to his external appearance, yes, that is, it’s just like the tetragrammaton on the golem’s forehead. yes, in order for the golem to work, he talks about this in the uk in a lecture about kabbalah, so that the golem works. he must have the right word if, accordingly, hmm, the kindergarten erases one of the letters of this word from the soldier golem, and it turns into another. like the word emmet, truth turns into honey, that is, death the golem crumbles into dust, that is, control over the golem is also in the right word and the right letters, and this is precisely the opportunity. work with letters back and forth, that is, write. erase write. erase this absolutely amazing unlimited control over dead matter that the jewish universities acquire, that for borhis the text is living matter. yes, of course, of course, and uh, in no case, not static, constantly changing, because

the interpretation of the text. even though its letter form may be fixed, the interpretation of the text will be different in different centuries. for us now there is a superstructure that we are from the height of our here are the formed moves. and look at the arabs, yes, from the heights of postmodernity. that is, we get, third, fourth, sixth, superstructures, all these additional meanings, additional emotions that we invest not only in relation to the text, but also in relation to the author who wrote and this is right here postmodern. once you go toe-too-too-too and it just happens, the next steps, in one of the stairs of the labyrinth, borkhiz. i think it also influenced castaneda. it seems to me, yes, because in general the form itself, you know, i want to mention that that um, when borkhiz started working. it was an innovative form of what is called makyum mantry in cinema, that is, it is a documentary film, but it is completely imitated, that is, in fact, it is an artistically created space that

imitates documentary and this documentary, uh, which borhis and marks. eh, absolutely great. yes, that is, we don’t understand. did this really happen? did all these people who talk really exist, maybe they are philosophers who talk or is it a product of his consciousness, we don’t understand it, but it’s magnificent and there are comments. and from these comments. you do not understand. really. here he is or he really is telling the story of his own life. slightly flavored with these yes, yes, yes, yes, well, castaneda has this form of documentary. yes, conversations, actually with the magician. yes, this is the form he is clearly. i think i got it too. yes, you know, i recently considered warhol. uh, andy warch's philosophy and there, uh, a lot is mentioned, like the image of mirrors, which, uh, orhal loves a space in which there are many mirrors, and

a mirror is a very important cleaning theme, that is, even in the labyrinth there is a person. finally he comes to the mirror. that is, if he goes through the labyrinth, he comes to the mirror and meets someone who looks in the mirror and disappears, and maybe even vir’s debt would disappear , that’s all, that, as it were, when he begins to understand the essence of things, the mirror disappears. tell natasha what do you think, that borhi is blind, during his life it is clear that he read a lot, and he even writes himself about the fact that i didn't actually live. yes, i don’t know what happened there in my country, because i spent all the time in the library. i spent all my time in books. but tell e this fact that a person becomes blind, yes, and finds himself in this world of darkness. that is, this is some kind of forced disability. so, what do you think, uh, did this set influence, because i have a feeling that his thing that he wrote already in the seventies there became stronger, so they became more lyrical and precisely

some kind of introversive, sharpened directly. he works in short form. but it has very deep details. that is, for example, he writes that a man who is still approaching the sea. he has not yet seen this sea, but this sea is already splashing in his blood. this is very accurate behavior. yes from the sea. yes, the notorious platonic shadow. that is, you understand, a blind man, he has a straight line. to plato's cave with shadows. yes, it doesn’t work with visuals. he already works with archetypes, ideas, eidos, and images of things and understand, he works directly. let's talk more about this babylonian library. how do you imagine it? and in this world is he a librarian, is he a systematizer, or is he a reader, or how do you see it? that is, this world of hexagonal shelves. describe it as if it were not a hexagon, a hexagon is a honeycomb. that is, it is such a hive. that's why i have bees in my ears today. this is also not without reason. you're all about signs.

i'm all about signs. well, of course, if we talk about the arch, then we need to operate with its tools, that is, to operate with signs, so, of course, i’m all about signs, according to essentially babylon, he has this babylonian library. these are truly gigantic hives. that is, i can imagine that , just as bees have an extremely complex hierarchy of creatures, that is, in the world of a library. there must also be a phantasmagoric hierarchy in the office. and i think that he is, first of all, read by an enthusiastic reader who rushes through these honeycombs, hexagon to hexagon, and finds something interesting for himself, and it seems to me that in order to become a library, the babylonian library. need to there is a very long way to go, you need to go through initiation. yes, you need to enter some kind of luminal phase, yes, go through that, that is, find this notorious tetragrammaton, or at

least its semblance, that is, jump to another step. yeah, development, and then in front of you these hexagons will be ordered, will open up and become permeable in the uh story. well, i don't even know. eh, probably these are isa, and maybe the story e four cycles. uh, he’s just trying to systematize, maybe he brings all his endless knowledge the theory that there are only four plots in world literature, and we all endlessly repeat this plot. uh, taking the fortress. well, for example, uh or and yes and homecoming. well, the example is also a classic dc which returns to the stage and e search is probably a broader concept, but he gives examples of timurka’s bird, which is simultaneously a multitude of birds and one bird, which contains this multitude and, in general, this

too the image of god yes, to which, well, the era of any ancient plots, well, the ancient epic travel literature is all just the search and suicide of god yes, sacrifice is something that we can see in the bible and in narnia there, well, in general, there are a lot of european myths, yes, that is, like a horse sacrifice, that is, e ritual that accompanies the ascension of the king to the throne, that is, the sacrifice of a divine being - this is exactly the most initiatory thing. it’s out of all these wandering stories that remind us of a leap to a new level. this is a sacrifice god uh-huh it's this one again. uh, what's his name in the small labyrinth? that's what the killer is, and ben khakan becomes ben khakan himself. yes, that is, he is the one who killed this state of the king. in fact, he was the creator, in general , of all this murder and an imitator. that is

, he repeats cleaning there very often. this is the plot. this is like an initiation, thought out and influenced by the agent himself. that is, he sacrifices himself - it’s such a lonely thing, too, yes, it’s like hanging yourself on an ash tree. here. well again this is a wandering plot. so they wanted to keep you from scandinavian studies. no it worked. this podcast is a must read. i'm looking at bantnikov. my guest is natalya usha, musician, lead singer of the melnitsa group, candidate of philological sciences. we are talking about horheluis borhis natasha a. as for borhis’s personal life, i was very touched by the story of ulrik e from the book of sand from the collection book of sand, where he meets a woman. they spend only one night together. eh, there is clearly this blindness to mythology. there the hero's name is sigurty. yes, this is the language, that is everything relates to scandinavian mythology and

the heroine’s name is ulrika, but it looks from one side. just like people who met in a hotel, they spent the night together and separated forever in the morning. yes, this bathroom stand. and and but this represents borhis as such failures into some other world, as if this meeting was very important. and it seems very romantic to me. there also plays a role in mirrors well it looks. now i'm talking now. and we couldn’t resist scandinavian studies, because that’s exactly what his heroes are siegfrith and sigurd - this is very important, because, of course, borkhis with his, uh, amazing erudition. he knew what it meant for a scandinavian hero. some kind of irresistible is not a predetermined meeting with a woman, because a woman is for the scandinavians. that's basically mythology. this is fate, a woman who is capable of changing fate, so this is the mysterious ulrika who is dating sigurd. she makes him

look. it's just a completely different level. this is an esenica. yes it meetings. if it’s different, that is, it’s like an anamka, you know, which is through a tiny death, because initiation is always a small death, an imitation of death. she forces him to take it to another level. that is right here. i love borhis so much in these aspects as an indo-europeanist, because , well, it’s clear. he is now a european culture. yes, and he, yes, yes, yes, yes and he feels these indo-european mythological clichés very subtly, maybe not even always consciously, of course, because this do you understand exactly what i mean? that’s when i see, this is the king’s sacrifice of this woman’s fate. i think, well, my good one, how nice it is to see my muzzles, let's talk about his personal life. he's been around all his life. you can say lonely, that is, there are some women there. i see the dedications of women in different stories, different women they

inspired, but mostly. yes, he lived, uh, rather lived with his family there with his mother. moreover, we have bread. well, at the end of my life , after my mother died, when my mother let me go. yes this is a freudian story. he married his literary secretary, some wonderful one, and a girl. here. eh, do you think his relationships with women are so strange, they were somehow reflected in his prose. how can i tell you? uh, he’s not a romance author at all, he ’s not a romance author at all, that is, for him , rather, these are all women in prose. well, and there in the same alif, yes, this is his beloved. she's already dead by the start. yes, beatrice of this veterburg. that is, in principle, women in his stories appear as ideas rather, oh, this is very interesting. yes, that’s exactly it, the dead lover archetype. this is beatrice with some of her countless past lovers, or this is ulrika, and the woman of fate who guides

the hero through neciation. that is, it seems to me that all his women and all his female characters, they seem to be not endowed with special emotionality. she is endowed with power endowed with power endowed with friks. yes , they are endowed with a temporary function, as it were, which is obliged to lead the hero to that point time and space in which borhis wants to see this hero. that is, he never received the nobel prize. you are very offensive. i read it very sadly. yes, almost 25 times, well , he was nominated a lot of times and each time he didn’t receive something. yes, in the marks all the time, and the marquis bypassed and found, although the marquis. i love it too. yes, but i like borkhiz precisely because he gave birth to so many. that is, he seems to be a quiet library, you know , quietly, quietly, but he introduced a lot of concepts inside, then we into pop culture, because

i read it, i see it, and murakami with the chronicles is called money falls into some, and the corridors there are a different time, and there is 1979, the whole roman christian and crash, where uh. there, people end up in iran during the revolution and are saved in order to end up in some magical time slice of another and do some rituals, eat black food there. and that’s it, in general, cleaning. he sets some programs, such as the quantity now. yes, right now i’m reading alan moore’s absolutely gigantic novel, jerusalem, and alan moore’s, too, you know? this namely, the system, the principle of the wrong side, the principle of mirrors and the principle of traveling back and forth in time, that is, in fact, jerusalem is a deconstruction of the english family saga, just classical, and the family saga but us every chapter. it happens in its own time. it is not linear and periodically due to

penetration. this is where she sees the underbelly of the city of nartcampton, and characters from the same family from different times have the opportunity to meet each other. and this, of course, is just like that. such a complete borchia. exactly it is stretched into a book , what is called longer than the bible. that is, i would , of course, reduce this jerusalem in half , but the cool ones are these four principles of four-dimensional space, where time is the most fascinating. and he implements it in a very exciting way. i have a question for myself as a linguist. he's actually funny, but there's something about him. here, uh, borhis, he somehow entered the life of a russian person. eh, this joke is overkill with what do you think the cleaning lady is overdoing? you're a linguist, i don't know who else i should ask, but it seems to me that you may have some answer to this question. why did borhis remain in this comic language?

yes, because, because, in principle, the very surname borkhiz in the russian language evokes some kind of inner isidore of sibyl with folk etymologies, you know? and this is the root bor, that is, i take it and so on . i really want to continue etymologizing it, that is, there are such unfortunate surnames that the dachas evoke their folk etymologies and you can play a linguistic game about them. yes, a magician, yes, well of course, of course, that is, the fact that even the author’s surname is fixed in the body of another language in the fabric of another language and begins to spread there, like some beautiful noxious weed of amazing argentine origin. here it begins to sprout. eh, can you already see the labyrinths of the russian language in the fabric? it’s interesting that you and i found what kind of linguistic move that really explains something about proborhis and his immortality of his mind games. yes, he is

immortal, because he is constantly repeated in the works of other people, so it turns out that man’s shadows continue to play on wall in the cave to continue to live. yes, the labyrinth continues to live. he endlessly recurses the mirrors endlessly, borkhizv. cool, natasha, thank you for the interesting conversation. i learned a lot and erudite is always interesting to listen to you and it was very interesting. so, as you can see, a writer like horhel and borhis is very unusual. uh, thanks for inviting me. i really like to talk about books, because it was under the counter, a must-read. i barked at bantnikov. at my place. eh, natalya was a musician with a candidate of philological sciences the lead singer of the group, mills, also known as man. thank you, all episodes of the podcast are a must-read. you can find one tv.ru on the channel one website.

dear friends on air, the creative industry podcast is an anniversary episode, but it’s not our anniversary, it’s mikhala efimovich shvytkov’s. mikhail hello hello, thank you very much, we won’t say anything. how many years, because everyone already knows. i think considerable, but mikhail efimovich, special representative of the president for international cultural cooperation and artistic director of the moscow musical theater. what do you think, when you appear on the screen, what does the population think first? the population thinks about how to quickly turn off the tv. and i say, quite seriously , i must say right away that i generally

treat any public with trepidation. uh, because uh, if there is no contact with the public on television or in the theater, then it's their fault. eh, it's not the public's fault. in this sense, she is always right. it ’s like in the soviet uh store there was always a sign above the saleswoman “buyer” always right, the public is always right. well, someone thinks that i’m the host of the agora program there. and in general, like a person, uh, who ’s read three books, some people like it when uh, i was leading a drive of comedians or, let’s say, life is beautiful and sang a song. i liked it too, to be honest. uh, because i came to, uh, yale university, and uh, that means, uh. i was there, uh, at the human department , i gave several lectures, and the history of russian cultures, and at this university at that time, and

he taught there, answer from me constantly. well, there was such an outstanding lithuanian poet, sven was so wonderful and my hostess, who invited me, tells me. here's to the university of wales. she says, listen, let's go have dinner. well , he will come with his wife, too, but i prepared myself and read it right away, which means i started looking for his poems, but in order to make some kind of impression. uh, he came to me and told me. oh how we love your program. life is beautiful, and we began to remember soviet songs, that’s why the whole thing didn’t reach poetry in your person ministry of culture became the ministry of happiness, it seems to me, because you are a very cheerful person all the time. you have been broadcasting this culture all the time, which truly enriches a person with positive emotions. grisha gorin's grandfather grigory israel once said glasses, when i like life, it goes by faster. this is one of

those. hmm very important truths, and i believe that one of the serious problems is that when we had covid, and it ended, we were allowed to play 25% of the amplifiers. and everything was clear. we played at twenty-five percent. there they suffered endless losses, then they allowed 50 and the formula. life is beautiful, it worked amazingly, because people left the house, all the quarantines ended, it seemed like, well, now it’s starting, and then that means, after it started, a special military operation, we sat for a long time thinking, should we actually play performance called life is beautiful, and we decided to win, the audience responded very warmly to this. but what do you think, such a huge path could be, that’s my personal question. but to what extent are we masters of our own destiny?

when we go, we build this path, maybe i didn’t think about co-creation. what can i do? there you decide your own destiny. i understood perfectly well that we live in such proposed circumstances, that there are large lines of history that dictate this or that behavior, because in any proposed circumstances. you can behave, well, decently. or maybe if i behave indecently, it doesn’t mean i’m a conformist, i’m absolutely not a conformist. i accept life conditions as they are. i'm not making this up. eh, i'm not trying. uh, there's a fight and shout that we are now going to change everything. now we will rebuild everything. i'm talking about this in general, it's not about me. as good

soldier sheik said, i stand in the party of moderate progress within the framework of the rule of law? well, this position is from childhood. well, yes, when i lived with my grandmother, my mother had her own family , and naturally. eh, this is the need to not offend anyone. find some right balance. sometimes even sometimes even to lie, just so as not to offend one or the other, there and so on. well, there was no need for grandma, she didn’t care not living now. i am a grandma and grandpa until i’m 20 years old. i would like to move forward a little to where you became a minister and on the day when the president invited you to become a minister. i know that you came into the president's office with intention. in general , the president convinced you to refuse there, but i have

another question. here you are, when the president came out, what were you thinking at that moment? i thought, how terrible. i just understood the situation that existed in 2000. it was extremely difficult, well, so that they don’t understand, b what was the state of the ministry of culture, i was the chairman of the all-russian state television and radio broadcasting company. we already have. yes, we then carried out uh, well, then it was called automation. now called digitalization, there was such a moscow computer center, uh, which, uh, did for us then the best that could be uh, from the point of view of communication. uh, i had internet in my office. this whole story was just beginning. hmm, and they were seriously engaged in this. mikhail

yuryevich was flattered, uh, reign, a mad man beyond the level of being carried away by this. and so, that means an office somewhere, eight screens here and there. the connection of communication we then and then it was all you know, when suddenly from such a phone you received something different. here's a phone, yes, and you received a phone like this, and then just completely screw it up, but it was something incredible. i come to the ministry of culture. or rather, my assistant. uh, the television comes, the ministry of culture enters the office, which means and speaks, and there stands eric’s car with such a large carriage, if he remembers the power of these days and uh, and that’s it, and he says, guys, well, at least you’re there, well, like some kind of computer, well, like installing a computer. well, when i arrived there was a computer, i’ll try to use this computer to go to

the secretary. at least it turned out no , they installed a computer, but there were no communication networks inside the ministry’s networks, yes, but this is a small detail, but it is very characteristic. we tried to live on television. it's closer to the twenty-first century. but here everything was still poor, firstly, there was no money. this is the worst thing. i left the ministry in ninety-seven year, when some terrible mutual offsets were going on , monstrous something transgaz somewhere through some kind of something like that. maybe build something and then at the end there should be a salary for uh, that means uh, there are 700, probably people who worked when we were deputy ministers. that's it, that's all. it is worth saying so with horror. i say, i understand that this is something completely transcendental and i, when i came in 2000.

i realized this is a huge problem. you see, there was a very difficult moment there in the nineties. there was no money from the institution culture, they told you. are you free there? surrender before yes just survive, the idea was one, we must pay tribute to evgeniy yuryevich fedor and konstantinovich shcherbakova, who was his first deputy, the idea was one to preserve everything that could be preserved in the field of culture. and when they tell me now there was a book and expect that we were the most reading country, and i always say, the most reading between the lines in the country, but hmm, if we look , let’s say inventory, well, fucking funds, domestic there 90 some second year, then three a quarter of them were classics of marxism or there is malaya zemlya. you’re even more careless there, uh, i don’t know, tens of millions. yes, that’s why the design itself was very strange. and, of course, the main task was money, money, money, money, money, money, and uh, when does this mean these

programs of the cultural revolution in general. my love affair with television is like this. uh, the real one, which started in 2000. well, like a leader. yes, he was connected with one iron man , the secretary of the minister of finance should recognize me, not the minister of finance, i see him, here is the secretary and there are women who work in departments at the ministry of finance and the ministry of economy, because you came from the tv man. well, he sings songs on sundays or saturdays. well they are coming. well, how is he doing? well, it’s too much, yes, refuse. well, in general, here he is, uh, but in reality. eh, the problem was incredibly large and it was a colossal problem. uh, i’ll never forget, uh, they started in february, not muddy march, such a sun of culture of the russian federation was located in a building that was former or

not, they were building it for a computer center, so it was kind of like that yes, huge. it was difficult and expensive to wash the cloudy glass, and two people came to my office, mikhail aleksandrovich ulyanov and kirill yuryevich lavrov, whom i naturally knew as a theater critic, keep quiet, they are 15 years older than me there. they are the same artists, they came in like that and they say peace. well, you know you won’t fire me, so they started. they, therefore, are making fun of their wonderful theater, but ulyanov was, in principle, pleased with one of the buildings of such limits, he could play from zhanya and marshal zhukov and that’s all means. i started to find out with them what was going on. and when i realized how much they earn two great artists, as directors of theaters, as artists , and then the idea was born, and then

yuri khotovich temirkanov was involved in this and valery georgiev wrote and then igor ivanovich tishchenko, who worked in the administration , helped and the idea was simple: we needed to make a grant for artists. here in forty -three. during the war, stalin assigned such salaries in excess of five to the staff of the state orchestra of the bolshoi theater there, well, five collectives, only for one thing it was necessary to preserve the cultural elite, yes, but with us everything was very simple at the bolshoi theater, the artists were all abroad, sorry at night. this i can say, all the ballerinas had their period 30 days a month, and at that time they were performing somewhere abroad, the men had the same thing, that it

was approximately everyone dancing abroad in order to assemble a normal cast. it was impossible, almost everything was very. they just received $200 a month in moscow. and for the performance there in hamburg they received 5,000 dollars point and it was necessary to find some kind of mechanism and you couldn’t blame them for it . well, we see, well, we remember that in the nineties our hockey players began to leave there, there and so on and so forth these mechanisms and tools were needed. in order to keep people in the country, we were able to create a tool with the help of which all large groups in the country received a president. i understand perfectly well that if they solve this problem, then no, there is nothing for culture to do at all. this is , of course, saving schools, because we were butting heads with the ministry of education all the time. they explained that at the theater institute very

often one teacher teaches one student; it was considered that this was generally abnormal. well, how to blow one teacher? yeah, well, at least five students, and when such questions arose, then vasily semyonovich lanovoy taught artistic expression there, then they brought the inspector to him and the sticky one wanted like, well. well, well, it's a wave one. here in this tea, or something, not a politician, not an economist. i decided to find out what companies we have in our country. what do they do, what do they produce, where do they strive, and what they want to achieve, the goal they set to create the best avatars in the world will not work. we make unique cars. this is world lasers in russia. we are the only ones. all stages, from development to production of the finished product, are produced in our country

; the quality of our products is not only not inferior, but in many ways superior to foreign analogues, but affordable prices of our projects are very important. this is also an opportunity to take a step towards some kind of future. for now i want to do something for russia so that at least everything here is better and better big premiere of our everything soon on first key wave in sound we platoon believe that there is no bad or good song, bad or good music. the sound does not evaluate

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presents the first loan with cashback. will not approve what is the amount of the loan, tails loan? check your credit potential with sberbank online and find out the available amount and conditions for all credit products from sberbank on air creative industry podcast, today's guests began to build and transform. then, of course, the most important of the arts are cinema and the circus in the conditions of absolutely

illiterate russia, which means that then we took cinematography into the ministerial wing . these were big scandals, they categorically believed that it was wrong that the state cinema should exist separately, just as the state cinema of the ussr and the ministry of culture had always existed separately. eh, the circus has broken free. and uh, that means the russian state circus was subordinate to the government, and it had its own such a story. i cried when we talked to the cantems, because there are big attractions like, for example, the equestrian church. yes, there was one book that was wonderful, from the soviet era to the 19th century. in russia , i followed the signs of the development of the equestrian circus. so

this is the equestrian church. this was something where all the big numbers with big animals started. what they did we had outstanding trainers and they stayed. in general, this is what we had to do, and cinema. well, the cinematography was a problem. when we arrived, i collected it all. there were 150 halls in russia. equipped with modern turnover and we have long then released the leadership of the government and so on. i say, give money for development. look, they say, no, we won’t give it. i say then okay, don't touch american cinema. give money for soviet production. well, russian cinema. well then, don’t touch foreign films, because the networks make money from foreign films. they are expanding. give us money so we can increase the amount of russian cinema at the same time, they said

to the shakhnazarovs, what? there is no need to touch the cartoon, but do you think the quantity of russian cinema is now sufficient and the quality is sufficient? well , you understand what’s going on, and we have reached some level. it was about a quarter then in terms of box office receipts and a quarter in terms of uh repertoire, but i can now cipher this, so that it is clear today, india produces 2,500 feature films. i believe that our cinematography still needs to produce something of order. well, 150-200 units of feature films, especially in the current conditions, when we found themselves in a difficult repertoire situation. uh, but it’s not just this, you know, uh, at the end in the second half of the forties, the end of the forties. eh, stalin had this idea: why release a lot of films?

let's make only masterpieces. and film production decreased instantly, by about ten titles per year. now the thaw has begun and there are about 50 there. i always say, let’s get into cinematography. this means that the kolotov film has begun. faithful friends. it was a boat floating and rocking, this one. well, it doesn’t matter. and again they began to release a large number of films. i'm, if we talk about what i read there, it is important for me as for the local culture. well , of course, it was necessary to create an environment uh-huh, which people could freely. develop and create with what you do? here you are, dear roman. that is, you help people implement projects. and this is very important. i think that today there is just an understanding that we need to create an environment from here. there's tavrida

from here, art master, there's a lot from here that we'll say by chance. uh, here, uh, again, uh, moscow will now have a big movie theater, where up to hundreds of films will be produced, you know, this is also a very correct idea, censorship is needed in general, such a question. eh, not the easiest for me. i’ll explain why. eh, that means on the one hand. e you immediately remember albert comeau, who wrote that free literature. maybe good is bad. they are free literature. maybe just bad. but this is true, i’m not telling the truth, because freedom of creativity generally does not depend on the presence of censorship. eh, all of the great russian literature was written in censored russia. freedom in general is a test. we thought that freedom is happiness, and freedom is tragedy. generally speaking, seriously, because when you live.