[000:00:00;00] i understood so many of the deepest simple things, i experienced such feelings, that is, being a father is just, well, this incredible happiness and i value it as, as the most important thing, how old i am, my son is already nine, and my daughter is four, great at something , it means that the son played the guitar like drums, at first we all thought that he was a drummer, he beat it mercilessly, very rhythmically, very energetically, i think, well, that’s it, this is not a guitarist, this is a drummer, that’s right, well, i’m not at all i would like to have no influence on the choice of life path, because i know how difficult the profession of a musician, writer, performer and so on is, uh, i’m this is a kind of cross, yes, that is, you were born a musician, you became a musician, because you kind of

confirmed, yes to you they said a musician... you want, well, there from above, you want to be a musician, you’re like, yes, yes, i want, you get it, that means, like this, here, and if this is not there, then, that is, this is most likely the purpose, that’s it- still, over houses, wires and hopes, there is no time for talking, under... sham, everything is between us will remain the same, the number is dialed, the call cannot be pressed, true love is not bound by vows, that’s why, in my little boy’s dream, everything hangs

on the roof of the rebuilt, factory-made ones. rain and bromson, it’s true that the nights will be silent today, i’ll melt the clouds, be it someone who hits me with heat , sadness, now it’s hot , strong sadness that hit me, so that somewhere in the nights, on the outskirts of factories, i didn’t hide in my heart under clothes, the rain lingered at night. and the stars that i promised you are still burning in my uncurtained window, but tonight they will be silent since you call in the morning trams, bottles who rashly dropped me with sadness, that’s who rashly, the cage dropped me now with sadness, found somewhere in the night,

factory outskirts... so it’s an agreement that we are at the same time with the passing freight trains, we are of the same blood, the acceptance of sordid cities, voices of window openings, inhale, inhale, i am not alone, then the fields are sparrows, maybe you can hear me, maybe you can hear me, true, today the nights will be silent, then they will bloom with their faces, as if someone in the heat of the moment has dropped me with sadness, as if someone in the heat of the moment, as now with early sadness obtained somewhere in the beginning

factory. krain, as if someone in the heat of the moment, against the rules, saddened me, dropped me, once obtained somewhere in the beginning, factory outskirts, forgotten by us in the beginning, factory outskirts, obtained somewhere in the nights of the factory outskirts, do not call me to the lights for moscow, this is a conversation not about me, i wouldn’t trade my native soviet street for anything in life. this is a podcast 20 years later, i am the host konstantin mikhailov, my guest is alexey podubnik, the leader of

the django group. about what? you dreamed 20 years ago, which has now come true, but i have to say, that i’ve never gotten so ahead of myself, yeah. i always had some pressing problems in my life that needed to be solved, then forget about them and move on somewhere else, so i wrote the first album, i wanted to put together a group, because it was actually a studio album, an arrangement album, there there were a lot of invited musicians, and good ones, there were very, very many different instruments, it’s just that if the stage was pulled out, there wouldn’t be enough space here, just to have it all, double bass players there, some colorists, why didn’t you have an arranger in you, yes i yes in me , well, you basically caught me on this thing, that i’m really talking about this all the time, your band is like this, but it’s sophisticated, at the same time it powerful and electronic and music, at the same time it is so with a normal

, such a good gypsy drive, what you play, you know, this is a little gogololo, such a little bit of kusturica it turns out, yes there are such songs, there are others, just if it was a whole concert, then it was possible to show there’s some song called snow, most likely it’s britpop, like that, i love a lot of different styles of music, well, answering the questions, did i dream, did i not dream, it seems to me that i got more from life, what he was even worthy of, good, good, lesh, this cube makes our wish come true, do n’t be shy, formulate the main thing, try to wish something for yourself 20 years later, that is , for yourself in 20 years, what do you want, honestly, here based on... what's happening to me, what i'm involved in and what i believe, i want to live in a very strong place in 20 years.

russia, and i want my children to work, serve their homeland and be proud of it, and then i will be happy and everything will come true, i add my wishes, my dreams to yours about this, thank you, 20 years later i am the presenter konstantin mikhailov, it was a pleasure to talk with a wonderful person, with alexey poddubny, the leader of the django group. you can see all episodes of the podcast 20 years later on the website of the first channel 1tv.ru. hello friends, this is the podcast life of the wonderful with you, i, its host, writer alexey varlamov, are visiting me wonderful director, evgeny borisovich kamenkovich.

hello, evgeniy borisovich, hello, professor, thank you for taking the time to come to our studio, i would like us to remember a little about the man whose name is given to the theater that you head, the workshop of pyotr fomenko, that’s what kind of man fomenko was, why does... he has a theater, and not just the workshop of pyotr fomenko, tell us a little about it? it’s very easy to talk about pyotr naumovich, because if you somehow try to parse him into component to classify, then for me it’s a very big question, what comes first, he as an artist, a great one, or as a person, very often, when you meet people who knew fomenko personally, they first remember some meetings with him in life, and then they remember his performance, it happens, of course, the other way around, what about you? everything is mixed up for me, and in general it seems to me that this is that happy occasion when the way

a person lived, he created the same way. with pyotr naumovich, it seems to me that a priori it could not be boring, it was simply excluded, but he had long, difficult rehearsals at... when he rehearsed for years, but it was always very interesting, everything he did, and this is where, as it seems to me, the profession of a director begins, he was always tormented by what he was doing, now, if he suddenly didn’t understand, well, some period or some part of the performance , he could simply get sick, disappear there for 2 weeks, but when he came, but this is probably a common place in theater circles, but everyone knows what if... some not-so-best student asked him to help to analyze the play, then pyotr naumovich opened the list of characters and asked the student a question: well, who loves whom?

in my understanding, in general, firemen and love are some kind of synonyms, and love, well, not like, say, romantic or some kind of mundane, but some kind of love in full, so... and how is it to explain, very often goes to the theater, i think that young people don’t always go to the theater, because for young people, the tempo of the theater is so leisurely, he always brought the detail of existence to some unimaginable limits, he could rehearse some kind of exit, like all his great predecessors, that is, the detail of human behavior, it was understood down to the micron. can we say that this is how

the system was? was this the fomenko system? i won’t undertake this, although i’m sure that it was, because i came up with my own definition about pyotr naumovich, so it seems to me that fomenko is such, well , today, such the last poet in the directing profession, but i don’t know a person who it would be better if he read poetry, the solution is very simple, it seems to me that famenka had only one god, pushkin, so he knew evgeny negin by... simply, simply, simply by chance he could read any chapter there, i have a feeling that if he had called his theater, not fomenko’s workshop, but the pushkin theater, well, there is simply a pushkin theater in moscow, then it would have been so, at the first opportunity he made pushkin, and i don’t know if all tv viewers know, but here we are recently celebrated the ninetieth birthday of pyotr naumich and zhenya tsyganov made, it seems to me, the theater audience, so this is a gift for me personally.

that he took and staged boris godunov, and there is such a prehistory, it means that the last work , which was supposed to be pyotr naumcha, he rehearsed boris godunov for a year, and, as always, all pushkin’s widows visited us, it was he who staged it for the third or fourth time , yes, there was such a big sheet hanging in the theater, and all the smallest roles were noted there, since we still have 60 artists , and there are more mentions of boris gadanov, which means all the costumers, all the make-up artists were busy, then pyotr dach for some reason a job stopped, maybe because he felt bad, but i suspect something was wrong with something , most importantly with the time, the current one didn’t agree with him, it was 2012, i don’t know the reason, suddenly, when he turns ninety, and zhenya tsyganov assembled a team and made an amazing performance, in my opinion, firstly, he did everything to ensure that it was a comedy, and most importantly, there was an hour and a half recording on the screen... how fomenko rehearsed. and pyotr

naumovich takes part in this performance from the screen. maybe i'm the only one who loves this performance well, because i wasn’t at the rehearsals, i very often like to drop in and watch. here he makes a remark, and current artists, young ones, who have not worked with him. do they do it or not? this is some kind of amazing new genre, it seems to me that thanks to tsyganov our theater invented it. so it seems to me that it’s very cool that this exists, we often have... what do we say, we’re either hiding behind fomenko’s shadow or something, it doesn’t bother me at all, because our literary part after the departure of pyotr naumovich , means brought it to me, i can’t call it a spiritual testament, she brought me a list of works that he was thinking about, well, i think my life and this generation will not be enough, firstly there, which is very cool, there is some name there there, and the lady with the camellias is written in parentheses about who should play

it, that is, it is clear there what he thought about each actor, so i periodically look at that list once a week, sometimes it turns out to put something from this list, here pyotr naumovich loved to stage prose, he loved it, i’m not there anymore i’m talking about war and peace and family happiness, but in my opinion, the main theatrical statement in the theater is absolutely one thing. happy village, a play that has been running for more than 20 years, and the actors who play me and the guys in it all the time, well, maybe we have already grown old, i say, no, you will never grow old, since the play is performed on the old stage, in our very small hall , there are 78 spectators in total, we could play it much more often, but we play it there specifically once a month, well, because it’s already going on very for a long time, but every time i watch it there once every 2 years... my eyes are wet, it seems to me that petruch didn’t care what

he staged, what drama, what prose, so, but he never prose led to a play, but made it as prose , these are some kind of technological things, but it seems to me that this is very important, but in general, when a director chooses a play for a future performance, chooses a performance, let’s talk about you, that’s what you are guided by , these are your ideas of feeling, what you want is generally yours statements. it seems to me that to make it clear why i’m doing this, let’s talk about your ulysses, for example , there’s some kind of madness there, yes, this complex, huge novel, stream of consciousness, it... it was just to show it to everyone you can also put how the telephone directory mir holt wanted to put it or what no, no, no, no, but it’s just obvious that the circumstances in my life were so that this twenty-four-hour journey of the main character of a stranger in this state and

the irish, it obviously lay down on what -that the events that happened for me personally, well then at lis - it’s like... some kind of bottomless barrel, everything is there, all genres on earth are there, in my opinion, all languages, all movements in art, there is everything, but this is what happened, i usually read any book there in the evening, i fought with ulysses for a week, i mean, i thought, i pretended that i wrote a dramatization, assembled our entire then not very large theater without pyotr naumovich, this was 200, 1998, appeared in what year? the theater arose in 1993, then we were without premises, without anything, and i read, that means it lasted about 9 hours, we broke there for lunch, dinner, staging, yes , what a staging, it was some kind of selection of material, everyone looked at me like that and said, evgevich, maybe you

’ll work some more, very much, they’re like - they treat me delicately, i’m older, it died down for 10 years, then when in 2008 they built a theater for us... which is very nice, suddenly in the morning pyotr naumovich called, he liked to call at 7 o’clock, and he says one word, it’s time, and i realized that it’s time, so i brought the performance to mind, well, further, further was one complete pleasure, there were a lot of problems, but since the whole gang that worked with me were also, well, very determined to do this. well, we succeeded in something, then 10 years went by, but for some reason it seemed to me then that this was about us, there was some kind of click, we made doctor zhivaga 2 years ago, well, doctor, also by the way , a terribly interesting story, doctor zhivaga is actually some kind of song, because i had such wonderful co-authors, and

above all vanya vakulenko, who played doctor live and olya badrova, for whom this is life in ours. i have a feeling that if i had gotten sick, nothing would have changed, they would have carried it through, they are both super-professionals, they feel very keenly that it was necessary to make a play about how a person, despite all the circumstances around , he did not change himself, he remained himself, he remained an excellent doctor, he remained a citizen of the country, and after he left, it turned out that he was also an amazing poet, well, somehow, after ulysses, we have a lot... very made prose somehow, well, not that it was easy, but, but it was clear when we, where we were striving, there was one big problem, it was a pandemic, at times there were 15 people who were playing this play in my rehearsal there were four of us , we didn’t have money for the scenery then, and we somehow built it ourselves, but the viewer, thank you

, god, doesn’t notice, we had money for costumes, we made the costumes, so, but nevertheless, i i don’t want theaters... to be deprived of funding, but it seems to me that if people are involved in theater, they will build a theater where anything and from anything, lopad vega has such an aphorism , theater is three boards, two people, one feeling, well, this seems to me to be such a formula, that’s why it seems to me that if the topic of our podcast lab really is, it means theater and prose, it seems to me that for a long time now... in modern theater, it is not necessary to stage a play, although i personally really love plays, because you don’t waste time on adaptation, on translating prose into language in the theater, this cuts rehearsal time in half and it somehow

frees your head halfway, it just seems to me what about modern playwrights, i think it’s very difficult for them, because here’s all the wonderful modern russian , modern... liturgy, which i follow very closely, i don’t know, i’m a fan of colida, very big, because i don’t i understand how a man of 30 years can stand one theater , while still managing to produce amazing playwrights every 4 years, the only thing i have, well, not exactly a complaint, i have a question about modern drama, it’s all so cool, it’s about pain and so on, but for some reason it’s almost all in the basements, here this doesn’t seem very right to me, i’m still waiting for it to be released on the main platforms of the country, in general it’s interesting that partly the same can be said about modern prose, it’s also about pain, about trauma, and also in what sense it remains in the basements , although there are some very large, bright events, of course, come on, i don’t know whether you were bragging

about it or not, so i saw a performance based on your prose in a youth theater, and i, frankly, was amazed at the huge number of people, and i it seemed that the auditorium was actively breathing, there were a lot of young people looking at this that evening, no, for me, of course , this is also one of the most joyful events in my life, happy when you wrote... novels, you come to the theater, and it so happened that i did not take part in the preparation of this performance, the staging was done by the wonderful young playwright polina babushkina, and i was only invited to this performance for dads and moms, that is, already some kind of general run-through, and it was an absolute miracle, to see my heroes stage, what they are like, how they play, i am very i’m glad that the play is on, it’s a success, it ’s really all very cool, this is a podcast about the lives of wonderful people. i’m with you, its leading writer alexey varlamov, my guest is

director evgeny borisovich komenkovich. i would like to return to the classics, the performance that i saw with you and remember very well , this is already such a world classic, this is king lear, here is shakespeare, that’s interesting, yes, times pass, centuries, some names appear and drown, some remain, that's what shakespeare did, if he existed, yes, that’s what it is... they continue to stage it all over the world, trying to understand its mystery, but you know, there are several plays by shakespeare that you always want to stage in any condition, it seems to me that every director is different, so i have four of them plays, with buryai i went to college , although there was a miracle explication for this, well, buri is not so popular after all, but this is his spiritual testament, let’s say, and since there is one line there that is not in any translation. and

my destiny is despair, that’s what to do with it, that’s how did the great bart end with this, this is prosper’s last monologue, but it doesn’t matter, but king lear, here’s a historical fact, i definitely suggested this to my teacher, andrei sanovich goncharo, he is on me only the theater, the maykovsky theater, well, of course, andrei sanovich, because andrei sanovich loved to scream, in my understanding he was very similar to king lear. he laughed at me and didn’t talk to me, then i started pestering fomenko, i didn’t know how to get rid of me, i think he got his way there i don’t know, he’s seventy years old, he finally said, i won’t learn the whole text, but you wanted his character, of course, because he, well, he, damn it, i don’t know who is better than the ganchers or fomenko, but since we have, thank you lord, the design was brilliant... barovsky jr., they managed to set

such a form, correct, that then it somehow rolled off, and since our people are all talented, now this is without any humor, i say, they were very prepared, there were people of different generations, then we somehow succeeded, i must say that when there was pandemic, there in turn, two people were sick, two dukes, and i... twice , partly from memory, partly, that means, with the text in my hands i replaced them, how good it felt for me in this design by alexander borovsky, and here also, the theater, it seems to me, is very cozy and you can hear it from any place, and i never wanted to be an artist, although i graduated from the acting department, i got some pleasure there, there is also a very interesting question with translation, yes, after all, there are several translations of the king, and so you chose, like me

i understand some very well, but still, magpie’s translations are very difficult to learn, but the most important thing is that he has some special annoying words he invented that , firstly, will not allow the viewer to fall asleep, well, you won’t fall asleep there anyway, yes , but they somehow force you to be in tension, so... our most experienced artists there told me that the king was quite difficult to teach, we understand that there is always an alternation of prose and poetry, it is clear that if there is a translation of pasternak nearby , then it is beautiful, it is not discussed, and there is the latest translation kruzhkovo, very accurate and it is very like that, well, it is very tasty, but still , it seems to me that soroka is somehow more correct, the last, well, the extreme there, i don’t know, for today... there is no no credit to me, because we ended up with two very smart

actors, volodya topsov and yuri butorin, which means 2 years. they did something with the blueprint, which i terribly didn’t like, it always seemed to me that the stage direction was it, i love it very much, but at the age of 16, i read everything and i’m happy, unhappy or happy love, she smokes, yes, she is definitely sick, in the mountains and so on, he, he is magnificent, yes, there are films and plays all the time, and then when i read everything that was happening around us, it coincided so much that i... instantly i joined them as the authors of the dramatization, of course i removed my last name, we brought it to mind, i really didn’t like the name black obelisk, so i wouldn’t go with the name, it’s something about a cemetery, it seems to me, yes, but since we knew that we would have a premiere in the twenty-third year, and the action of the novel takes place 5 years after

defeats in germany, in the first imperialist war, it’s just the twenty-third year and we decided to act like this, so we did it... again we were lucky with alexander borovsky, who did a wonderful design, and this immediately suggested the shape, well and i don’t know, i’m somehow proud of our theater, which we very often do, by the way, this is the idea of ​​pyotr naumovich, we very often have an initiative from below, he came up with such an internal section, a trial by error, and any member of the team can take any work show and... and sometimes it the work will reach the end, sometimes not, but for example, now we have a group of crazy people, together with yura titov, they took up a divine comedy, well, what is this, it’s impossible to stage it at all, is anyone interested, has anyone ever staged a divine one, yes, he staged it, well, costelucci has a famous performance there, but you see , costelucci has little left of the divine comedy there, it’s on video, but here we had the first preliminary

showing, i’m afraid to announce it, here... no wood to knock, but if it does, my nose will be in the air, i, as such a temporary boss, will be very proud of this, so you said that today our topic is prose, which means theater, and for me the most important topic is gitis, because i’m already over 40 i’ve been teaching there for years, and every 4 years i’m always proud of my country, because well , our enrollment ended this year, well , it seems to me that it’s such a difficult time. some kind of completely penniless profession, where you all go, and we all the time had to schedule additional days of consultations, because the people did not end, and it seems to me that i had completed some kind of wonderful course, with one problem, of course, when we finished the introductory course , there were only women in the directing group, and i knew that

it would end someday, but i hoped not... for her life, although my mother entered gitez at the age of 16, but it was 1947, after all, it was an exception, and now out of six young ladies, that means three are 17-18 years old, but they won the competition fairly, and i, since i could not calm down, in the end i after all, he came up with it, sometimes people come to us under all sorts of quotas , under international agreements there, we have one wonderful estonian guy, one from abkhazia, in the music department of... a wonderful director, titel, he has seven women in the musical theater, there are no men, these are the times we are specific in, but it must be said that we at the literary institute are faced with the same thing, before it was more of a men’s institute, now it’s a women’s one, before women writers argued that they also have the right to exist, that they are not worse men, now probably, soon men will prove that they are no worse than women, but i , as a rector who also deals

with entrance exams, am very curious, well, when we select... when you select actors, i can also probably understand how they are there, directors, how can you understand that a person has directorial talent, imaginative thinking, nothing, and how do you test imaginative thinking, during the entrance exams, yes, these are three rounds and a competition, yes, they defend their directing. that is, this in fact, four or five times plays, prose is also allowed, but plays, and this is instantly clear, but this happens orally or in writing, in writing, they have an explication, first they are obliged to bring a model, even if it will be somehow, in amateurishly made with his own hands, it doesn’t matter now, just so you understand, one

girl protected a blue bird, a miterlinke, which. everyone knows about stanislavsky’s performance and so on, but in my opinion this is one of the most difficult pestles in the world, if only i were a millionaire, or if i was an absolute master in his theater. she is 17 years old, i would let her stage this play with us, well, this is an impossible situation, she is a freshman there, but it made such an impression on me, then after the third round they do a lot of excerpts and sketches with the actors, because several people , which were wonderful in theory, when the essays and excerpts began , they were young people, they lost to these eighteen-year-old girls, but in general it seems to me, well... oh, the system of obstacles for admission, it’s getting worse every year the sophistication is increasing, because we, well, in general, we have no room for error, because we have very small courses, and

the directing group is always very small, and the success of the entire course depends on the quality of the directing group, how can i put it this way? , but if the directing group is good, it turns out that there are twice as many teachers, because as directors, they immediately become teachers for fellow students. well, in general , it’s very interesting here, that’s understandable, and here’s an interesting question, you said that they’re doing people, yes, in general , there are no financial or career prospects there, that is, no one gives them guarantees, no one, but in general, as usual, well, usually, everyone has their own, but nevertheless, how can the fate of a gitis graduate turn out? where he allocates very differently, well, since it’s clear that the actor should be on the phone, well , it’s better if he is surrounded by an agent, but... it seems to me, oddly enough, now it’s a rather preferable situation, because almost all theaters across the country have come up with a very clever thing, they conduct laboratories, if three

or four people participate in the laboratory, there is some kind of theme, i don’t know, fairy tales or a modern play or something, i don’t know what else, tolstoy’s lion or something, that’s who of them will win in the laboratory they organize a competition , yes, they and the actors of the same theater make a small sketch, and instantly... it’s clear who won , they let him direct, dear friends, we continue, this is a podcast, the life of the wonderful, i’m with you, its leading writer alexey varlamov, i have visiting director, evgeniy borisovich komenkovich, but in general, what is happening in theatrical life in russia, this is how you would describe what is happening today, where we are moving, what awaits us, what to expect, but it seems to me that the same thing always happens, everyone is looking for... topics for statements, always, this is the same important, we had a wonderful teacher, director kheifits, i pester everyone with questions, i say: what in general, what have you been doing all your life, he says, i’m looking for a

modern play, and my teacher goncherov, too, these are the very last days of his life, when he met, he spoke, he could not pronounce my last name, but he said, well, kudilovich, well, there are new plays, this, well, it seems to me that this is generally the most... well, in a theatrical novel , remember, he says why are there new plays of old ones or something, i’m so proud that we staged a theatrical novel, thanks to kirill pirogov petrunov fonenko, because it seems to me that this play should be reviewed every day so as not to become bronzed and not make mistakes that were so harshly ridiculed by bulgakov, i adore this book, because it was written as revenge , his, he has a conflict with the artistic. because they cowardly renounced moliere from his point of view, he seemed not to want to understand all the complexities of the then political situation, he was terribly offended by them, he leaves this theater, where he ended up on stalin’s call, by

the way, nevertheless, he he even disdains this , leaves and sits down to write a theatrical novel to take revenge, because it is curious that when in the sixty-second year they wanted to publish this novel in the new world, the old moscow khatto people were indignant, because they were afraid that he there they will all be showered, suddenly this book is a declaration of love for the theater. suddenly you can see how in him in bulgakov there is this kindness, mercy overcomes him, this feeling, and of course, this production is yours, it is amazing, because such recognition, how much the world of literature is depicted there, so envious, bilious, all these writers friend , in the theater you find yourself in this territory, it elevates you, if you have talent, then even these servants, all these people who deal with technical stuff, what’s there the caretaker, there was someone else there, even stanislavsky, whom he did not like, nemirovich danchenko. which he couldn’t stand, even they look like amazing people there, yes, this is a miracle, of course it is, this is an instruction for any theater, it seems to me that this is accurate, this is a fact, you can tell something about the golden mask, like

it seems to you, oh, you know, i don’t fully know what all the fuss is about, i know that this is a useful phenomenon in our life, i don’t really understand why some category of modern dance or modern drama, how can this be removed? in my opinion, in my opinion, this is nonsense, i want it to exist, and somehow i was very proud of the theater community, when there were new times there, the filmmakers were divided there. this is honestly very upsetting, but i know that the golden mask has brought enormous benefit to the province, in general i have a theory that if there is any next breakthrough in our theater, it will definitely be in the province, because i don’t know in some lesosibirsk, there is such an amazing theater.

or i, for example, i am proud of my king lear, but i am delighted with the decision of king lear, which was made in izhevsk, for example, i saw it on the golden mask, exactly, and for me the golden mask is a chance for provincial theaters, to declare yourself, well, yes, well, not only for us, our country is such a big country that you don’t have time, you have to travel all the time, but somehow you were going to do it, probably, this can be improved, well, god willing, for her to exist, i'm afraid, because i don't know exactly... i know, well, the main thing is that she was, so that no nominations were removed , it seems to me that this would be correct, i’m generally interested in how it turns out, how many years does a play live, what does it depend on, what influences it, a very easy answer, but here we we wouldn’t film any performances at all, we have 60 people in the dead, now i’ve already lost 47, 48, 49 performances in the repertoire, we have nowhere to store the scenery, oh

well. this is somehow a solvable problem, and sobyanin built such a huge storage facility for all the theaters, it only helped a little bit, but not enough in the end, thank you very much, but the whole horror is that with so many titles, although we have four scenes, we are generally in chocolate, yes, our premiere is played four times, everything else is played once, and this is not, of course, this wrong, i always give an example. kostya raikin, who has, i don’t remember, seven or eight titles on the big stage, and when a new play arises, he always removes one play, but in our country, every time a performance is removed is a tragedy, because all the performances are in saku, even those , which for many years, there is war and peace, fomenko and family happiness, but i don’t understand how this is possible, even if they live forever, but in general, well, it doesn’t matter, well, but new ideas, new people appear all the time.

so somehow we’re filming something, i like to film my performances because i’m the boss and i have to set an example, but this is a very big problem, a very big problem, the problem of all theaters, i don’t know about others, but i know about us, that i know that it is not good that we have many long-lived performances, but if they are good, what can be done, here in the world, after all, you probably follow the european, world theater there, how different their problems are from ours or that’s all. wait, they have a completely different system, they have a repertoire, they don’t have a repertory theater, well, in france, there are two, that’s why, no, they have a completely different system, it seems to me, some kind of reasonable more or less system in germany, because there is complete decentralization, and there after all, well, they somehow exist in blocks, but to be honest, even in our country, if i were the biggest boss, i would make sure that half of the theaters are repertory, because this is really ours... but half

should be free venues, because after all, we have a lot of almshouses and i’m not sure that this is right, so i’m not i understand who should decide and regulate this, but i know for sure that we have a huge shortage of free venues where life would be more active than in repertory theaters, so if we talk about the economic component, in general the theater is unprofitable or it may bring... no, only enterprise theater makes a profit, but that doesn’t happen, because let’s say literature in this sense, it seems to live more honestly in its relations with the state, of course, we get some money there for festivals, for some... then, but in general the book, that’s how much you sold, that’s how much you’ll get in royalty, royalties and so on, yes, that is, no such infusions, especially if it’s not a book commissioned, but most books are still written simply, well because it is written. that is, in this sense,