[000:00:00;00] mother is, in principle, they can be exploited, in this case the child increases his authority, he feels responsible, because leadership is responsibility, and i repeat to us, the most important element is practice-oriented, that is, if we find orientation in reality life of what a child does in a gadget, if we pull it from the internet from virtuality into reality, in this reality it is monetized with real money or real... praise, then this is that new emotional dependence, but it correct, because it does not push the child out of reality, he returns to this reality, everything you said, thank you very much, i hope that this program will serve as a lesson for her so that she takes my mother and me to her team of bloggers there or developers there, it doesn’t matter, but the most important thing i would like to say is, here ’s andrey, i have two children, i have an eldest

daughter, who is already 23 years old. children grow up very quickly, everything we say here is cool, make money there, get a grant, do a cool project on youtube there, well, i already understand that i want to be a dad, to be with my little daughter , who is already 11 years old, who has been there for 5 years, she will already be an adult, no, well, too, i just really want to receive this daughter’s love and give my parental love to her, because the time of childhood is very short, but only... there is only one way, this is to create a platform for joint activities in which the child will be involved and which is precisely a conflict-free form of interaction, this is actually what this will give you parental feeling of closeness with the child, by the way, i continue your request in this case there and to our listeners, including bloggers, i want to say one more side of this problem that

you described, the fact is that unfortunately, many bloggers, including young... adult bloggers, they create for children, for those who consume their content, for teenagers, the illusion that it is easy, they do not tell what they actually have there screenwriters, professional videographers, those girls and boys, a minute takes hours to film, in fact, and the most important thing is that those same girls and boys who seem successful and independent to our modern teenagers are actually worth the mothers and fathers who invest in them , and that this is actually an illusion, because many children , they don’t understand this, they buy into... the illusion that i’m boom, i got millions of views, it’s just because i successfully held the camera in my hands there, this is not so, so let our dear bloggers, understanding that they create huge problems in families, they create huge problems for children, because many children are sincerely upset that they can’t do something, this creates huge psychological trauma for them, often, even if they still convey that any successful project is a blogging project,

a teenage blogging project, a children’s blogging project , this is a collective work and then , well, you can’t seem to be hostage to technology and say well... let’s go and see the bloggers, here we’ll dance, and here we’ll propose, but in the end, some kind of punish immediately invent the internet, no, maybe not even punish him, he just speaks like a father, you know what, dear, after all, i’ve lived for a long time, i’ve seen a lot of things, so i’m telling you now, it’s not useful, it’s harmful to you, all 2 hours a day, eva, we agreed, 2 hours a day, that’s it, i said, you’ll grow up and understand, well, excuse me, 2

hours a day is not prohibited, it’s like we still have to give the child an alternative, because we live in a world of high emotions both the internet and games only warm up the emotional background and without giving the child something, which will be brightly exciting for him, we simply won’t overcome this story with prohibitions. in this case, i have three girls, yes, three daughters, just the middle daughter is 12, she is also naturally passionate about different games, we have a very simple scheme, if a child gets bad grades, he gets a c or, god forbid, a d. then of course she sits without a phone and has the weekend there for the next week, if the child gets good grades for the week, then we give it, accordingly we expand the window of the game, and communication on social networks there or games, and our child is motivated, this balance between study, behavior and play is regulated in this way and it is very simple to study well, you need to set aside time to study, accordingly,

this time is voluntary. then he suddenly removes himself from the gadget or are you afraid that there will be a conflict and scandal when you ban it? i’m not afraid, this is the only method of control, there’s just no other, you can’t come to an agreement with her, but i emphasize. in those windows of time when there is a week there or days, many, maybe several weeks, when the child is without play, without a phone, without social networks, all the same, we must find that form of activity, emotional, that allows the child to get something, well, i think that almost every parent faces this path, modern, modern, because really now there is a struggle for our children between parents and gadgets, we should not lose to parents, and of course, only understanding the psychology of the child, understanding the world of teenagers, will help parents succeed in this story, great thank you for the advice, it was a podcast psychiatrist, psychologist, doctor of science, andr

sbirovsky, our guest, dad artyom talked about how to break a child out of gadget addiction. hello, we have a podcast lab, my name is dmitry bak and i am the host of a literary podcast with a very intriguing name, let them not talk, let them read, our guest today is the honored artist of russia, rector of the mkhat studio school igor yakovlevich zolatovitsky. hello. i say for the last time on you, since we are on you in life, today we will also try to be on you, so that don’t get confused, if you don’t mind, i’ll be glad, yes, yes, we are friends in life, i’m sure that

today we will talk interestingly about theater and literature, and it happens that when from the future you look at the creative path of a person whom whatever, fyodor mikhailovich dostoevsky, anyone, i am pleased, such a direct rise that a person walks logically that we are close, yes, well, in eternity, in eternity you are close, of course, sometimes it seems that it is from peak to peak, dostoevsky in 1946, 1846, he published his novel poor people, yes, these are still early, but still already the great dostoevsky, in fact, if you read his correspondence, he writes to his guardian, give me money, i don’t have a winter dress, i ’m going to die, and i will. russian writer, because i have already written a great novel, i will sell it for a lot of money, what a lot of money, his guardian, his sister’s husband, tells him, my question is this, how did it happen in your case, and was it this is such

a path to the top, a stellar trajectory, not along a parabola, like voznesensky’s, but along an ascending one, or i had to change something, cool, i’m a happy person, i have this phrase in... the greshkovets’ play: yes, i’m happy, i consider myself happy, i really don’t feel it, these are different things, but i’m lucky, this this is how everything turned out, of course, if you remember some nuances like this, of course, everything was not easy, tashkent, absolutely not a theatrical family, please tell me, is the joke true that there were two melons under your arms, i heard it 100 times, no, but they weren’t two melons under their arms, there were more of them. because i was traveling on the train and taking it to friends and to the theater, of course, toshken moscow, because my dad was a railway worker, and of course, you can’t carry so much everything on a plane, and since my grandmothers were first cousins, second cousins, and

the most famous story is when they already took me to amhad, my mother says, you give efremov’s melon, this is from my mother, this is already ma’am , this already comes from my biography, my mother’s melon, so my mother was absolutely sociable in this sense and if the theater, some kind transfer the bridge to my parents, then, of course, it’s mom, dad was an incredible kind person, it’s clear they were children of the war, but igor yakolevich is not evil, i kind of understand everything, although a girl asked me alone somewhere in some interview, the little girl said: “are you evil rector?" i say, very much to me in general, and this is such a bridge, from my mother to the theater. because she was so sociable, in general she was an actress in life, of course, in her youth she looked like anno mardyukova with a braid, so young, beautiful, beautiful, so she still decides cases when you had already become an actor, and before that the case was decided that i came to sign

up for a chess club, thank god, or it was closed, i don’t remember that, this is still tashkent, of course, tashkent, and you don’t want go to the drama club, so as they say, since then i’ve been in the drama club, yes , practically, almost 50 years, but a little, maybe less, 40, 45 years, i’ve been with that, since then in the drama club, vasily died new meanings, don’t say, don’t say. knows, i think you got it, yes, yes, yes, yes, here, and you can imagine, this, this is so much it had to coincide, i think that in your life a lot had to coincide with us, it had to coincide, to be at the right time, in the right place, one time you didn’t get in and returned to tashkent, to work for a year for you, that’s how it was, yes , to work for a year at a factory with such amazing guys who, and the tashkent aviation plant, are the ones who moved. during the war, and these are the guys

who know the value of work, these were real hard workers who told me, you won’t stay here for long, son, but i i told them that i was there, it’s clear that after 2 days they started calling me an artist, so, but i still remember uncle tolya, a huge, huge guy with such fists, and my first lesson was, he tightened the nut, he said, unscrew it , turn it away, and i turned it away for three hours, hit it with a hammer, after all, it had to be so that later i could go to enroll and not just somewhere in the studio hut school, but why exactly there and we go everywhere, well, like now applicants, it’s just there, you know periodically more fashionable popular yes

pike-sliver in gikit you understand yes and then of course, the pike rattled with great teachers and at the same time, my teacher viktor karlovich munyukov, who at one time, viktor karlovek, who all the time, came from the front, entered in the forty -third year, was no less iconic, by the way, let’s say that he was eighty the school of studios is coming this year here in november, the very first intake, the war is still going on, and just before the end, it is still unclear how the war will end, only stalingrad ended, just yet, but that was of course, so at the elevator there is a photograph hanging that there are set designers, actors, 1943, 43, and the production department is vadim vasilyevich

shverubovich. so on and so forth, but it all came together, like some kind of puzzle , how many times have you said it, it coincided, it came together, samoilov has a great poem that begins with fatal, fatal, and then it all coincided , this is straight from samoyolov, how good it is that you remembered samoyolov, because i don’t know much poetry, but i have david samoilov, because i... knew and was friends with, well, i was friends, i wasn’t friends, this is something said in a sarcastic way, but with zinna fimich gert, well, yes, who were wonderful, i ’m getting goosebumps now, she and samoilov were friends, samoilov was called dezik, yes, they knew something about each other, and i learned poetry thanks to samoilov, i thank him, because on one of his last evenings he was already leaving and katya gert, his

daughter and mother made one big, big in the theater, it was his big creative evening, they carried him to the cross and he read something there, gert, now we’ve taken a break from tashkent , by the way, he read it and i went crazy, it’s clear that i don’t read like that, that is, let’s go to the city we’ve been to, we’ll leave our suitcases at the station for years, and i and what, yeah and that in vain he gave to passions. oh, how late i realized why i exist, so when i return there, you understand, well, just like on these steps you little by little understand, not why you exist, but for what, maybe it ’s loud, why you exist, someone will probably determine this , why would he have been careful , this boy from tashkent would have entered some tashkent university, the koshkev institute, a lot of people graduated there, very respected, but i wouldn’t have gone to it, well, yes, but my mother told me: do you want to fly back?

after all, after all, the ticket cost 56 rubles for the plane, such 7 were enough , in the eighth year there was a lot of money, go work a little, so i went, earned money for the ticket, flew in, then of course, now i’m telling the children, the students, guys, stay with each other as long as possible, it will be easier, it will be easier to manifest, it is clear that not all course, it is clear that at most you will have 5-6 people - this is the maximum, this is also good, you know our friends who left early, roma kozak, they were all together, she was here.

so everything went and went and i arrived at 17 17 years old i entered at 18 i turned 18 at the time of admission who taught were wonderful listen having with this family, with evgei sanovich, with galina borisovna volchik, well, denis and i are friends, just also somewhere- then from the same years of 1990, because at the same time he studied at avgika and some mutual friends, well here is evgeny sanovich, well, of course, we can only brag that we care about him. then we are all in terms of the level of talent and diversity from such absolute kamism

to the highest tragedy , stanislavna pilyavskaya is absolutely such a direct student of vladimir ivanov namirovich danchin , that is, you are the grandson of nimiron. you and i live for each other, through one, through two, no , through one we will through one, vladimir ivanovich, kira nikolaevna golovko, yeah, kira nikolaevna golovko, the famous kira ivanova, actress of the moscow art theater in which admiral golovko loved, already being an admiral, and it was a story that is worthy of literature, and cinema, and a play, it is an incredible love story, amazing, amazing, it was. one of the youngest admirals during the war, either at 39 or 40 years old, he was given an admiral, he won the entire northern fleet during the war. oleg georgivich gerasimov, amazing, wonderful, director, actor, actor, his acting biography didn’t work out, he was a wonderful director, especially,

many people know him, but don’t know that he the director of the record, and he was friends with vysotsky, this famous record, where... that’s how zheliba and 40 times that’s all ol georgivich gerasimov , he recorded a lot, a lot of records from performances, and vysotsky is a graduate of what year, i’ll tell you this now the famous course of uh zhora pifantsev, in my opinion, sixty or so, i’m confusing something there somewhere, so it’s always like this - it’s important to feel that just two literature teachers ago , uh, vsenyavsky taught vysotsky. if if our dear viewers don’t know, i’ll say what it is

amazing, legendary personality, in addition to encyclopedic knowledge, literature, theater history, without him there would have been no contemporary , he decided the biography of a contemporary, he decided the fate of a contemporary, when he was organizing here, they could not leave... from mkhata, they were a group of young artists on the mkhat before, vitali yavilenkin, whom we found, he taught us, who was friends with borisomovich pasternak, who brought us, not whose autobrag he compiled, a book , okay, manuscripts, manuscripts brought us parsnips, poems, these were not drafts, these were often rewritten poems and he had, well, you know, like a professional, but he had such a flying handwriting, incredible. here i’ll ask an unexpectedly unplanned question, of course, this romance is important, it absolutely permeates me, when i remember that andrei danatovich taught vladimir semyonovich, and here i, a great sinner, also teach future stars, but i’m talking about acting poetry reading, we

we’re talking about literature, yes, so i jokingly tell the guys, our common students, that i’m struggling with acting reading because? unlike a piece of music, literature, especially a poem, does not require performance, well, that is, the performance is not inserted into the text, but there are only a few who can read music from notes, i saw something on their face that takes the score directly, but i do he is, yes, he understands that i throw up my hands and say, i can’t do that, and few people can, but in poetry, on the contrary, it would seem, one can read without performing it, and doesn’t it turn out that pasternak will be useful to us here, that the actor is forced to pull a little on himself, as it were, to feel a little something that may or may not be in poetry, it’s very fashionable to put it now.

in different theaters, at different venues, viktor anzhakov does it, the sphere theater does it, kolyagin does it, and many, many others, we have entire poetry evenings going to brusnikin, of course, yes, but isn’t there some kind of person here, well, this is such an original sin, because there is a staging, it’s clear when i wanted to say that i don’t agree with you. no, no, i don’t agree with you, if you have a profession as a poet, that’s wonderful, well of course, it’s clear that this is a gift, but reading, yes, it’s a profession, but you know, we don’t, we, we can only imagine how pushkin read, yes, we heard akhmadulina, you and i heard, i saw her, like you, and i too, of course, and yes, we heard voznesensky, and vtushenka, and robert rozhdestvensky, forgive me for interrupting, i’m listing. you list those poets whose reading style is, well, as if from a technical theater, not a stadium, we heard, we heard on

yesenin’s records, we heard on records mayakovsky, we heard pasternak on records, of course, this is music in words, of course you are right, of course, but it seems to me that the actor, and forgive me, please, that the actor, of course, has not been canceled, talent in poetry, well, for poetry, talent , ability for poetry, the same evgenovigneev never read, he didn’t read, but he didn’t consider it necessary, so i want to tell you that efimovich read zino, he added something else to samoilov, it seems to me that he added, of course, your biography, your life experience, well, this is risky, but savina, sergeevna savina i read it so that you could die, and yursky, remember yursky, sergeyevich. you know that he, i, i was friends with him, and continue to be friends with this family, and i asked him, how do you

teach poetry, it’s terribly difficult for me, he says, i don’t teach, that’s very correct, the poems are memorable , i don’t teach, and my daughter is eight years old, but i teach, you understand, it seems to me that just like in music, if we compare with music, which you understand, i’m sure that the richtor added something to the music that he played for rachmaninov and... for chapanne and of course, what horowiec added something with your fingers flat on this, that you understand, and it seems to me that no, no, i, i think that this is very acting, and just even to the guys who, maybe, there we casually said about the student, but maybe during training you have to read, and then they won’t return to it, but something will happen to them, you know, uh, there’s... some kind of literature, since we ’re talking about literature, that i’m sure that people, knowing this literature, reading such

novels, do not commit nasty things, these can be people of all professions, and you don’t know how i understood this, when one of our courses with you, acting, yes, in which you already taught, they did war and peace with masha brusnikina, i think, lord, i remember, you are boxing with the play, they say such texts that it changes them, it’s all about them already. but still, prose and poetry are a little, a little different, i always give examples , not even for the first time on my podcast, as boris leonidovich, whom i adore, read, how he read the poem augustus, well, great, he is a man, like promised, yes, as it were, actually freeing myself from the text, freeing myself from myself, which is not for them, for us artists, intonation, our acting profession is intonation, we are now talking about good, beautiful, we appropriate emotions to ourselves, but for poets, probably not, i not a poet, i don’t know, but for them it sounds like a word, well

, for me from the sixties, which i am, this is bela akhmadulina, this is some kind of hypnosis, this is hypnosis, but this is incredible hypnosis, agree, she read it, i i remember in the actor’s house that burned down on gorky street, god, but i have our friend, she actually, she sees it, only she begins to go hysterical, and when she reads, she... what is it , you know, it’s impossible, some kind of magic, not to remember with something at hand, when this mime and the past moment, unite like copper have, their common sound, there is a poem, something, and how she read something about the plank, which now the incoming girls count this poem one by one, and suddenly i now yes, suddenly i just saw a program, i don’t remember where, so as not spoiler channels, i don’t remember where, seventy- four, luzhniki on a huge ethical evening, in my opinion, the only one was where they

all lived, simonov at that time. that's all it was, it was incredible. well, we 're back on the flabb podcast. my name is dmitry bak, and i am the host of a literary podcast called let them not talk, let them read. and our guest today, my interlocutor, honored artist of russia, rector of the school of emhat studios, igor yakovlevich zolotovitsky. now comes the middle of our conversation. and here the usual presenter, that is, me, i do one of three, i either show some book from my libraries, i either read a poem and comment, or read a quote from a classic, but today there will be a combination of these two genres, and i will risk showing you a book that is not in its original binding, with some kind of inscriptions, then made, but but this is

important , this is a collection of anna andreevna akhmatova's rosary. which was published for the first time by the hyperborean publishing house in st. petersburg in 1914 and was published 11 times, three times counterfeitly, three times against the will of anna andreevna, and this is the very height of her popularity, this is the rise of akhmatova, a couple of years have passed since nikolai gumelev said: “anya, you are a poet, you need to make a book, it all started.” and - my god, 11 editions of a small book, it is very important for me that everyone understands that this is a very small book, i have a book in my hands from the sixteenth year, this is 1916, this is the third edition, the same hyperborean, st. petersburg publishing house, and this is its very wear and tear and the fact that it is dressed in such a later

binding with some naive inscriptions, this is evidence of popularity, because akhmatova started talking about such details lives that were not in poetry, well, it was impossible to say, there on my knees in the garden, the quinoa field, or i’m having fun with you drunk, or something like that, well, it’s impossible to imagine such a degree of elaboration of details, well, here’s one short poem i i’ll read, after the wind and frost it was nice for me to warm myself by the fire, there i didn’t take care of my heart, but it was stolen from me, not the holiday lasts magnificently, the wet stems of new year’s roses, in my chest i can no longer hear the fluttering, they stole my heart, ah, it’s not difficult for me to guess the thief, i recognized him by his eyes, but it’s so scary,

that soon, soon, he will return his loot himself and this, well, with such a slight touch of salonity, detachment, even, how much is here from the diary of a woman in love, as this book and the previous book, which was called evening, were often classified, the next book, which was called the white flock, anno domini, by the way, anno domini, this is an amazing title of the book, anno domini - this is god's summer, right? this is my summer - says anna akhmatova and this is such a subtle play of meanings. this is of course the summer of the lord, but this is the summer of the slaves god, this is the most famous one, this one, and the name of this book, rosary, well , perhaps, we continue our conversation and now, now about some of

your latest theatrical works, please tell us. greshkovets, because these are texts, these are zhenya’s texts, and this performance, conference, and you were at this performance, and i’m sorry that i’m sorry that you were at the first, because i myself don’t like to go to premieres, and i know how premiere performances are so exciting and don’t let go, like a house should, absolutely, should, yes, yes, yes, yes, should fall into place, but this gives us such joy, and we did not expect it, this is of course, this is the intuition, property, talent of my wife, who feels the need for such communication with people regarding literature, we are talking about a book, you understand, this is a great book, this is a great book, which, yes, it has excellent

formulations, everyone knows it, but not everyone has read it in their own way, completely mysteriously, we are talking about vinepukh, renepukh , and i have a wonderful text there. and we will subject this this text, this analysis, if of course a miracle fairy tale can be analyzed, this is a wonderful story, it all comes up in a completely new way, because we know the wonderful translation, the cartoon for hader, yes, who goes to visit in the morning, all this is wonderful , but in the original everything is a little different, we have a beautiful scene, ours, yes, our student , who is english, so in hers, and of course, for me too, well, first of all, i’m happy to be with you, in your project today

i’m talking about literature, and - this is a performance already in progress, but here i entered it, uh, just now, this is a duel performance, oh, how interesting, yes, and this is anton pavlovich, i am once again amazed by his instinct, by the way, by the way, or something, i don’t know how to formulate, you can formulate it better than me, because i sense from the audience, well, well, people, of course, are less likely, especially today with gadgets, to read some kind of drama, in general, few people read, know how to read drama, that’s it by the way, a very important story, yes, because the germans even have a term - lazy drama, that is, drama for reading, of course, you are always very surprised somehow, the duel is not a drama, the duel is just a prose, it is not a play, it is prose and of course you can feel it in the hall, how people perceive these words, beautiful,

discussions about family, about love, it seems, it seems that this is all already, these words are not new and all this already, how many times have we heard about it, he somehow turns it around, well , in general this is a completely special thing, because many, forgive me, i... today, as it is heard today, this is a completely modern story. but what this story speaks to a person, it seems to be about hopelessness, it is about melancholy, there is the very

same titular phrase, almost a meme, no one knows the real truth, let us remind you that it is about that a certain young man, loevsky, lives with a certain young lady , whom he took away from her husband, nadezhda fedorovna, further on , he lives in the south, the caucasus and, of course, and like in any beautiful drama , there is an antagonist who is engaged in science, who is pleased with the biologist, he, yes, yes, who believes that this themselves and each of them, in what is genius, genius, yes, everyone has the truth, there is no negative hero, you, when , when fontkorn says his point of view about what he does, what he does, and my, and my hero,

samoilenko, a doctor, says: “if you drown people and hang them, then to hell with your civilization, to hell with humanity, yes, yes, as voznesensky said, all progress is reactionary, if a person collapses, that’s the whole point, but how he formulates, again, well, you understand, through my hero, i’m just now learning it, because it’s very difficult, a complex text is difficult to enter into a good performance that has been going on for a long time, but it is all the more surprising to meet with this text and when loevsky says that again akulina, again irons, this is it, and i, and mine says, vanya, but you can’t live without an iron in the household, this says samolenko, such a kind little laugh, wonderful, sympathetic, he stands between them, he stands in the middle, he goes to one to console, goes to the other to take money

for this, one says one thing about him, the other says another, says, well, wait guys, they don't work here, all these guys syllogisms that the enemy of my enemy, my friend there and so on , nothing like that, samoylenko - this slowest, so indecisive, in family life vanya, the main thing is patience, not love, patience, love cannot last long, nothing can be done on it build on love, passion, that’s the whole point, here you go. 2 years in love, and now, as you can see, a period has come in family life that you need to maintain balance, to let in all your patience, and this generally applies to humanity, there is so little patience now, and tolerance, toleration, some kind of respect, not to cut off from the shoulder, this is so important, it is so important to preserve one’s humanity, this is what igor zoltovitsky says about the story of chekhov’s duel,

but if we move on to modern literature, well, here’s something of your choice , for example, i know that the librarian may be talking, this is today, this is yes, yes, mikhail elizarov, i read this book before i was invited, to study from this book, of course, such a utopia, this is already a movie, this cinema, this is cinema, this is no longer theater, cinema, but literature. than cinema and theater, i will tell our interlocutors, it is more primary, i thought that you would irritate, but if so, it very rarely happens when cinema surpasses literature, and then only if the sequence was such that you watched a talented film first, and then i read the book, i also had, you know, this one, now let’s digress a little, let’s go back to the librarian,

fly by... cuckoos, i first looked at nicholson, and then i read the book, i, of course, had before these guys stood up with their eyes, everything and so on, well, ivan andrey’s childhood dorkovsky, his debut, his official debut film was his thesis, solaris, but he reveals ivan’s story, and the librarian , of course, it was incredible, well, to some extent i had an event, reading this, this is such, this is such... utopia but i would say, on the same shelf, well, if not on the same shelf, then next to oruel, it’s a little scary with him, scary, i’m playing such a scoundrel, i ’m playing such a scoundrel, lagutin i’m playing, but the main thing is that here i am with him met misha, yeah, elizam, he was on the last one, on on one of our last filmings he sat there as an extra, of course, he, well, what is this, well

, as it should be, right? it is clear that all this turns into such, to some extent , religious fanaticism and there was a gap between feelings and fanaticism that turned the consciousness upside down, well, i am sure that those who hear us before this gra. they will have good impressions and of course they will read this book and other books without risk, without any negativity, because there is a most paradoxical story, i always repeat it, that a book, art, is the last thing, what is not subject to algorithmization, technologization, well, i ate a pill, one

book at a time. and you know about these books, we have now released them, we found two boxes in the archives of the mkhat museum, we found two boxes with letters to the mkhat from 1898 to 1928, dear friends, this is a wonderful history of the country through letters from viewers of the moscow art theater, this is literature, tell me, this is literature, of course, it hasn’t come out yet. all these books were in color, there was a cover, and not two books, the ninety-eighth-thirteenth year and the thirteenth, ninetieth all these books in colored, with colored covers, they are on my shelf, i adore them, i am sure that these books are also wonderful, just as our conversation today was wonderful, which really outlined many common territories for the theater, for literature and... most importantly

for a modern person who still cannot and will not live without this, this is more than necessary, thank you very much, i sincerely thank igor yakovlevich zeltovsky, honored artist of russia, rector of the studihad school for our conversation. thank you, dear igor, see you all good-bye, and to you, our dear, invisible interlocutors, i always say. with an edifying intonation, in fact very friendly and democratic, read with pleasure, dear friends. this is the triggers podcast, we are with you again today, sergey nasebyan and tatyana krasnovskaya,

psychologists and psychotherapists. hello, and today in our studio marina. hello, marina, tell us what you came to us with? i got one like this. request just recently, i realized that i don’t realize my femininity, that is, what it is, well, i’ll start with the fact that i am a manager, i have such a more masculine character, and as if my position obliges me to behave this way, and lately i have been trying to consider a woman in myself, but only a woman who i will like, what i should be like there. that’s what i just recently realized that i’m chasing some kind of template of this femininity , a generally accepted template, it should be some kind of vanilla femininity, there’s a vanilla woman there, there’s mi-mi-mi, there, i don’t know, i hate people like that, so i realized what it is

not about me, but i’m chasing this, but it’s not about me at all, and well, just one little man, literally a few days ago a girl told me, she says: i like your femininity so much, she. special, yours is different, and i realized that it means i don’t see her, well, that is, i don’t understand how mine she is and i’m chasing some kind of template, here’s a request that i want to consider her, and apparently i’m her i don’t accept, as far as i again understand from myself, if i’m chasing something else, this vanillaness, and in your opinion, you are a manager as a result of that, that you have a masculine personality, or do you still have a masculine personality because you are a manager? good question, there will be no bad questions here, i think that one follows from the other, i have been on my own since childhood, my parents practically didn’t take care of me since childhood, that is, i have always been left to my own devices, even somewhere right from childhood i have delegated some responsibilities that, well , in principle, are not suitable for a child, yes, that

is, at that time, that’s why i think that this is most likely all this i have always been responsible, i had to be responsible, i was always older, as if well, accordingly, i’m... a manager, there, yeah, then the logic seems to be built a little differently, because you started with the fact that i’m a manager and therefore, i have a masculine character, well, perhaps, but now this is being turned around a little and, as a result, being revised, because , of course, we need to discover a certain determinism of the elements of the psyche, the determinism of the events of your past, so that we can say so, understand where all this could have started . do you have younger brothers and sisters? younger brother, 8 years younger, yes, you are years old now, i’m 42 now, yeah, 8 years old, essentially, we grew up alone with our parents, yes, that’s how this period is, what do you remember about it, i

vaguely remember it at all , i practically don’t remember this period, some, well, small outbreaks , there was some kind of new year, there, i don’t know, there were some people who went to visit, well, that’s it. something like that, just like that, i feel like myself, well, let’s go for a visit, that’s what i remember myself right when i started to remember better - when my brother appeared, i suddenly became older, that’s understandable, older , an adult, that’s it, now i’m already 8 years old, i was already an adult, and before that, what were you like, and before that i don’t remember, you let's go visit, what are you like? no, not like that, let ’s go visit, i’m mom-pa, yes, how old are you at this moment, who did you go to visit, what