[000:00:00;00] they reproach that we, how to put it, are either hiding behind fomenko’s shadow, or what , this does not bother me at all, because our literary part, after the departure of pyotr naumovich, brought it to me, i cannot call it a spiritual testament, it 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 title there, there is a lady with camellias written in brackets, who should do it play, that is, it’s clear what he thought about each actor, here i am periodically once a week i look at that list, sometimes i manage to stage something from this list, pyotr naumovich loved to stage prose, he adored it, i’m not even talking about war and peace and family happiness, but in my opinion, the main theatrical

statement in the theater - this is... an absolutely happy village , a play that has been going on for more than 20 years, and the actors who play in it tease me all the time, well, maybe we have already grown old, i say, no, you will never grow old, since the play is on old stage in our very small hall, there are 78 spectators in total, we could play it much more often, but we specifically play it there once a month, well, because it has been going on for a very long time, but every time i play it there once a 2nd i look, my eyes are wet, it seems to me that pyotr namovich didn’t care what he staged, what drama, what prose, but he always didn’t lead the prose into a play, but made it like prose, this is already some kind of then technological things, but it seems to me that this is very important, and in general, when the director chooses a play for a future performance, chooses a performance, well, let ’s talk about you, this is what you are guided by, these are your ideas of feeling, what do you

want, is it even yours? statement, what is it? 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 was easy to show everyone, this can also be done put it like there, a telephone directory, did myrholt want to put it, or what? no, no, no, no, but - it’s just obvious that the circumstances in my life were such that this twenty-four-hour journey of the main character... a stranger in this state and in ireland, it obviously lay down on some events that happened to me personally, well then to the foxes - it’s like that some kind of bottomless barrel, everything is there, every genre on earth is there, in my opinion, all languages, all movements in art, everything is there, but it happened, i usually read any book there in

the evening, with ulysses i i struggled for a week. i mean , i thought, i pretended that i wrote staging, assembled without pyotr naumovich our entire then not very large theater, it was 200, 1998, and the theater appeared in what year, the theater appeared in 1993, then we were without premises, without anything, and i read, it means it lasted about 9 o'clock, we broke there for lunch, dinner, a re-enactment, yes, what a re-enactment, it was some kind of selection of material. for 10 years it died down, then when in 2008 they built a theater for us , which was already very beautiful on the river, they now specially built a pier for us so that people would come to us, yes, which is very nice, now all of a sudden 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 staging to mind, and then, then it was just pure pleasure, there were a lot of problems, but since the whole gang that worked with me was also, well, very determined to do this, well, we did something, then 10 years passed, but for some reason it seemed to me then that the foxes were talking about us , there was some kind of click, we made a doctor zhivaga 2 years ago, well, doctor, that’s also by the way, a terribly interesting story, but doctor zhivag is actually some kind of... song, because i had such wonderful co-authors, and above all vanya vakulenko, who played doctor zhivag and olya bodrova, for whom this was her debut in our theater , 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 didn’t... 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 did a lot of prose, like- then, well, not that it was easy, but it was clear when we, where we were heading, there was one big problem, it was a pandemic, at times out of 15 people who play this performance, i had four at the rehearsal, we didn’t have the money for the decorations back then, so we somehow built it ourselves, but thank you to the viewer of this god, he doesn’t notice, we had money for costumes, we made the costumes, that’s it , but nevertheless, i don’t want the theater... to be deprived of funding, but it seems to me that if people are involved in theater, they will build a theater anywhere and from anything, lopodaveg 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, in general, it seems to me that if the topic of our podcast lab is really, it means theater and prose , it seems to me that for a long time already... in the modern theater, it is not necessary to stage a play, although i personally, i really like plays because you don’t waste time on adaptation, on translating prose into language in the theater, it cuts the rehearsal time in half and it somehow frees up your head by half, it just seems to me that with modern playwrights, i think, that it’s very difficult for them, because all the wonderful modern russian, which i follow very closely, i don’t know there, i’m a fan of kolida, a very big one, because i don’t understand how a person has been nurturing one theater for 30 years, while still managing every 4 years of producing amazing playwrights,

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 performed in basements. this to me... doesn’t seem very right, 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 some way... in a 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, but i saw a performance in a youth theater, based on your prose, and to be honest, i was amazed at the huge number of people, and it seemed that the audience was actively breathing, that’s what it was like that evening a lot of young people, no, for me, too, of course, this is one of the most joyful events in my life, happy, when you wrote a novel, you come to the theater, and it so happened that

i did not take part in the preparation of this performance, the staging did wonderful young playwright polina babushkina, and i was just invited to this performance for dads and moms, that is, there was already some kind of general run-through, and it was an absolute miracle, to see my... heroes on stage, what they are like, how they play , i’m very glad that the play is going on, it’s going on with success, it’s really all very cool, this is a podcast about the life of wonderful people, i’m with you, its leading writer alexey varlamov and my guest is director evgeny borisovich komenkovich, i’d like to return to the classics , the performance that i have i saw you and remember very well, this is already such a world classic, this is king lear , so... shakespeare, it’s interesting, yes, times pass, centuries, some names appear and drown, some remain, here in what, what did shakespeare do, if he existed, yes, that’s why they continue to stage him everywhere all over the world

, trying to understand his riddle, but you know, there are several plays by shakespeare that you always want to stage in any condition, it seems to me that everyone there are different directors, i have four such plays there, with boria i entered the institute, although in my opinion it was... a monstrous explication, well, buri is not so popular after all, but this is his spiritual testament, let’s say, and since there is one line that is not in any russian translation , and my ending is despair, and my lot is despair, that’s what to do with it, that’s how the great bart ended - this is prosper’s last monologue, but it doesn’t matter, but king lear, that’s a historical fact, i definitely suggested this to my teacher andrei sanovich goncharo, the only one before me is the maikovsky theater, yes, the maykovsky theater, of course, andrei sanovich, since andrei sannovich loved to scream, in my understanding he was very similar to king lear, he laughed at me and did not talk to me, then i began

to pester fomenko, because i didn’t know , how to get rid of me, i think he waited until his seventieth birthday, i don’t know, and finally he said, i won’t learn the whole text, but you wanted him for the role, of course. oh my god, i came up with the design. a brilliant artist, in my opinion, alexandrovich borovsky, barovsky jr., then they managed to set such a form, the correct one, that then it somehow rolled off, and since our people are all talented, now this is without any humor, i say, very prepared, there were people of different generations, then we have like - it happened, i must say that when there was a pandemic, there were two people in turn, two dukes, and i... twice , partly from memory, partly, that is, with

the text in my hands, i replaced them, as i it was good, in this design by alexander borovsky, and we also have a theater, as for me it seems 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, but there are several translations of king lin , so you chose, as i understand it, we chose some kind of translation, we didn’t , well, we chose soroka’s translation, i won’t rank the translators now, but still soroka’s translations are very difficult to learn, but most importantly, that he has some special annoying words he has invented, which, firstly, will not let the viewer fall asleep, well, you won’t fall asleep anyway, yes, but they somehow make you be on edge.

our most experienced artists there told me that it was quite difficult to teach the king , we understand that there is always an alternation of prose and poetry, it is clear that if there is a translation of parsnip nearby, then it is wonderful, this is not discussed, and there is the latest translation of krushkovo, very accurate and it’s very, well, it’s very tasty, but still, it seems to me that magpie is somehow more correct, the last one, well, i don’t know the extreme one, today you have work, as i understand it, this is a remark based on the novel, a black obelisk , yes, there is no merit of mine, because we turned out to have two very smart actors, volodya topsov and yuri butorin, they mean 2 years something they did it with blueprint, which i monstrously didn’t like, it always seemed to me that the stage direction was this , i love him very much, but at the age of 16, i read everything and i’m happy, unhappy or happy love, she smokes, yes, she’s definitely sick in mountains, and so on, he, he is magnificent, yes, there

are films and plays all the time, and here i am when i read everything that was happening around us, it coincided so much that i instantly 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 what we had. will be in the year twenty, and the action of the novel takes place 5 years after the defeat in germany in the first imperialist war, so it’s just the twenty-third year, and this is how we decided to misbehave, so we called it twenty-third, again we were lucky with alexander borovsky, who made a wonderful design, and this immediately suggested the form, well, i don’t know, i’m somehow proud of our theater, which we do very often, this is by the way the idea of ​​pyotr naumovich, we are very

often..." there is an initiative from below, he came up with this internal section: error trial, and any member of the team can take any work to show and sometimes this work will reach the end, sometimes not, but for example, now we have a group of crazy people with yurey titov, they took on the divine comedy, what is it, it can’t be staged at all, is anyone interested, has anyone ever staged the divine comedy? staged, 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 preview, i’m afraid to announce it, there’s no wood to knock on , but if this happens , my nose will be in the air, i, as such a temporary boss, will be very proud of it, so you said, what does it mean that our topic today is prose, that means theater, and for me the most important topic is gitis, because i

’ve been teaching for more than 40 years, and every 4 years i’m always proud of my country, because well, we’ve finished enrollment this year, well, i it seems like such a difficult time, some kind of completely penniless profession, where you all go, but we all the time had to schedule additional days of consultations, because the people were not ending, and it seems to me that i gained some... course with one problem, of course, that’s when we finished the introductory course in the directing group there were only women, and i knew that it would end someday, but i hoped. not during my lifetime, 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 fairly competition, and since i couldn’t calm down, in the end i finally came up with the idea that sometimes people come to us under

all sorts of quotas, under international agreements, we have one wonderful estonian guy and one from abkhazia, in the music department. wonderful director, titel, he has seven women in his musical theater, he has no men , these are the times we are specific in, but to say that we at the literary institute are faced with the same thing, before it was more of a men’s institute, now it’s women’s, before there were women writers proved that they also have the right to exist, that they are no worse than 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, that’s when we. when you when you select actors, i can probably also understand how they are directing, how to understand that a person has directorial talent, imaginative thinking, and how do you test

imaginative thinking, during the introductory period, yes, these are three rounds and a competition, yes, they defend theirs four five times. 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 is somehow, amateurishly made by their own hands, it doesn’t matter now, just so you understand, one girl protected the blue bird, yeah. which, well, everyone knows about stanislavsky’s performance and so on, but in my opinion this is one of the most difficult dogs in the world, if i had, i was a millionaire, or if i were the absolute master in my theater, she is 17 years old, i 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 not... several people, which were wonderful in theory, when the itudes and excerpts began, they are young people, they lost to these eighteen-year-old girls, so, but in general it seems to me, oh, the system of obstacles for admission, it is more and more extensive every year and is growing, because we have , 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 quality of the directing group determines, how to say, the success of the entire course, but then, if the directing the group is good, it turns out that there are twice as many teachers, because directors, they immediately become teachers for fellow students, well, in general, we have very interesting things there, this is understandable, and another interesting question, you said that people act, yes, in general there are no financial prospects there,

career, that is, no one gives them guarantees , no one, but in general, as usual, well, usually, everyone has their own, but nevertheless, how the fate of graduation can turn out. cogitis, that’s where it is distributed differently, well, because, well, it’s clear that the actor must sit on phone, well, it’s better if he gets an agent, but it seems to me that directors , oddly enough, now have a rather preferable situation, because almost all theaters in the country have come up with a very smart thing, they conduct laboratories, if three or four people, there is some kind of theme there, i don’t know, fairy tales or modern... esa or there, i don’t know what else or in thick, or something, that’s who of them will win in the laboratory and they organize a competition , yes, they and the actors of the same theater make a small sketch, and it’s instantly clear who won, they let him bet, dear friends, we continue, this

is the podcast life of the wonderful, i’m with you, its leading writer alexey varlamov, my guest is the director, evgeniy borisovich komenkovich. 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 to speak about, always, this the most important thing is that we had a wonderful teacher, reseller leonida kheifits, so i annoy everyone 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 is goncherov. also already in the very last days of his life, when he met, he said, he could not pronounce my last name, but he said: well, kudelovich, well, there are new plays, this, well, it seems to me, this is... the most important thing, well, in a theatrical novel , remember, he says, why new plays , there are not enough old ones, in general, i’m so proud that we staged a theatrical novel, thanks to kirill

pirogov, petrunovich, because i it seems that this performance needs to be reviewed every day, so as not to become bronzed and not make mistakes that bulgakov ridiculed so harshly there, i adore this book, because it was written as revenge, his, he has a conflict right off the bat... theaters, because they cowardly renounced moliere from his point of view, he seemed not to want to understand all the difficulties 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 despises even 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 imkhadchiki were indignant, because they were afraid that he would douse them all there, suddenly this book is an explanation in love for the theater, you suddenly see how in bulgakov it is this kindness , mercy that overcomes him, this feeling, and of course this production of yours is

amazing because such a recognition of how much the world of literature is depicted there, such an envious biliousness, all these writers are each other theater you find yourself in this territory, it elevates you if you have talent , then even these servants, all these people who do technical work, whose caretakers are there, someone else, even stanislavsky, whom he didn’t like, not dancheng, whom he could n’t stand , even they look amazing there, completely human, 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, about the golden mask, you can tell me something, as you think, oh, you know, i don't fully know what is all the fuss, 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 should be removed, like this... it can be removed, for my, for my taste, 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 were writers, i don’t know how many unions, so i was somehow very proud, that we were united, and now there are some protest letters, it makes me to be honest, it’s 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 which 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 this on a golden mask, and i have a golden one mask is a chance for provincial theaters to declare about myself, well, yes, well, not just for anyone. such a big country that you don’t have time, you have to travel all the time, but you still somehow planned it, probably this can be improved, well, god willing, so that it

exists, i’m afraid, because i’m not very precise i know, well, the main thing is that it should be there, and that no nominations should be removed , it seems to me that this would be correct, i’m generally interested in how it turns out, how many years the play lasts, what does it depend on, what influences it, very easy answer, with us we would they didn’t take any pictures at all. performances, we have 60 people in the corpse, now i have already lost 47, 48, 49 performances in the repertoire, we have nowhere to store the scenery, but okay, this is somehow a solvable problem, and sobyanin built such a huge storage facility for all the theaters, it’s a little... a little, that means it helped, but not completely, thank you very much, but the 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 the same once, and it's not, of course, it's wrong, i always give the example of kostya raikin , who has, i don’t remember, seven or eight titles on the big stage, when a new play arises, he always films one performance, but in our case, every time the filming of a play is a tragedy, because all performances are in saku, even those that... 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, but still, well, well, new ideas, new people appear all the time, so well somehow we we’re filming something, i love filming 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... ... european, behind the world theater, how different are all their problems from ours, stop, stop, there is a completely different system, they have repertoires, they don’t have a repertory theater, well, in france, there are two, that’s why no, there is a completely different system, it seems to me that there is some kind of more or less reasonable system in germany, because there complete decentralization, that’s all there, well, they somehow exist in blocks, well , to be honest, even in our country, if you were the biggest boss, i would make sure that half of the theaters were repertory, because this is really . our achievement, but half should be free sites, because after all, we have a lot of almshouses, and i’m not sure that this is right, so i don’t understand who should decide and regulate this, but i know for sure that we have a huge lack of free spaces where life would be more active than in repertory theaters, but if we talk about the economic component

, in general the theater is unprofitable or it can... only the enterprise theater does not bring profit, but this does not happen, because let’s say, literature in this sense lives like would be more honest in our relations with the state, of course, we get some money there for festivals, for some, but in general the book, that’s how much you sold, that’s how much you’ll receive royalty, royalties and so on, yes, that is, no such infusions, especially if this is a book not ordered, but most books are still written simply, well, because... they preserved the big theater , although there was no money then , well, they preserved it, so no, theater is a cultural phenomenon that seems to me, well, at least some... then, if the theater is supported, it seems to me, this speaks about

the level of this state, it seems to me, despite all some... horror shortcomings, and many say that there are many theaters in moscow and no one knows the number until now, so, but i think it’s great that in moscow you can go to the theater, and when you’re there at 10:00 pm you go down the subway, a lot of people go with programs, but this is great, very cool, no, no, no, it seems to me that no matter how technology develops, it seems to me that any meeting with a living person, and not an acquaintance in search of a bride via the internet. it seems to me that gramophone records failed to disappear, they first disappeared, and then everything came back, there are such crazy people who play them, books, that’s how many, it seems, yes, you can see it better on a computer, really, nothing, i think, as i said one writer, you can put a kettle on a book, well, yes,

probably, well, okay, thank you very much evgeniy boritovich for this conversation , once again... my very best wishes to your wonderful theater, we’ll wait for the divine comedy, that’s it, i ’ll tell everyone everything, thank you, this was a podcast, the life of the wonderful, his conducted by me, writer alexey varlamov, my guest was a wonderful theater director, evgeny borisovich komenkovich, watch all episodes of the podcast lab project on the website of the first channel 1tv.ru. dear friends, the creative industry podcast is on air, this is an anniversary episode, but the anniversary is not with us, and with mikhail efimovich shvytkov. mikhail efimovich, hello, hello, thank you very much, we won’t say how many years,

because everyone already knows, i think a lot, there ’s nothing to keep track of, they’re watching carefully, yes. and artistic director of the moscow musical theatre, what do you think, when you appear on the screen, what does the population think first, the population thinks about how to turn off the tv as soon as possible, i am speaking quite seriously, i must say right away that i generally treat any to the public, because if... there is no contact with the public on television or in the theater, or it’s their fault, it’s not the public’s fault, they are always right in this sense, i’m like in a soviet store, the sign above the saleswoman is always cheerful, the buyer is always right, the public is always right, well, someone thinks that i

there is the host of the agora program and in general, like a person who has read three books, some people like how yes, i ran a shelter for comedians or, let’s say, life is beautiful, sang songs, i also liked it more, to be honest, because. i came to yale university and - it means i was there at the department of words, i read several lectures on the history of russian culture at this university at that time and he taught there, unlike me on a permanent basis, there was such an outstanding lithuanian poet thomas venslova that is wonderful and my hostess, who invited me, tells me to yale university, she says, listen, let's go to dinner. well, thomas ventslov and his wife will come, well, i got ready , read it, which means i immediately started looking for his poems, well, to make some kind of impression, and

he came to me and said, oh, how we love your program, life is beautiful, and we began to remember soviet songs , so the whole thing is like this, it didn’t come down to poetry, in general, in your person, the ministry of culture became the ministry of happiness, it seems to me, because you are a very cheerful person all the time, you were broadcasting all the time this one. emotions, once grisha gorin’s grandfather, grigory izrailovich, said: boys, when you like life, it passes faster, this is one of the very important truths and i believe that one of the serious problems, here we are, when, covid and he ended, we were allowed to play with 25% of the audience in the hall. and everything was clear, we played up to 25%, there we suffered endless losses, then they allowed 50, and the wonderful life formula worked amazingly, because people left home, all the quarantines ended,

it seemed to everyone that it was starting now, and then, this means that after the special military operation began, we sat and thought for a long time whether we should actually play a play called the life of beauty. and we decided to play it, the audience really responded to it warm. mikhailovich, how do you think this path is huge, this may be my personal question, but to what extent are we masters of our destiny, when we go and build this path, maybe in co-creation, a good question, i never thought that i could . there to decide my own destiny, i understood perfectly well that we live in such proposed circumstances, that there are large lines of history that dictate this or that behavior, because in any proposed

circumstances, you can behave, well, decently, or you can behave it's indecent, it's doesn’t mean i’m a conformist, i’m an absolute conformist, i accept the conditions of life as they are. i’m not inventing anything, i’m not trying to fight there, shouting that we’ll turn everything around now, we’ll rebuild everything, i ’m not talking about this at all, this is not about me, as the good soldier schweik said, i’m a member of the party of moderate progress within the framework of the rule of law , well, this position is from childhood, well, yes, when i lived with my grandmother, my mother had her own family, my father had his own family, and naturally - this is the need not to offend anyone, to find the right one

balance, sometimes even, well, sometimes even to lie, just so as not, well, not to offend one or the other and so on , well, there was no need to lie to my grandmother, she knew everything, since i lived with her, i lived with my grandmother until i was 20 years old, grandparents, i would like to move forward a little to where you became a minister. on the day when the president offered you to become a minister, i know that you went into the president’s office with the intention of, as it were , generally refusing, the president convinced you, but i’m interested in another question, here you are when you left the president, what were you thinking at that moment, i thought about how terrible it was, i just understood that the situation that was in 2000 was extremely difficult, so that you don’t understand what the state of the ministry of culture was , i was the chairman of the all-russian royal television and radio broadcasting company, we already had that large office

, everything else, we carried out then, well, then it was called automation, now it ’s called digitalization, there was a moscow computer center that made it for us then the best that could have happened... in terms of communications, i had the internet in my office. this whole story was just beginning, they were seriously working on it, mikhailievich lesin was a man in the kingdom of heaven who was extremely passionate about this, that means, an office with eight screens, back and forth, communications, communications, we then, then that was all, you know, when suddenly from such a phone you received a different phone, it was something incredible, i come to the ministry of culture, or rather, my assistant,

television... is part of the ministry culture, enters the office, which means he’s talking, and eric’s car is standing there, with such a big, big carriage, a fashionable thing these days, yes, yes, and, that’s it, and he says, guys, well, at least there, well, like some kind of computer, install it, well, when i arrived, there was a computer, yeah, i tried to use this computer to go to the secretary, at least, it’s not clear, they installed the computer, but there were no networks inside the ministry of networks, yeah, there were no communication networks, yes, but this is a small detail, but it is very characteristic, we they tried to live on television there, closer to the 20th century, but here everything was still poor, firstly, there was no money, that ’s the worst thing, i left the ministry in 1997, when some

terrible mutual settlements were going on, monstrous, something transgas somewhere through some kind of something like that brain structure of something then at the end there should have been a salary for uh that means six there how many there were 1,700 people probably come for when i was deputy minister that ’s it all nonsense, so to speak, with horror i understood that this was something completely transcendental and when i arrived in 2000, i realized this was a colossal problem, you know, it was a very difficult time, in the nineties there was no money, the cultural institution said, guys, you are free, hand over there, survive, there was only one idea, we must give credit to evgeniyevich sedorov and konstantin aleksandrovich cherbakov, who was his first deputy, there was only one idea - to preserve everything that could be preserved in the sphere of culture, and when they tell me now, there was book publishing, we were the most reading

country, i always say the most reading among lines of the country, but if we look at, say, the inventory and stock of the library there some ninety-second year, then three quarters were classics of marxism, or there was the small land of lenitovich obrezhny and there, i don’t know, tens of millions, yes, that’s why the design itself was very strange, and of course, the main task was money, money, money, money, money, money, and then the idea of ​​the cultural revolution program was born, in general... my love affair with television is so real, which began in the 2000s, well, such as the presenter , yes, he was connected with one, i said, it’s ironclad, the secretary-minister of finance should recognize me, not the minister of finance, i see him, here’s the secretary and there are women who work in departments, in the ministry of finance in the ministry

of economics, because he came the man from tv, well, he sings songs on, well, how can he, well, it’s too much to refuse there, well, well, in general, here he is, here he is, but in fact there were an incredibly many problems and it was a colossal problem, i will never forget i was appointed in february, muddy march such the sun the ministry of culture of the russian federation was located in a building that was or was not built for a computer center , yeah. it was very, it was unique, so, yes, some huge glass , cloudy, it was difficult and expensive to wash them, and two people came to my office, mikhail aleksanovich ulyanov and kirillovich lavrov, whom i naturally knew as theater critic, boys, they are 15 years older than me, they are like that, they are the same artists, they came in like that, i said, mish, well, you won’t fire us, that means they started it, that means

your own teasing. wonderful theater, and ulyanov was in princess turandol one of dzani brig, he could play both zani and marshal zhukov and that’s it, so i began to find out with them how in general, what was happening, when i realized how much they were getting two great artist, as directors of theaters, as artists, yes, and we then, the idea was born, then yuri khatovich temerkanov and valeriylovich gergiev were involved in this. and then igor ivanovich techin, who worked in the administration, helped. the idea was simple: it was necessary to make grants for artists. i explained it very simply: in the year 1943, uh, stalin during the war - he assigned such extra salaries to five groups,

the state orchestra, the big theater, there were, well, five groups, just for one, it was necessary to preserve the cultural elite, yes, but everything was very simple for us, in a big theater. the artists were all abroad, excuse me, at night, i can say that, all the ballerinas had 30 days in the month of their period, at that time they performed somewhere abroad, the men did the same, there was something approximately, everyone danced abroad in order to assemble a normal cast, it was almost impossible, but because everything was very simple, they received $200 a month in moscow, and for a performance there in hamburg they received $5,000 . period, yeah, and it was necessary to find some kind of mechanism and you couldn’t blame them for it, well, blame them, well , remember that in the nineties our hockey players started leaving there and so on and so forth, it was necessary to find a mechanism, a tool to we managed to save people in the country

to create an instrument with the help of which all the large collectives of the country received a presidential grant, i understood perfectly well that if i did not solve this problem, then i would have nothing to do with culture at all. this and, of course, to save schools, because we were butting heads with the ministry of education all the time, explaining that at a theater institute very often one teacher teaches one student, it was believed that this was generally abnormal, well, how should there be one teacher, well, although five students, and when such questions arose, then when vasily senova... taught artistic speech, then they brought the inspector to him, and the inspector came out and said, well, well , well, well, this is lynovoy, that’s the whole story, let’s go back to that interesting moment

in my opinion, when the minister culture shvetkoy decided that at the same time he would also host a program on television, and you and i remember why, in order to be recognized, the question is: did this number work out, this idea, did it... justify in the end or not, you know, i when, in general, i resigned from the post of minister, and then, when i left my post as head of the federal agency for culture and cinematography, the ministry’s budget was much higher , much stronger, and the number burned out, another thing is that at this time the budget also began to fill up, everything worked, taxes were collected, in principle the country’s budget was larger , significantly. yes, but our small budget, yes, i tried to increase it as much as possible, because i will tell you this, this is also very important, there must be good relations with colleagues in the government, for

them i was also a man out of the box, so i was forgiven for some things, because when the issue was discussed, for example, i don’t know , there is the development of the automobile industry, the aviation industry, agriculture, well, you must understand that in general there is a catastrophe in the country, we have neither english horn performers, nor english horns themselves, you see, yes, in general the desire to kill me was great, but nevertheless, but this is a serious thing, in fact, and to be honest, that’s why in the government then there was gref, and kudrin, all my colleagues, the president was mich putin all ... supported by many projects that would be impossible to do without some kind of human contacts, reconstruction of the big theater, well , this is the worst thing, the worst dream of my life, this is this, then we gave a start to it and away we go, i always said, the minister of culture

is the minister , which should bring only good news, good, there were many projects, and a comedian’s shelter, and a wonderful life, a cultural revolution, and so on. but it’s still clear that a certain task is being performed and so on, but it was popular for its significance, and after what project did you that’s how you felt, generally speaking, and as a tv star too, it was important to you, well, it’s me, i always laugh about it , well, what a tv star, i’m still a little bit, well, i live such a slightly different life, i don’t live television life at all, and i am grateful, how can i say, to television colleagues and konstantin lebovich and e and oleg borisovich dobraliev all all all that they put up with me, as if like a person in general, you know, there was such a butler for a person from the outside, i’m a little , well, from the outside in this actually, but i watched it with great pleasure.

the arrival of comedians, in so much yellow press, when suddenly direct contact arises and you communicate and these stories and people who are next to you, whom the whole country loves, and you with them, and it was such a breath, human, for me it was very, very important, because the person didn’t need it, here’s the contact, here’s the artist , here’s who he is, and you gave it to people, seriously, they liked this project of yours, and you, your charisma, the way people remembered you, you really are, you are a producer, your artistic self, i would say, yes, you did it very consciously, as it now turns out, and you did it for a purpose that ultimately had a beneficial effect on your entire apparatus, you know, when we created the moscow musical theater, then i’m fine understood that we would never make a broadway show. all of a sudden? but no, i deliberately didn’t want to, we can’t do a broadway show, because

we work on pushkin square, we can do a show on pushkin square, i don’t mean now the quality, but the relationship with the public, you see, because in everything, what we do there in the theater, what i think is important to do on television, we need some simple thing, sincerity, this is the most important quality today, or what? you can’t lie, but how did the musical become your passion, i love the stage, it’s probably a shame to say, i love the stage, we too, we also love the stage, well, you are young, so to speak, i, i love the stage, that’s it old pop music, which i first heard there in probably fifty-five, i loved utyos, i loved shulzhenko, i loved bernes, i loved gelena marselovna velikanova, one of my most... successful interviews on the culture channel was with gelena malsenna velikanova, the same great singer

who sang lilies of the valley, for which then the next day there was a debacle in the newspaper, the truth is about this, i love the stage, i loved the stage, everything, but how is it that many people love and have loved and will love the stage, but the musical theater is, one might say, the exception, and not the rule in our country, although any. an illusionary project, if it includes a musical part related to our past, it immediately becomes popular, everyone knows this perfectly well, but at the same time, you know , the project was closed, life is wonderful, at some point i felt that i really wanted to do something like this in this direction, it ’s my misfortune i read a story about the pokras brothers, in short, there were four pokras brothers, three of them wrote a song. two of them were great soviet composers,

dmitry and daniil, and samuil, who wrote an immortal song from the taiga to the british seas of the red army, he became the strongest a great american composer, all the thirties and the end of the twenties, he worked in hollywood, and there was a lot of this, so if you take the film there, some big waltz, a famous hollywood film, strau. yes, the arranger of the music was dmitry tyomkin, a composer who is one of the greatest american composers , well, of popular music, this is irving berlin, who actually came from the kanter family, they are all natives from somewhere here, and american from our lands, here is american music, late twenties, the thirties, she was very similar even.