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Understanding 9/11tv Chelovek veka 1TV September 30, 2023 5:00pm-6:01pm MSK
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the very end of the seventies, 5 am, winter , a huge queue, at such a strange time, near the theater, and people are discussing that
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now other students will carry them out of the queue. i want us to just go through the details in detail, so that you tell small stories , we don’t have any conciseness , there will be so much interesting material, we will do so much, it will require it, there will be four episodes, we will do four, there will be eight, we will do eight, in a few years to... a century, i thought: we need to come to an agreement with petrovich and remove many, many of his watches interview, because i somehow internally hoped that a person born in the seventeenth year, so important for my country, so revolutionary in the best sense of the word, should live to be 100 years old, he was born on september 30... in the intermission between
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two the actions of one mystery between the february and october revolutions. and when the newborn opened his mouth to announce his arrival into this world, the virus of revolution entered him along with his cry. from that moment, the great reformer of the stage, yuri, began to build a landmark destiny. loved one, it’s surprising, but when suddenly he can ask a person, do you know that lyubimov was born before the october revolution, this sends people, in general, into a nervous state, yes, what, how does a person feel who was born before the october revolution and even i heard that you were even at lenin’s funeral, yes, it’s true, it’s true, so what, i won’t be a snake. my brother brought
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me, tell me, he took me at night, the cold was terrible, like during the finnish war, and when he took you to this funeral, he explained to you, where are you going, he said, you need to bury, it’s lenin, he did everything, i say , why all this, what is needed at night, it’s bitter cold, for some reason you have to go, you have to, you have to, you ’ll remember this, father, “you, not only did the idiot himself go, who were you burying, the evil, nasty journalist, he started with something , as you can, he received a slap in the face, then my brother defiantly left, i followed him, he said, return the little one , and this idiot should ask simpler." when was the first time you
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went to the theater? well, what's left is the peak lady, but the first performance was the blue bird according to the matala, yes, because at the beginning of the century all the children were taken to the blue bird, dad had a box there, but tell us about it, what was your father like? he was lucky, he graduated from a higher commercial school, well, it is clear that before the revolution, he was engaged in commerce, but what, how did he live after the revolution? he was arrested several times. but money, money , not politics, and he was there, no matter how much they broke him , he did not become anything, he was deprived, and i, and i was the child of a deprived person, so i am not anywhere they took it, and i had to go to the fzu, i honestly went to the fzu, studied there for 2 years, but the main thing was that it worked, and was it some kind of factory or was it
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at? no, this is fzu, masga, i have a piece of paper at home, i have work experience, sitting in front of you since i was 14 years old, i have been working for mother russia since i was 14, what is behind it all, a whole era, half a century, how many tears, how many sobs, how many characters, something like that, how many words, how many hopes, he has in his official, so to speak, press release, he, the school of the second moscow art theater, he has the moscow art theater members, the cult of personality of stanislavsky, and there is a living konstantin sergeevich, who said that an artist must retrain every 5 years, for his beloved stanislavsky was not, not a cult
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of stanislavsky’s personality, but this was a person who changed all the time, there is no system for stanislavsky, it’s all stupidity. there is a method of work of the great master of everything. were you also an artist? the artist and i played did not stage anything. nothing, nothing, no, nothing good has happened yet. so, i’m leaving the theater in a group, zhenya simonov, ruben nikolaevich’s son . there is one on arbat, it was good the kind of eatery where... you could quickly have a glass, snacks, so, well , artists are inclined, and we go there, and the corner house, this one opposite, here is vakhtangov, on the corner there was some kind of hospital, and
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they already knew in moscow, there was a dear leonid ilyevich, where he looked, there lived a lady upstairs , whether she was a doctor, or a sister, it doesn’t matter there , so here we go and a cheerful leonid ilyevich comes out from there, which means from the lady, very smiling, happy, and that means i haven’t found anything better than a mooring leg, hello i wish, comrade, he’s great, well done, that means he started to tell me how life is, i say, good, he got into the car and waved me out of there, that means, as soon as it went away, that means they’re alone, you know whether? i say, well, of course, and evgeniy simonov stood and waited and saw this whole
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picture, yes, well, yes, he reported to dad, and in the evening i was playing something, ruben nikolaevich comes in, i say, how fast, so, yura, dear, don’t be shy, what do you want from our theater? what role? play! and how do you live in general? i speak, yes, not bad, ruban nikolaevich, well, maybe something needs to be done, and why didn’t you find anything to ask? well, then you could only ask for an apartment, and somehow i didn’t think of the staging, but i didn’t get up yet. the path of the director, the rams walk, the ridges, the drums are beaten, the skins are given for them, the rams themselves , then the authorities decided
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, they will create a republic, where every son will be free , he is finished, he, when he was in teaching school, he was, well, an actor at the vakhtangovo theater, tselikovskaya's husband. o-la-la, what a nice seven-grandmother, and i must tell you that he at first i was very proud that tselikovska and his wife, they went on tour together and so on, and she really participated in the first years of taganka, in general, her friends were his friends, like us. don’t dare, we’re treacherous, we’re looking for benefits in art, think about those spirits that walk there, like at night at the vazila’s, it goes there, and
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there, and there, so you remembered stalin, i saw him when i played some sailor there - then, stalin, you mean, put it in the left vakhtangov theater, if you look at it, in the left one, and they also went to the vakhtangov theater, yes, yes, that’s everyone in the vakhtan theater knows how we had a chief administrator there, i remember that too, he was a little paralyzed like that, he held his head on his side, now he’s talking about his little window there, there are no tickets, everything is sold out, you ’re reading, you are reading, suddenly he heard, wait dear, well, let me look at you.
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it means he turned around, dumbfounded, stalin was standing there talking to him, and next to voroshila, he meant he wanted to jump up, but he was a little uncomfortable, he jumped up, sat down and said the same thing all the time, dear guest, that’s all there is, the guest has everything, suddenly he said: please pour me some norzana, everyone was running here, on the arbat there was no arzana, since then they all had narsan, where it was supposed to be, and then there’s nothing to say, there were still such democratic ones times that he walked. along the arbat,
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now in a carriage, now on horseback, now in a wagon, now in a wagon, now in a carriage, now in a cart, now in a cart, now on foot, the plague will catch me, or the frost will serve me, or a barrier will slam me in the forehead, or agile disabled person, hit me in the forehead, hit me in the forehead, hit me in the forehead forehead, sahbaum slaps, slow. a sluggish invalid, or it was the brothers at home, well, he went, well he went, well he went, well he went, he was young, energetic, cheerful, and we had a church art school next to the chekinsky school, and we were friends with them , so they came to our rehearsals, in any case, the good man shizuan. all this plasticity of a kind person and sizuan, it ’s basically from a church school, but this
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was, in general, the first production of a loved one, but it was already clear what a director is, a director - this is generally the ability to take from talented people everything that he needs, or rather, he takes everything, squeezes out talented people, and then cuts off the result: well, this is how you turned out to be a good person from sizuan, and you did a good thing back in pike, yes, like in the third year, and even as a coursework, yes, yes, at first i did 45 minutes to convince them, because brecht was somehow treated, and someone before you staged brecht in the russian theater, he was kind of political brecht was correct, yes, they even gave him a lenin prize, or what? but
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he was amazed that he was received so coldly, here, next to danger, there are equals , brave, dexterous, desperate, unrestrained, oh weakness, you are blind to good, blind, blind blind, blind, completely blind, good man sizuana, april 23 sixty fourth year, and there are three gods, we, that means, here is lyosha and bozhenko the water-carrier, then it will be valera zolotukhin, that means he’s praying to the gods to find a good person, the gods won’t find me, because i keep my eyes open, i ran there on purpose , where did they go, yesterday they passed over my head, i heard footsteps, i i suggest you go to where yuri petrovich lyubimov put you, right next to
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... i remember when you come here to taganka, you just get out of the subway cars, there is a crowd of people asking for an extra ticket, you cross this threshold and find yourself in a completely different world, i i would even say that this is not, that this is not freedom, but will, and the feeling of this will was carried by this magnificent... such a wonderful bandit team led by hundred to the bone. and i walked a little forward along the plank, i saw the spring streams had washed away the edge, there you can eat salvation, i spit mud from under the tires, into this someone else’s rut, hey, you’re in the back, do as i do, that means
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a lot was said about mirkhold, not without reason, in the theater’s fayya, a portrait of mirkhold hung, this is how the eclecticism of ten days appeared that shocked the world, at first, in general, lyubimov was looking for form. for the poor they talked about lyubimov, well, what is it that we haven’t seen , said the elders, for whom lyubimov was a handsome man from the vakhtangov theater, a handsome man from cinema, a man who generally neglected the prospects of his beauty, got into this goose of material resistance, to say, yes, everything, and censorship, and party bodies, and the kgb, everything, everything was against him,
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so, so, so, so, so, so, so, turn here, silence, say who is really from the very first - version of the good man from sizuan ended up in the theater? here you go this vasiliev. i took them because he played the guitar and khmelnitsky played the accordion. and people, when he came to drink, people heard about such a performance that he will close it, quickly go and watch, otherwise they will close it when you came. the corps means a lot to ambassadors, and i treasure friendship to death, and i even asked him once
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a rather tactless question: tell me, this is what dies in a person last, he was already approaching 90, it’s strange, i’m still analyzing it, he’s not with , even at her somehow, well, he wasn’t shocked, he started to think about what dies last, to reason, then he said: “you know, yura, probably professional skills”? because when i enter my laboratory, i’m calmer, why?
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i know everything here, i know what to say to whom, i know what task to entrust him with, and i feel calm , but strangely enough, probably 15 years before you met, you both worked under the leadership of uber, both he and you, yes , you were in the ensemble, which was the nkvd ensemble, nominally under the leadership of beria, and he was in the project, which beri was in charge, everywhere, but how is everything escalating? this one is fighting and the wheels have started to give way, he got knocked up, crumpled up, this one, this one jumps up, it’s a sad day.
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slush, moscow is all in the rain, in puddles, yuri petrovich is taking me in his car, a lada, a nice car , a lada, there were no better ones, turning onto - somewhere on kalinin street, on to novy arbat, he accidentally splashed a pedestrian, he said right away to me, as a student, venya, i noticed a lot ... this duality, i’m a driver and i’m a pedestrian, i’m like a driver, i think, but what an idiot, why is he walking right next to the sidewalk, why is he i let myself be sprayed, and i’m a pedestrian, when they sprayed me, i said, what a bastard this driver is, why aren’t they ashamed of not seeing a person, this is duality, but it was in our relationship, of course with yuri petrovich, well,
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you dear ear, how everything is escalated, the director is the director , there is always such a confrontation between the director and the actor, there is always, this is how the idea of this legendary lantern of yours arose, in my opinion, no one else has ever did it because i needed to i had to highlight it when i wanted to collect it at this point, i didn’t have any means there, so i stood there against the wall myself, but with a real lantern, no, but this was my military man at one time, yeah, those were green there , white, red, and you changed colors, these idiots already apologize, the artists, therefore, knew that
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red - this is a rehearsal, so until the last metro, which goes badly, then retribution is right there, therefore, that is, this red - it was sentence, sentence, and other colors, something had some meaning, very jubilant, green, rarely, green - there was jubilation, jubilation, good, but there was a third color, something else, white, white, white, well, well, okay, you can see it, but it’s rather weak. i stood there and looked: i became quiet, i went out onto the tray, leaning against the door frame, loved in relation to vysotsky, it was an attraction and repulsion. yevtushenko wrote: “
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taganka actors have a peculiarity.” posture is a feature of fate, to prove to russia, to europe, that our theater is not a slave, and the actors are not slaves, you are the tagan breed, rebels and tomboys, it turns out that lyubimov, as a director, was eager to freedom, as vysotsky broke the chains on this blessed stage of ours, lead me, lead me to him, i want. this man, i want to see this man, the brilliant role of the flapper in vysotsky in pugachev, it was, it was the whole nataganka theater, to be or not to be, that is the question, it is worthy to endure the shame of fate without complaint, and you need to resist, rebel, arm yourself , winners, and
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keep your distance, how much to open, how much to close, you closed a lot, but there was always a myth that despite everything, andropov to he treated you well, you had some kind of personal contact with him, that’s why it all happened, his kids came to enroll in togadka after they were ten years old, right away. to taganka, yes, they are in love with the theater, and i listened to them, and i keep saying: no, my children, you need a higher education, go for it, and we heard that you take these talents, i say, i listened to you, you you play the piano and piano nicely, but in general you need to finish your higher
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education, and what if? since i’m so drawn to the theater again, come, i’ll take a look, that means then they call me to see him, let’s go, he’s there was a large man and he hugs me, so you were surprised, i was probably surprised , of course, but the man hugs me, and comes towards me and says loudly, you saved my children, i say when and where, he says, how did you not accepted them into our theater, you can imagine what a shame, my children are in the tank, i smile very sincerely, but then we talked to him about how he thinks, what do i want to be a director, i say, well, to some extent i am, yes, yes, yes, i
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understand that, but i would like to tell you that you have no desire, i hope, for us to be hanged on the streetlights, on red square. i say, in my opinion, it’s us who are you and him or - members of the central committee, members, yes, i say , aren’t there a lot of lanterns on red square, he also thought about it, i say, well, you’re so radical, no, i want , so that you understand that you have such a gift in your performances. to carry people along with you, well, i can see from here, there’s no need, you’ll stage, you’ll stage salty, that i’ll take a long time to explain to you why it’s not necessary, it’s being played across the hall, without any fourth walls, i’m telling you,
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reliable things, but not just a track, that means what is the scheme, grishin, who tolerates me, it means, writes dobich, suslov suslov dear leonid ilichev and poses the question: close the theater, deprive him of the opportunity to work, this means that leonid ilich is leading me, dear, everyone expresses, agrees, oh so , well, everyone agreed, the three whales agreed and great, but what are they into? understood, yes, yes, it means that suddenly leonid ilyich says, you know, i have to go away for a little urgently now, you solve
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the problem, and then i ’ll give a final summary, which means he was gone for half an hour, this a reliable thing, because his assistant told me everything, dear leonid, he went out, dozed for a little half an hour , came back and said, and i called grishin, and he told me, but he wasn’t there, he was sick, yeah, that’s a good theater, don’t need it touch, they closed this whole shop, and went their separate ways, so i was pardoned , yes, maybe i dreamed something good, i am a witness to how officials did something to my beloved, something that was done to no one else, once there was a case when we with igor kvasha we visited raikin arkady sakach when he was in the central committee sanatorium,
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i said, this snake, yegorychev, the first secretary of moscow, yelled at me once, then one time, i had a heart attack, and i thought, now, when i was recovering from... an illness, yura lyubimov receives annual payments from these scoundrels for every thing , moreover, every time it is either inclined to be banned or reduced, this is a mockery of a living organism, i generally hate going to offices and signing some letters, in general the collective consciousness, but then i went because of my loved one and i remember , called lapin to shoot, filmed, lyubimovsky
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performances that disappear, and how lapin shouted at me, he is anti-adviser, so that i, and slammed the phone, i called chernenko. and chernenko said on the phone: i don’t deal with these issues, although he probably already understood that he would be in charge. and we have all gone through a very long journey together. olga sutulova, kiril kyaro, in the serial film: ask marta, premiere, from monday on the first. pental, it contains the highest dosage of a substance against pain and inflammation. pentalgen against pain and inflammation in muscles. and joints, i could become anyone, a musician,
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there are no air conditioners, and the cops have no showers, but we are americans, we are heroes, we will endure everything, but the worst thing is that they gave us ukrainian gas masks, they smelled so much of lard and garlic, they invented plastic bags, but none of the americans would even guess that they can be washed. premiere: mikhail zadornov: whole life. part one: watch after the evening news. in total, i was kicked out three or four times
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even the order is already over, i enter the office in the morning, someone is sitting next to me drinking beer, i say, why are you in someone else’s... and not these for me, that’s all, it’s over with you, i understand why you’re coming, that's it, i say, for starters, please, get out of here, and this was in some year, this is when it means, and i released tartyukha yartyufa baller, yes, yes, that means, now i ’ll run, i say: run, run , now it’s mainly just beer and from here, there , he ran to the district committee, he, i say, run, run, well, but there he was detained, he didn’t come back came running to me, and i went to rehearse, well
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, look at my face, they’re surprised, why can’t you calmly sit on your hip, but it would be hard for me now. look, lyubimov was expelled in 83, actually in december, then from january onwards there were secret concerns , our services were all secret, you know, classified, the desire to destroy taganka altogether, to deprive a loved one of citizenship, we went towards this until july. months shy soviet authorities, they needed someone who would head the theater and thereby deprive taganka of the name of its beloved, unfortunately for the great director for both your friend and my favorite anatoly vasilyevich efros, he was either forced or persuaded to agree, he
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asked efros to stage some kind of play instead, efras took the cherry orchard. lyubimov, then he took three sisters and gave me masha, and i played ranevskaya in the cherry orchard, that is, two main roles, so chekhovian, and in masha he made me scream goodbye to vershinin, just like i screamed in ranevskaya, when she was saying goodbye to the theater, these walls, goodbye, goodbye, goodbye, that is, it hit him. lyubimov in exile in 1987 , anatole vasily efrson passed away on january 13. and after that, what to do next with the taganka, and already, and already gorbachev, it’s already a new time. and kolya
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gubenko, a wonderful director and actor. unfortunately he forgot. that he is a wonderful actor and director and is further involved in politics, god be his judge, but it was great courage and even despair to ensure that lyubimov returned to the country, the love for theater warmed him there even in different countries, so yes, i even and basically saved me theater, because i found myself, excuse me, at the age of 60, two years old, with a wife, fortunately with a child , with a small child, and surviving there, oh, is not easy, there is a collective farm structure, i don’t know, and the soviet countries too, life there is tough,
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emigration , others, i don’t occupy, i don’t occupy, lyubimov returned from i remember when he arrived just for 10 days at the invitation of gubenko, and we met him at his grandson’s, several people, because we were afraid of this agitation, but nevertheless, there there was already a crowd, italian television, and he got into gubenko’s car and drove off. and we
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he was guarded by cars around him, but in general, he began to restore the good man of both sizuan and vysotsky, and worked in a very friendly way, so that the theater would work normally, without nerves, essentially, respectfully, there would be a respectful relationship, i have with you , they can only be on one, disagree. show him, he’s such a powerful person, but still, with age, the energy is getting a little weaker, and these young brutes are like, yes, that’s what they’re doing, they just used it, i ’m not even talking about the actions they do there you allowed yourself, you know the artists, it’s probably not good either, sons of bitches, my friends, think about what you’re doing, come to your senses, i beg you. well, i don’t know, well, how can i reach you, this was done for you, not for me, people who say what they
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think, we can still work, we are full of strength, although you say that we are unbridled there, this is natural, yuri petrovich, because this theater was created on yours, and suppose some... television studio came to shoot a film about it, morning rehearsals, we are tired playing every day, we rehearse every day from 10 to 3, and so on, tired actors are sitting, we seemed to lower our eyes, but they say, well, they are filming it, on the screen it turned out to be an energetic director who says something like that in the morning, very interesting, they are sitting with ... half asleep and then it means he also has this manner, so sometimes suddenly some stories start there, that is
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, he himself kind of scatters there, yes, well, in general, they just sit down like pigs, in general they sat down in the end, you love everything fake and fake, and don’t appreciate the real thing, i’m leaving, i’m leaving. i'm leaving, we we love you, but the past, and the present, we hate you, so i’ll leave and choose, until he leaves here, i won’t be here, that ’s it, it’s over, there’s always some kind of conflict, dissatisfaction with each other, it accumulated , accumulate.
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therefore, there was a break in this section of the theater, i generally understand many people, but i don’t understand that you can even dissociate yourself and make your own theater with your own ideas and with your own, with your own sense of profession, and so on, time and so on, but, but this needs to be done in a new place, and not taken from his father... this is what i think is the most terrible thing and the most treacherous act of that group is that a mortal wound was inflicted, but we don’t understand this, the wound is such that they won’t survive, a blow in the back, right here. i was always waiting for a blow, in fact, i’m a habitual person of blows, but in the back quietly it’s mean, and
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when he opened the third seal, i heard the third animal saying, if we’re... talking about some kind of apocalyptic things, i’m just lucky , because this is a person of such a caliber, there are simply no such people now, i think this is the best, what we have, mr. martyn, is a very gifted man, he has an apocalypse, well, biblical, well, this is a brilliant thing. he says: now let’s do the apocalypse,
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let’s do it now, let’s do it right now, let’s take the karamazovs, i really like it. i didn’t want to do it there, well, for the sake of the apocalypse, that means we filmed the first performance, then it went, went, that means every year there is a performance, and sometimes two performances, yes, but time passed, and he had a very good sense of rhythms before time, living abroad, placing there performances, he apparently missed something, that what was happening in russia, how i first came to him somewhere in ninety-seven , there were these ambassadors there and well, who and who was not there then it’s all somehow fading away no no no who doesn’t come viewers at my age to offer themselves somehow immodestly, it’s the same as a woman over 60 offering herself, well, it’s somehow inconvenient, she must understand that no one
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will buy well, you can’t do that, honey. that i should offer everything, but why should i offer, what they don’t know me, that well, just if you want something, oh, well, you never know, it’s like volodya’s, but i don’t really want to give a damn, why, she has different legs and lives there, i do n’t care, today is ninka agrees, these are the conditions you see for you to return, i’ll tell you, it’s very difficult to meet with those people, just like that. come and start working, it’s strange, in any case, people should apologize, well, there was such a half-apology, but there are a lot of people there that i don’t want to meet, it’s just that your conditions may only be that you you will recruit a corpse from those people
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whom i want, with whom you want to continue making art, well, of course , they gave me a job, otherwise they will be afraid that i will be unemployed, all slaves in slavery are equal, complete obedience, complete impersonality, laziness, gossip, denunciation, one or two generations of unheard-of debauchery, vile, when a person turns into disgusting, cowardly, cruel, selfish , scum, i see, tadgovsky, when the premiere was, demons, uh-huh, all the familiar faces, as if everyone came from there premiere in the vakhtangov theater, well, not just one, not two, just such a massive visit, and then, after all, when the theater was ruined,
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there are still facts that... the authorities closed the tag, you won’t go anywhere, well this is true, yes, well, well, the end of any theater is the transition into a legend, in the history of the theater in general the legend is more reliable. it seems to me that in people’s memory only myths remain from the theater, like the myth of taganka, and accordingly the myth will be of the beloved, here is the king of the lyre, moliere everything, this is the very reason why, because he won, but did not win,
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yes, that is, he was defeated, but he won, but i want to do a round of dances , so that today i can return to the question that i asked at the very beginning: what does a person feel who was born before the october revolution, and who in a few years will turn 100 years old and who is full of plans, has every reason to continue his creative activity, you yourself are surprised, well, i’m a little surprised that first of all... i woke up, it’s already good, it’s already good, then my head seems to work, i say, well, great talent is an assignment god, that’s why you have a great talent, god gave you a big commission , that’s why he protects you, because you have an order from him, probably, but this is necessary, how can i tell you,
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seriously, well, if a person is normal, it is necessary repay, you thought about how god loves you, especially, you know, yes, i. i understand this and how can i tell you, i’m trying to comprehend faith, seriously, not so simply, but seriously, and i understand that i am somehow, or something, indebted to the lord for all my recoveries, but that’s what we’re talking about.
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thanks, i only shot a few hours this interview, and we didn’t even have time to talk about the theater, we were talking more about life, and he was a closed person, but it seemed to me that we found some kind of intonation, and he began to open up. lyubimov, a theater revolutionary , fiery, passionate, cruel, consistent, and illogical, who spared no one and saved everyone, a man who did for his audience what few others... succeeded in, he gave them a very clear and harsh feeling of the present, the real artistry and how it
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directly interacts with your life. vladimir ivanovich, could you play your beloved, what do you mean, so that your music would convey the essence of this man of the century, and well, yes, now i understand what you wanted to say, that to play what he considered a one hundred percent hit, and then , which he absolutely likes, yes, but it only means that i’m a little upset, i apologize .
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hello, the evening news is on the air, ekaterina berezovskaya is in the studio, here are the main topics. and one country, one family, exactly one year since the dpr, lpr, kherson and zaporozhye regions became part of russia, congratulations and parting words from the president, we are one people, together we will overcome everything.
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