[000:00:00;00] neamin borisovich smekhov, it seems to me that you have come to literature with new and new books, not only memoirs, but also books of different genres, yes, that’s what it is for you, and what seems most important to you, memoirs or your original works, now i will combine two names, fomenko and lyubimov, famenko and lyubimov, the theater, that is, the workshop of pyotr fomenko, itaganka yuri petrovich beloved. differ from all other theaters in many ways, but most of all, of course, in their devotion to the word, for the beloved, the prose of the stage, that was very an important genre and poetry on stage, very important, the theater of the word, the theater of verse, yes, that’s the whole

point, probably my favorite theater... glasha aksyono’s advice will argue, because it is impossible to call taganka only the theater of the word, the taganka theater of the beloved is the theater of the multitude is the theater of the great crossroads. lyubimov seemed to indicate to those who did not know that theater is a crossroads, a crossroads of arts, this is a word, this is a sound. this is music, this is painting, this is gesture, this is graphics, yeah, and lyubimov turned out to be a genius, as a collector, yes, yes, as a combinator, he, he collected everything himself, therefore, it was funny when the brilliant composers of our time, schnittky, denisov, gubaidulina, shestakovich, dmitry dmitrievich, became

regular guests and friends. here these are world values ​​and it’s difficult to even give such an example , yes, where at this level mayakov ’s nonsense on the one hand, on the other hand gubaidulina, schnittky edison denisov, shasakovich, yes, well, these are the words after all, the word is music, that's one more thing. pasternak called voznesensky, and then repeated it mezherov, alexander petrovich, poetry is, first of all, sound, yeah. it is the sound in the heart or in the soul of this combination, uh, music, gesture, painting and so on. akhmadulina still probably says the opposite, i really love her lines, where it seems to be about the opposite situation, maybe i’m wrong, the music comes first, but the speech is free for the music to speak, after all, or there is no contradiction here, probably not, it was like this at taganka, at pyotr fomenko

’s theater, his school, his... these are people devoted to sound, to words. it started with mayakovsky. mayakovsky is friendship sent to me from heaven with his friends, with his muses, with lily yuryevny brik, with vasily katanyan. maikovsky means admission, as i said, to institutes. and listen to the play that lyubimov staged. but not enough. the cultural authorities of culture banned him, but they didn’t succeed, too good people stood up for us, why didn’t mayakovsky please, he seems to be like, uh , how can i say this, officially recognized, although vulnerable, honest, direct, now i ’ll tell you just a phrase to choose from sounded in our performance: we turned history around, always see staryon off,

communist... and a person cannot be bloodthirsty, this is mayakovsky’s response to what was done to the family of nicholas ii. and this is a performance that was unbearable for the bolshevik cultural leaders. every year a loved one received a proposal to remove him from the repertoire. it’s clear, yes, the performance lived a big, happy life. and i am twice happy, i wrote this script and was the co-author of my beloved, also literature, also literature, yes, because this is not only a game, but this word, no, this word, this is literature, and next to me stood my friends, there were five mayakovskys, uh, shcherbakov, khmelnitsky, zolotukhin, vysotsky and i, well, next to

me, my friends of the early taganka, a brilliant russian poet, that’s all, well, so it was all close, close, no words were dropped. words were not muttered, there was a responsibility to the word, then we all choked, then in new book releases, here is yuri trifonov, a great, great prose writer, next to him for me stands vladimir tendryakov, these were all people, whom tvordovsky, well, took care of in the new world , you know, i’m so sorry that they are practically not in the reading circle, now. this sounds very scary, i adore yuri valentinovich, of course, and tendryakov too, but i communicate with students, and strangely enough, for some reason, well, there might be a house on the embankment, but there are other wonderful things, yes, there are

time and place, there is impatience, there are old people, this is the job of educators, dima, well, i’m trying, but most likely not yet, parents, i had a friend whom i included in all my memoirs, andrey egorov, the favorite of the great mathematician andrei nikolaevich kolmagorov, a great genius, yes, we read books during the race, this is a competition, i think, the norm for teenagers in our time, too, i was lucky, i saw a lot of young people who prefer paper, so to speak , literature, just oil of oil for my soul on our podcast, it’s just on topic , let me talk about now... mironov invited me to the play kokal, this is a play by anna kozlova, a very successful author of tv series and yes, and

dramaturgy, a wonderful play, which it's called the last summer, kokalo, a finnish word, the name of this village near leningrad near st. petersburg is called repina, and to me... this is very close, because mayakovsky very often boasted of a seven-day week, he didn’t have a penny of money, he came to kuokkola, he was fed alone one day is chukovsky, the second is repen, and this is now called the last summer, six premiere performances have passed, to my joy, all my doubts have been dispelled, i doubted, as i doubt, and this is normal, before each new performance. well lucky i'm playing a twelve-year-old boy, a hero, who, after as many years as i have, i remember my childhood, i am convinced that

each of our viewers has moments when they turn on the film archive of memory, undoubtedly, and from there some specific days emerge , summer there is autumn, winter, that’s what this play is like, i play with wonderful actors, my mom, dad are yulia peresilt and misha troynik, misha troynik is my student, so it’s wonderful, vanya dobronravov also plays a wonderful role there, well, lena nikolaeva, my second mother, and so on, the performance begins, the poem departs. our beloved desik samoilov. i remember, dad is still young, i remember the departure, some training camps, a dashing, curled whistle,

a carriage horse, a whip and springs. i remember, my mother is still young, smiling at our neighbors, and somewhere we are going, where, and somewhere, for some reason we are going, a forged horse is ringing, and cobblestones are in some passage, the fire is going out, candles are lit, constellations, father is young and mother is young , the horse is hot and the carriage is winged, and we are going i don’t know where, we are all going and going somewhere, inside i am reading yesenin’s favorite poem, it is the penultimate one, the twenty-fifth year, the wind whistles, the silver wind. in the silky rustle of the snowy noise, for the first time i noticed in myself, i had never thought so, even though there is rotten dampness outside the window, i don’t regret it, and i’m not

sad, i still fell in love with this life, i fell in love with it as if in the beginning , the woman will look with a quiet smile, i’m already excited, what kind of shoulders, the troika will rush by on an unsteady road, i’m already in it, looking for happiness far away, oh my happiness and all good luck, human happiness, loved by the earth, the one who has been on earth at least once will cry, it means that luck has rushed past, you need to live easier, you need to live more simply, accepting everything that is in the world, that’s why, stunned over the grove, the wind whistles, the silver wind, this is yesenia, i sincerely thank you for today’s conversation, thank you great, see you again here , well, to our interlocutors, as always, i joyfully say the same phrase, today we listened to poetry, but it doesn’t hurt to read them more often, as well as

prose, drama and much more, read with pleasure , dear friends. hello, this is the podcast burn with fire and i, it presenter denis gorelov. with a story about the main trends of national cinema , a digest of the most important national film innovations of the last 30 years, and the extent to which this influences the current state and development of national cinema. the country is developing quite intensively, we live close together, since last year we have already begun, in my opinion, the third period of national development. sovereign country, the first took place in the nineties, it was a time

of absolute anarchy and complete absence of state, such a process often happens when the socio-economic structure changed, something similar happened in the world during the great french revolution and here during the october revolution, the state is slowly dying out, a new one has not yet been born, so there are problems, and the main spokesman for this time is... the general consensus was alexey aktebrinovich balabanov with the film brother and all his other films. can you imagine how much time they spent in my apartment? how much vodka did you drink together? all the musicians hung out with me, i was the only one who had his own it’s a one-room apartment, but it’s our own, all the musicians were jostling around in serlovsk, everyone there

fled, as it were. well, when everyone left, it was precisely in these conditions, in fact, that a new stage of balabanov’s filmography began, he once began with productions of kavka and becket, i was very interested in the siyamese twins, i read books about them, there were also czech girls like that, well, that is , i was wondering about such ugliness. that’s it, i suddenly read about these, i didn’t know about them, about the fact that people are masochists,

ah, but in 97 my brother came out, from that moment his cinema began... to talk about a man’s preservation of self-respect in the complete absence of a state apparatus. the word man is very important here, because all the feminist heresies of that time still came from a post-industrial society, from a push-button economy, which, of course, equalizes men and women, in in our situation, where there is still a strong share of physical labor and there is no one hundred percent security, therefore, when protecting others, sometimes it is also necessary to use physical effort, a woman in these conditions, he always loses, simply because he was not created for any physical effort, the sinobus, the main character of the film, but died, in georgia 200 he has extremely nice characters of the southeast in kochagara the main character, and also in the failed ... film the river

, in which all the characters died in a car accident, then to southwestern and caucasian asia, he was quite ferocious, for which he was actively criticized and persecuted by the russian liberal intelligentsia, and the world community, the cinematic community, simply did not take his films into competition. here - happened even some kind of paradox, because not a single picture of the person who held the palm tree at... the national film championship within the country participated in competitions at international festivals of class a; in cannes, any subsequent picture would have necessarily been included in information screenings, but he was not accepted into the competition never in my life, simply fearing that suddenly someone from the jury would like this movie, from the filmmakers, you can expect everything, they will give the victory to balabanov, to allow this from the point

of view of western cinematography was completely impossible, there was very little money, practically no money, on film, on camera, but i filmed... all the places where i know something, seryozha, an unusual, very such a character, and then we sat on the beach, in cafe, i think they drank beer, i don’t remember, it was during the day, it was a sunny day, i told him, let’s make a movie together, but there won’t be any money. he somehow just said so simply, come on, i’m not an artist from a person who , well, is with me, i wasn’t a director yet, i was so big then, although i was already there three i had made films before this, professional ones, i

mean, but i didn’t feel like that, and balaban, perhaps, didn’t really care about it. he bent to his line, as was sung in the song in the film brother-2, and i suggest you watch a fragment from brother, quite suitable for this line, come home with us, it’s good there, what will i do there, and what are you doing here, but i like it here, america has all the power in the world, where is the power, brother! that’s where all the power lies in money, brother, money rules the world and the one who has more of it is stronger, well, okay, that’s a lot, so what you do it, i’ll buy everyone, including me, danilo was a man who could actually arrange

a goat’s horn, his front-line past was frankly discernible in him, every time he rented an apartment, he examined and figured out the escape route. back doors and so on, having arrived in st. petersburg, he didn’t go to his brother right away and maybe he couldn’t even explain why. he spends the first night somewhere, either in the attic, or in the basement, among garbage bags, but he comes to his brother already armed, which is also important, perhaps he wanted to feel the revolver in his pocket, this is very seriously and says a lot about a person, and about his brother. yes, everything was done well by a professional. it is deeply paradoxical and symptomatic that a wonderful biography of alexei ktebrinovich was written by the lady who is the main lobbyist for domestic feminism, at least

among film critics, maria yuryevna kuvshinova. marusya thus stepped on the throat of her atlantic song, although she acted in a purely... american style, she did not express her fabrications about certain paintings, but chose about 20 people who knew balabanov best, among them were people from his environment and people slightly from the outside who are able to evaluate him from some neighboring territories, it warms me that both i and maria herself were included in this number, i interviewed these people myself people with a dictaphone, about alexei himself, about how he understood the life around him, it turned out to be a rather voluminous picture, which, in general, was recognized by the entire russian public, the book went through several reprints, it completely

corresponds to the task, but the truth is, masha seems to have felt that she went too far about the character and began to publish her... texts about the fact that in particular , as it seems to her, the main character of the film brother is not brother danil himself, but a german, as a general person, a bearer of a moral imperative, who pronounces the most accurate and important maxims on this subject, to this i will say that with the same success we can say that the main character of the book about lamb is a cricket, he is also a bearer of morality. he also says the right things to sug, but still , frankly speaking, the main character is an active hero, a wooden man

buratina, the brother himself was in some way a wooden man, he could protect himself completely, but frankly speaking, only a solitary person is completely invulnerable, people who fall into the same orbit with him are under threat, as for sveta’s friend, fully understanding , the abomination of his own brother, he calls him from her apartment. and thus sets her up, because uh, brother vitya immediately writes down the number, and then leads all the gang on him, ah, in the same way mm risks a lot on - thieves’ apartment, director stepan accidentally wandered in, to whom danila says that i certainly don’t like the director very much, but you’re a normal guy, no one will touch you here, i promise you, after which he completely irresponsibly leaves to watch butusov, and if he hadn’t returned and hesitated for even a minute, then of course, stepan was also

threatened with immediate death, and another thing is that all this was redeemed by the absolutely excellent charismatic smile of sergei bodrov jr., everyone was in love with him, at that moment the gangster theme was absolutely dominant in cinema, all the films, the best films... and the probandits were b, brother, boomer and brigada. following - the time without a state, came a time of relative stability, calm, a certain abundance, unexpected for our population , accustomed to difficulties, and - this period was best expressed, in my opinion, by zhorok ryzhovnikov, of course, of some kind... there is no consensus on this person, but i continue to insist that he

is the best exponent of this period, as for modern times, the director who will express it in the most accurate and beautiful way has not yet come to the fore, but let us clarify what is the number one director, the main director of national cinema, this is: not always the person who collects the most big box office, and this almost never happens to be a person recognized by national intellectual circles, the main director, director number one is the person who most accurately and vividly conveys the state of the national mentality in this particular period of time, and as for our national cinema, in the first 30 years of soviet power, the main director of the country... was josepharenovich stalin, it is unlikely that there was someone who was able to follow his

line, or rather there was such a person, his name was sergei mikhailovichstein, imagine, the fact is that eisenstein considered himself a figure absolutely equal to stalin, he felt incredible respect for people capable of turning the world upside down, he considered himself the same, he was not afraid of them at all. no arrests, no any stalinist influence, only with with such a worldview it was possible to do what he ultimately did, that is, he reflected some movement, some change - in the mass expression of the will of nations, which at first seemed spontaneous, but then acquired some, some organized features in battleship potemkin, in the strike in october. the achilles heel of einstein’s work was still its somewhat archaic nature. sergei mikhailovich clearly understood

that it was not my cinema that achieved the greatest emotional effect, with its hyperbolism, with its emphasis on the camera, and some excessive acting, as soon as sound came to cinema , immediately all the emotional... how could the period of cinema be extended a little in mexico, where sound cinema was of course bad due to technological backwardness, then alexander nevsky made a not very successful film, full of some kind of excessive pathos, finally, on ivan the terrible, he understood how to return, not my cinema, he moved on to truly operatic aesthetics, majestic scenery, music of his constant colleague the great sergei

sergegevich prokofiev, constant or dancing in the frame, or... negotiations with such demonic, harsh recitative in the style of classical opera, they were able to renew the emotionality of the spectacle, since esenstein, though no one else could. when he died, the position of the main national director remained vacant for quite a long time, primarily because the country was changing its system in some way, it was moving from bolshevik absolutism, with khrushchev in the center, to the still collegial brezhnev leadership, the system was changing slightly, to express this , people, not everyone was ready, there is a feeling that during the 11 years of khrushchev’s rule , no serious and accurate exponent of the surrounding life appeared, but he appeared exactly after the borezhnev coup in sixty

-four, in the sixty-fifth year a film was released... leonid gaidai’s operation y and other adventures of shurik, but the fact is that it was at this moment that the middle class began to take shape in soviet russia, with its very specific, urban approach to the realities of life, to the needs of certain freedoms, and so on, and unconditional representatives the middle class included shurik on the one hand, and semyon semyonovich gorbunkov, who continued his work, on the other. shurik was the first student on the big screen in many years, nikita sergeevich hated students , for 11 years not a single picture was released in which a student would be a positive character, shurik was actually the first, and he not only crammed lectures and answered profanely, but led himself as a full-fledged romantic hero,

fought on balalaika with shpana, then fought with her... then wrapped lumpin in wallpaper and carried out educational work with him and this clearly made an indelible impression on the most beautiful girls in moscow and the moscow region and the near caucasus. the europeans started saying a few months ago that it is super important that africa is on our side. the maximum that ukraine can do in africa is give and ask for money. denmark is not the largest country in the world, we cannot host important ones. i’ll be frank with you , we’re talking about tunisia, for example, he didn’t even receive one euro, they squeezed everything, everything went to ukraine, she doesn’t understand at all who’s talking to her, i thought banderas, this is such an actor, they say that we will take what belongs to us, this is programmed chaos on the streets of europe, how

to force hundreds of millions of people to commit suicide , did the americans succeed? the vavan and lexus show premieres on wednesday on the first. this is still the podcast mount with fire and i, its host denis gorelov, with a story about the most important events of national cinema of the past 30 years, about the leading trends, the development of national cinema and where it will move in the very near future. what concerns the senior economist of giproryba, semyon semenovich. then he was a bearer of deeply traditional values, resisted in every possible way the various temptations offered by the foreign world , where he traveled on the steamboat mikhail svetlov, and the carriers of the ideology of this world, gesha and lyolik, and semyon semyonovich stood firm, rejected both gold and diamonds, and a robe with mother-of-pearl

buttons, and even in general, at critical moments, he would give me a beer, if he went out drinking, he would always sing the russian national anthem, a prose song, these were the main people of the emerging new world, and another thing is that in the seventies, gaidai’s cinema really deteriorated, and perhaps not through his fault, the fact is that the reality inside the new middle class deteriorated... there appeared its own rather specific layer of money-grubbing swindlers and the gaidai simply could not help but notice it, on the one hand because he was quite a sensitive , understanding artist, on the other hand because he himself loved money very much, he did not hide it, in the film there are 12 chairs

the heroes were swindlers, in the film it cannot be, pozoshchenko all the heroes were swindlers, and even in the film incognito from st. petersburg, according to the auditor , all the heroes were swindlers, even in ivan vasilyevich changing his profession, the weight of the swindlers was such that it is quite difficult to say who in the film, the main character, ivan vasilyevich appears quite rarely, and at the end he is taken away in a straitjacket, as for shurik, who appears there under the name of engineer timofeev and transports, ivan vasilyevich and the house manager bunshu back and forth to the middle ages and back, he is clearly losing the platform to the surrounding baggage, and even his wife, the beautiful girl lida, leaves him for yakin. therefore, the truly bright people there are zhullik miloslavsky, zhullik shpak, and the petty rascal director yakin, this is a rather

frank and correct reflection of the surrounding reality, it just so happens that even in sportto 82, the film that was gaidai’s last box office success, there are swindlers in the performance of kakshenova he outright outplayed the brighter, beautiful, positive hero whom played by algis arlauskos, not because arlauskos is a worse artist, because in life the swindlers won, this, in fact , was the end of soviet aesthetics and soviet life, it came to the point that at the same time as balabanov, almost the same year as his brother, a wonderful film came out painting by maxim pezhimsky, mama negoryuy, where the myth of such a bandit christ was actually worked out, and corrupt policemen and bandits from different sides were looking for a vulnerable one, some

mythical creature nicknamed a sailor, every time when they practically grabbed him by the tailbone, some kind of grace found them, they let him go, like a real, real christ, our jesus iosifovich, because they felt that he was right... he walks dearly, and even if he goes on a long journey, he always remembers that his homeland is waiting , in the whole world there is no place dearer to us than our native side, the song was sung just at the credits, in fact, somehow , only representatives of gangster groups could somehow preserve their property and self-respect, many decent directors rose to this, and moreover, around the time of his brother, a year after its release, there was a default in the country, and the ruble, of course, fell, television simply did not have the money to

purchase foreign series, at that very moment the formation of the national series business began, and producer kopitsa released the first season in 1999 - streets of broken lamps and the first season of a national security agent, unfortunately... then the series deteriorated, because some kind of law enforcement pathos had already become applicable to it, and somewhere on in the fifth or sixth season, it became completely impossible to watch all this, first the main directors left the series, then he himself died in 2004, if my memory serves me correctly, then in the end, all the main characters began to drop out one by one, in general, to in the sixth season , practically nothing remained of the streets of broken streetlights that was in the first, and it is quite difficult for today’s viewers to explain what a sensation the picture made at the time of its release in

ninety-nine. this is still the podcast burn with fire and i, its host denis gorelov, with a story about the most important events in national film production and national film distribution over the last 30 years, about the main trends. the development of national cinema and how it will develop in the very near future. the country was changing and some circumstances did not correspond to balabanov’s main message, resistance to the surrounding world, but of course, he still had the inertia of the audience’s perception of the filmmakers’ understanding of the surrounding world quite... balabanov himself remained

in charge until his death, he went there maybe i’ll take the star with me in 2013, in my opinion, but at that moment it was already quite obvious that a new time had come, a time of abundance, in 2013 the first film by director andrei pershin was released, gorko, the name of pershin is absolutely unknown to anyone in the country, because that he shot all his films under the rollicking pseudonym zhora kryzhovnikov, these were gorko, gorko 2, let 2, and the best day and the series call decaprio, in times of stability, people most often start.

to deal with personal life, mainly - the paintings were concentrated specifically around personal internal relationships in families, and it is not at all surprising that in almost all of the listed paintings the wife, kryzhovnikov’s then wife, yulia alexandrova, his then muse, played. the characters in the films were, in general, quite strange; one cannot say that they were gooseberries in the films. there is at least one positive character , on the other hand, you can’t call them all at least unconditionally negative, these are people who can hit you in the head with a bottle, on the other hand, pull you out from under the fire and to become your best friend, in general, those around our compatriots, and a very accurate look, perhaps, with the most sympathy he treated precisely the wife of her characters, but

when he was in the film, the best day took a crowbar and chopped up a police car, it became clear , that this, of course, is a real storm in the desert, you also need to keep a safe distance from it, as in general, with all of us, and, to be honest, all the problems that happen in the pictures miraculously are still corrected, and sometimes even, in a truly magical way, remember how in the film irony of fate at one time, everything developed for a moscow doctor and a st. petersburg teacher, not quite in the right direction, when they already began to dance among themselves, things openly led to sex and it was absolutely clear that if something happens between them, then there will be no continuation for this couple, the whole thing is with a drunken ippolit, who

kicked the door for a long time and shouted that he had been robbed by the warmed-up people. in the same way, in all kryzhovnikov’s paintings, something unexpectedly beautiful, magical always happens, which corrects all misunderstandings and returns all heroes to the correct orbit. let's kiss now, let's jump, well, this will be our ceremony, come on.

gorky, look at him, uh, quarantine, come on, jump, come on, quentin, darling, vratan , they ruined everything there again, idiots, well done, you came and tore our heads off, crazy spring, we don’t owe it, i’ll go with mind, the plague is chechaya spring, the plague is chechaya, the plague is chechaya spring, kryzhevnikov is a deeply uplifting author, and i think that is why such formal recognition by film critics community, did not happen to him, our intelligentsia loves to whine more than anything in the world, and if you look at the list of fifty most important films of the last twenty-five years chosen by critics, you will understand that

after each of these films you want to hang yourself, not a single film by kryzhovnikov among them no, another thing is that i already had the opportunity to make sure that this person, the most accurate exponent of stable times, quite a lot of people agree with me; in yuzhsalinsk, some spectators actually told me that gooseberry with balabanov is incomparable, but the times... the abundance of money that has fallen on one’s head is also incomparable with the dashing nineties, but in fact the heroes of gooseberry are dunces , who, as a result of suddenly appearing prosperity, are tempted to become euro-boobies, but adhere to their traditionalist view and remain themselves, and now a new stage, a stage

of unconditional and frank confrontation and, the people who will best express this period, are still in their teens. i can't say who it will be at the moment a whole group of such new wild directors has appeared, this is kiril sokolov, who shot the wonderful films dad, tear it die and throw it away, about a real bloody civil war within families, which still ends well, and this is pyotr dikarev with the film "guyler with zakhar prilepin in the main roles, this is roman zhigalov with the film forest, this is roman mikhailov with the film a tale for old men, nikolai rybnikov's film chicago seems to be moving in the same direction,

this is such a wild russia, solving its problems, sometimes even at the cost of prison and scrip, but still not deviating from the set course, there is no doubt that a new director will appear, perhaps not tomorrow or the day after tomorrow, sometimes inertia requires a wait of about three, 4 years, but he will definitely be there in his own time the time valery todorovsky, when he had just turned 30, was asked why there were no new torkovskys in the country, he said, no, that means there is no need. as soon as a request for new torkovsky appears, new torkovsky will immediately appear in orbit. in the same way, in the country there is a demand for a new spokesman for confrontational there is time, there is effective demand in theatrical cinema, which means

there will definitely be this new director, we’ll talk in five years. it was a podcast , burn with fire, and me, its host, denis gorelov, with a story about current filmographic trends. you are watching the podcast precious history, me and its host ekaterina varkan. and today our guest is people's artist of the rsfsr nikonenko. in addition to the fact that our favorite actor is wonderful, he is also a great admirer of sergei alexandrovich yesenin, put great efforts to preserve his memory, and i know sergey petrovich that you have been to konstantin many times, i have been too, and i remember how i was there as a little girl,

i came for the first time, my parents brought me, all the girls love yesenin, so i come out to this beautiful shore, i see aku, i understand why he wrote: such poems, only there it was possible , strictly speaking, to write such poems, this air, this is how hands are made, a very beautiful, magnificent place, you know, i first came to konstantinovo during filming of a film about yeseniin, and when we arrived, i went out for a walk, went outside the church, and there it was just starting, a boy of about 10-11 years old stood up to meet me with a broken face and simply bleeding. immediately, before my eyes, i remember meeting my frightened mother, i muttered nothing through my bloody mouth, i tripped over a stone, it will all heal by tomorrow , i asked him, guy, why are you

, where did you hit yourself like that ? it’s simply impossible, it’s just so