right at the right moment opens the lid and enters. well, we didn't stick him. we just sat down on the entire keyboard with glyzin's calendars and. here he opens calmly and sees that his face used to be all sorts of sixes, well, in germany we worked it in the program in the program it was like that. well, let's put it this way. such three prizes, this girl was a clown. and so you imagine we dance, but we have a big team, there are a lot of us on the stage. we're having a rebuild.

we have a drawing, which means choreographic and it comes out. here you imagine in front of us and begins to make some of his reprises. she thinks it's very funny. and to us and we can't do this. it's simple. well, we somehow pushed her and made a sound, someone hit her on the leg. well , well, it was only then that she realized that she was starting to leave, right? in general, you are generally a strict leader, like a carrot. well now i'm softer. how many stars came out out of tone solo career. it's a shame sokolovsky is our guy. then, a lot of girls in our groups worked there and in cream and they come out. yes, a lot of them in my ballet, two of them came, in general,

they always work in every hospital. some of our guys from todes or from our schools. here, well, dance. uh-huh basically, here we are watching and enjoy watching. so, it means that our i now often work at different sites in st. petersburg in moscow, and with. who else are you working with now? as if not your solo concert, basically a performer, in fact, with uh, with everyone, right? well, let's say, some kind of program or filming, and here we have a list like this and go ahead. we have a whole area that deals specifically. working with the stars, uh dasha kramar is doing this now and uh, this is one of our favorite areas. uh, because it's always an honorable joy when we started working with

the stars, my god, i remember, this is the first one. uh, the first feeling, we went out with sophia mikhailovna rotaru my god. here, touch it. i wish this is something amazing or they saw larisa. here is the first time. this is some kind of magic, my god. how lucky we are in general, we are cool, i feel this very well and always amazing. yes, yes, this is a team, that one was a navator. that's better not, and i watched from the very beginning. the very first team, which was strong, is simply impossible, what they did on stage, i sometimes forgot that i sing. i'm good for me. and i think, no, i need to stand with my back so that i can't see, because if i look back, god forbid i forget those who same they so danced simply unbelievable. it was a pleasure to work together. the best dancers the best voice in the 2000s are also on

the huge competition how to keep the first place? well, not necessarily, right now, i’ll tell myself about myself, not necessarily right , for me it was never an end in itself. here is the first place to go. i just loved love endlessly love what i've been doing all my life. i dedicated everything to this with all the awards that i have. it's just a consequence of my love for my profession hmm yes exactly so there is nothing to add. we never thought, but we must keep this bar. that is, yes, such a thought, and here is the first pedestal, there and so on, that it just happened that way, because you love your job and take it very seriously. ugh and all. this is the guarantee of success, and the guarantee that you will remain on this pedestal, but the goal itself has never been. for me, the worst thing for an artist is a ban on creativity. there were moments when your concerts were banned from me. no,

i never had such a me, uh, forbidden render on television, and the soviet era. we had such a leader lapin who did not like me very much. and he, when only someone from music editors dared to insert my number into some program, he cut it out. wow, it’s hard, but there was a story that such things were banned in the kremlin, which means there was such an editor in soviet times. uh, do you remember such a promising surname pronin anecdotes? how many majorda ronin were and that means, uh, some kind of concert was rehearsed, i then worked in the sovremennik orchestra at anatoly asharovich blood. and a concert dedicated to victory day was being prepared and an arrangement of a very famous soviet song from the film volga-volga was written. eh, hmm-ra, what was

it called? yes, yes, and that means, ah. it was written in a jazz style, since. it was a big band of jazz big bent kolola. i started rehearsing and started singing it. and that means i sang out. we're going backstage. uh, this pronin runs up to the roll. says what is this nonsense? she breathed the singer no. yes, she breathed, and i have concerts turned off excluded. what a mess my god. hello was such jazz dancers. yes, god bless. we somehow, uh, this has never happened before. i can't even remember. i remember that we were still in soviet times in order to be allowed to go on tour. we needed to fly. it was called a program, if we

called it a foreign language, we had to translate it. so, here's how to print now. here and it should have been here. fill in the stamp and put it here so that there is no translation there. eh, something there that is not it was necessary to. here, i remember this, but it ended somehow quickly. and that's it. and no, i didn’t say so, i almost broke anything. uh, your hmm program at the bolshoi theater was a concert named after my plisetskaya, in my opinion. yes , it's for us. i say, i am immensely proud of this, uh, she invited us to her anniversary at the bolshoi theater. uh, i saw us on tv in germany and they showed our concert. she says, well, she tells me this already. well, generous. uh, she says, you already look how the guys

are dancing everything. i want them to participate uh, in my evening. uh-huh and imagine here she is leaving. before their anniversary, and of course, after some time, it means that they decided after all. it's natural to do it. ah, the play. well, her and her memory. and there in the bolshoi theater, when the program, so she wrote with her own hand who was participating, and uh, someone from the leadership of a very large theater said then, so from there it ’s not our format at all, so what shchedrin said if there is no todes, there will be no evening in the evening, because the t-shirt wanted so much. yes and this is what t-shirt wrote here with her hand. this is exactly how it should be and how it should happen. it was later that they told me the address in the summer he told me, well , this situation, so we danced. e. yeah

, in a big way it was our dream. yes, but it might not have happened. by the way, our podcast about dreams is called 20 years later, but it seems to me that we need to dig a little deeper, because todes is 35 and like our acquaintance. what did you dream about when there was not yet this e glory when there was not this grandiose success. do you remember your dream. this is how i get famous get rich and no, somehow it is known and there was no getting rich. in general, i always dream before going to bed, and i still remember as a child, then it was shown on tv when i was little, bastards on tv, then it was free pins spala this is what i have yes, for some reason, this is what i imagined . uh, so here is such a team, yes. the most interesting thing is that i did not dance there. this is amazing. that is, i

am myself. represented there as a soloist yes, let's say, i already imagined myself as a leader, then a choreographer, and here they are in front of me. yeah all the time, yes, yes, yes, it was colorful too, which means everything is bright and these are my dreams, and then they already made him. we i say in our time i remember that we thought there. oh, we need to be paid more there, or that's how much ours will pay us. here we are, just to go on stage, just to dance, and here i always say, guys, you should just, well, love, because you do so on, only in this way, yes, without a crazy love for the profession, nothing will work because it is very difficult for us sleepless nights train planes. after all , it all affects the mood, health, and so on, so you have to be very

strong here. and this is the very first condition - you have to love your job crazy, so that you never get tired and never regret that you chose this particular path - this is a podcast 20 years later, host konstantin mikhailov today we are talking about russian and soviet pop music and dancing. 20 years later how to make money. let's just say how it was easier then or now this question. i never asked myself. uh, of course, now a little better in this sense, but again, it was not an end in itself. well, yes, never. i never. oh, i have to be in time. it is there that they pay here, but here they pay more. but it’s necessary to go there, there has never been such a thing, fortunately, the characters have their own big fee, so that the authorities

come, gorbachev was allowed to us, like a nasty concert. i remember my first concert cost 500,500 rubles, or something, in my opinion, 500 rubles. yes. i remember that i was brought briefcases in the briefcase were three rubles. here are the 500 rubles. were on the ruble, then about 100 were rubles. yes very small in general and the dollar was cheap. everything was cheap and so on 500 rubles. do not remember your first such solid jackpot and ne well, let's start with the fact that i always made good money. when i had six aerobics before the todes, i already had a dance school. well, that's not what it was called and the experiment. i earned 500 rubles. per month.

can you imagine i was 18 years old, then i earned like a tree, as a factory director, of ​​course i did not sleep. well, okay. i was wearing. i didn't have a car, then hmm under trolleybuses. and now i remember this here. yes, morning, night. and i also had two plots. i worked as a janitor. i got up at 5:00 in the morning. i had two lots. this is how i make money, 60, yes, that is, they are already happy. and here i am this way. and when we went on tour, we had a concert for five to six, these were collections. that's just sofia mikhailovna this tour, i will never forget 189 concerts in 1.5 months. can you imagine well two by three by four by six by five chelyabinsk workers. like this on on the bus. and here they come in the morning. and so we worked in this way, and we bought a tv, and i remember in this one how we dragged. and

this is the tour. this is generally an anecdote and videos will give us then it was just a profession , yes. and larisa did not ask you about your dream twenty years ago. when i was many years old, when i lived in the soviet union for many years , i was not allowed to travel abroad, and when that power ended, and they began to let me go abroad, and my dream was, of course, to see broadway and i for many years in a row i went to a special in new york and went to broadway for all the performances and had a dream someday. maybe i'll play the door, idiotic completely dream, because it's impossible. it's unrealistic, and we had it so it's what is called transferring, in my opinion, yes, people don't know how to dream. and as we see, what we dreamed about came true, what

we dreamed about. you came true amazing, this cube, by the way, it is magical, it also fulfills a wish. maybe you can now voice what you dream about for yourself in 20 years. i would like to be in the same form in 20. what is now and not only in the external vocal form? fortunately , my voice sounds like 35-40 years ago now, so in my opinion the best voice in the world, because who else and who else in this heat, i still don’t know. today i feel better at a party, better voice of the world, better ballet. well, we agree, yes, in 20 years. this is amazing. we are just here. it coincides absolutely too. i would like something that we are doing now,

of course, i want all the children it happened so that they were happy, of course, in a cafe, in general, so that we were like this, yes, in this form, maybe lose weight. after 20 years, here to do what you love, of course, to have a family nearby, so that the children and that’s all, here, so that here and sometimes still allow yourself to relax about love , you are two beautiful beautiful free women fiery, brunette, stunning beauty blonde. you are free now and as far as i understand, right? relationship cards or time is not enough and not enough we are open, but there is not enough time. i speak for you. well then you need busy men just like you to mind their own business. you yourself understand.

yes, meet and enjoy communication. yes , i agree, of course, the whole vladimir andrey , of course, the podcast is 20 years old. later, i had two amazing beautiful women, in whom everything is ahead of me leading konstantin mikhailov, but i hope i have that this is also a boy somewhere. thank you for watching.

you can’t want it like that, my dear said. a blizzard won't sing a song to you, how long does it take ?

hello, i'm pilot cosmonaut anton shkapper this is a podcast of space history. today my guest is alexei dudin , a cameraman, a participant in a grandiose project called an understudy, director, klimashepenko. alexey hello, tell me, here's the challenge before the project. uh. you somehow with space dreamed of people in action to become an astronaut. like, for example, if , of course, yes, that is, in childhood these are the children of the eighties, there are the seventies. i think that we all ran with these aquariums on our heads, and there we dreamed of flying into space, and i encountered astronautics. i shot the film time of the first about flight. and i was lucky to catch

another or sergi alive, he survived and to us as a consultant and came to shoot. and then, probably, for the first time i was imbued with astronautics from the inside. not just, like , seriously, there are spaceships flying somewhere, namely, i ran into both those people and history, in general, the creation of the development of astronautics. in our country. you graduated from a technical university yes, i graduated from moscow automotive institute. well, that is , he entered the moscow automotive institute, studied at the moscow state academy of automobile tractor engineering, thought that you would become an operator. no, well, you're in the process of learning. i had already started filming then the plantain program was on channel one, and i was a road operator while still participating in the institute. after i finished, i stayed to work in an austrian newspaper and filmed a television and so on, another program, but this world of movie advertising always attracted me. it was all something

more interesting some movement another. and here it is slowly. i went there and the last one, probably already 15 years. a little more, maybe continuously connected with the cinema. i know that the climate. well, it took a very long time to find an understudy. well, you appeared completely passed. tell me how you got there. were you familiar with climate before? ah, i didn’t know klim. although here, too, as it were, then with him, when they talked, it turned out. so i left the psyllium program. when he came to shoot, he came to shoot her, as if like a director, but for 20 years we have almost walked side by side, but did not intersect, but we had common producers friends who, uh, called me it was, as i remember now, 20, in my opinion, the fifth of april. ah, firstly, on april 12, i went to the cosmos pavilion , that is, i live there, went to vdnkh

for a walk, went ahead into space, it was the sixtieth anniversary of the flight, i went with gagarin on a tour, interesting, i listened to him how cool it was exactly 2 weeks later the phone rang. are you doing something like lyosha? i say so and so i say, in general, now i go out for a walk. he says, well, now there will be a long serious conversation. come back home, sit down and talk. and at the beginning, without any details, i was offered just a project for which i would have to give up everything that connects you at that moment with some other projects, but with very interesting prospects. i kind of say, maybe i thought there myself for a couple of days, of course, it’s already shaking into space, they said that the backup crew, of course, that is, initially the climate is our locomotive that moved this whole project, they said that can't find a duplicate. at that time, i was already 40 there and, in principle, i kind of thought that it was space flights somewhere. what are there like gagarin