today we gathered our thoughts about memory, its secrets and mysteries dmitry petrovich bak, evgeny germanovich vadolaskin, i am vladimir ligoido, we continue. but look, memory is not only that we forget something, but that we remember something. by and large, augustine writes about this, he says that this is a palace in which memories are stored , which are either an understatement or an exaggeration, in any case , there is no interpretation of this word in the living room, the construction of voters. yes, yes, really, that's it i, in fact, in a broad sense, this question, in a narrow sense, a little narrower , then the question is about the value of memoirs as historical documents, because in general, what are memoirs, this is the memory of an individual person, and the memoirs of another contemporary, about the same events will be different, how to perceive it, well, if i may.

i would still start with forgetting, so that this topic does not disappear, because in this earthly vale we are always faced with the realization that we have to forget, yes, that something completely different awaits, and i always i repeat the quatrain of my beloved georgy ivanov, if a new life, oh soul , opens in a black grave, how good it must be so that we forget about earthly things, yes, that is, this moment of the possible. valuable is always present in the face of some other memory, this is not a memoir, of course, a memoir is a personal experience, yes, well, a memoir, it’s natural, memory, but it’s like that, memory is very truly selective and special, it’s not, it’s not what was actually in quotation marks, because the

real thing is the most mysterious point in general, by the way, even at the stage of perception, the three of us are sitting and we see completely different things, it’s not even the fact that we are directed there, everything is completely different, because here is a wonderful neurophysiologist, alexander yakovich kaplan, i’m with him... i consulted roman chagin, he said that even at the stage of vision, vision is not optics, it is the brain, the picture is formed in the head, not in the eyes, and a person is able to see what was not there or not see what is , now right at the entrance it’s completely special a picture, and how is it all then remembered in memory, what changes undergo, it’s just...

in general, one can be surprised, that is, memory, it stores completely different things, it’s not like five cameras cost five identical pictures, it’s it’s a completely different story, and memoirists need to, well , at least be checked, well, yes, if we want historically, i just know, i thought of something else. here the bridge is thrown directly to the topic of imaginary memories, not just interpretations, again in chayin there is this nikolai ivanovich, yes, this story about a business trip in britain, i’ll be honest, i still want to think that this is not true, when in the end i think that he came up with it all, i don’t like it, i’ll think that it’s it was, but in fact, here is another kaplan, our wonderful author from fama, in his article on chagin, he wrote that he, as a mathematician , immediately remembered complex numbers. parts

of which are imaginary quantities, but the meaning is that this creates a kind of volumetric vision, and then you know, immediately further i start to think, i remember lotman, who says that art is the experience of the unlived, the most important human experience, it turns out that the imaginary memories of any person, they allow him to be a creator in a sense, more than he is, more than he really is then, this is almost art, yes, that is, art without art, no , it realizes itself, anna karenina, for example, anna karenina, i am convinced that everything that happened to her stems from the desire that she experiences when opening a book in the carriage, at the very beginning, when it is traveling reconciles steve with his wife and there she meets vronsky with his mother, meets vronsky himself, she so wanted to live the lives of all the heroes, yes, that’s the whole point, i think that the reader experiences the same thing, i so wanted in childhood that

onegin did not kill lensky when i reread it, that is, this is generally fiction, this is, in principle, the law of art, when you perceive art, you think that it is reliable, in general memoirs are not reliable... in the sense that they correspond to some then the very thing, as zhenya put it, and do not correspond to yours conviction, your rightness, there is no rightness, remember the paintings of picassa or picasso, how convenient it is to say where dora moar has two noses, yes, because he wants to see her immediately in profile and full face, and we see each other full face, but there are other sides, so any memoirist is firmly convinced that he is writing the truth, even if he wants... to deliberately distort it, like zhorzhik ivanov in the petersburg winters, in a word, for me, in memoirs, after all, the most valuable subjective, yes, here in kotaev’s grass of oblivion, he describes him there, how he

he considers friendship with bunin, and that’s why bunin asked him something all the time, well, mayakovsky asked him, but in bunin ’s damned days, he had the only phrase that was completely destructive, i don’t want to repeat it, that he would sell everyone , including there, if they had paid, here are the memoirs of two people, and about specific ones, but do not contradict each other, these are two truths, we can’t say that, but both are true, but solomon’s court, it’s kind of impossible to say here , but what he sold or didn’t sell is not the question. well, yes, but it’s just surprising, right? to say, a range of opinions, well, yes, although here you know, i involuntarily recall this famous buddhist parable about five or four blind men who approached an elephant, and from different sides, and one, which means who cares, he is absolutely right, he

says , that it is a snake or a wall, a rope, yes, yes, memory is always like this, it cannot embrace everything at once, it cannot give this volumetric vision, vision in general, this is our device. it’s we who don’t see infrared ultraviolet, but the bat sees it, so what about experience? actually, i’ve always been fascinated by fate an actor, a great actor who really has, if he takes his work deeply and seriously, then he can actually live several lives and can live them with full dedication, this is a colossal experience, if you approach it correctly, but no reading is required an actor after all, but this is by the way, this is an interesting topic, it can lead us a little now , yes, but maybe we’ll stop for a second, because you can’t live there according to the system, not according to the system, again here’s nikita

sergeevich mikhalkov spoke when he had relatives, mardyukova one phrase: oh you, 40 takes, 40, and he says: he says that if you approach, she plays so hard that an ambulance takes her away every time, that is, he says, it’s just a professional mistake, yes, that is, the actor at this must instantly be able to switch off somehow, yes, because otherwise these experiences, they are already on the verge of schizophrenia, no, as stanislavsky says, and i, since i teach at amkhat, i really love konstantin sergeevich, he says a simple the thing is that nothing can be played, you can only grow, develop something in yourself, it must be your true emotion. yes, you need to find something in your life that leads to this emotion and make it your own, appropriate it, and this is scary, of course, on the one hand it’s somewhat lifelike, on the other hand it’s like an authority, still a distance, not it must be, no, i have been teaching acting for many years,

so i am amazed at this all the time, i will not be with you, i will not argue with you, today we have gathered our thoughts about the memory of dmitry petrovich bak. electricity for a while it may disappear, yes, but i really liked it. we spoke once on this topic with the sweets of chernigovskaya, i said, well, what is memory for knowledge, for education, she says, but memory is not about remembering information that is not knowledge, but it's about contexts. if you don’t have this on your shelves, yes, then it’s very difficult to put together this mosaic of knowledge, as this thesis resonates with you, of course, this is a complex existence or

existence in a context, it is necessary because, well, let’s say if you will educate a person. here in the sans souci palace, if you surround it with a wall, then nothing good will come of it, by the way, the wonderful novel by alexei varlamov, my soul pavel, is about this, this is the same model, there is generally a huge problem, how many artistic things are based on something is hidden from someone so that he doesn’t know, doesn’t remember, most often these are all unsuccessful attempts, that’s memory, of course it’s contextual, for example, when i remember something, i often don’t even remember exactly

what was said , but i remember where with what facial expression, this is such synesthesia, or i remember what it smelled like at that moment, let’s say, the smell of sleepers at the station, olfactory memory, it is considered one of the strongest, i remember that from childhood he remembers the smell of heated boxwood, the crimean smell, and he says: when i’m an old man now, i hear this smell , my mood immediately improves, memory is not information that can be presented like this in three pages, memory is the whole totality, this is god’s world as it appears every moment, but in its entirety, as a matter of fact,

this has always excited me, so i tried to describe it the way it comes, not as information, a report about something, but in all these, for example, if a child is lying in bed, then he sees drawings on the wallpaper, he drives with his finger on these drawings while his grandmother reads robinson cruz to him. everything in the world is connected, that’s what kharms talks about, remember, everyone on the tram doesn’t know how everyone is connected to each other, but we need to remember this, well, we heard a wonderful essay from the lips of evgeny vadolaskin, this is just a fragment from the novel, but i don’t want an essay, but this kind of gelertor thesis, vladimirovich, you asked about something a little different, this is how it is with consciousness.

yes, this is not knowledge, because, my two favorite examples, evgeniy borisovich pasternak, he told me twice that his father said that if the gospel had the power of mathematics, then there would be no evil in the world, well, because there is no a person, a believer, an unbeliever, an atheist, a buddhist, whatever, cannot say that he does not distinguish between good and evil in the gospel, well, it’s understandable, it ’s understandable, like 2:2, like a theorem, but nevertheless the world in evil, so we need something else the effort of identifying with you, i am for... for the rest of my life a phrase from the memoirs of alexei feolovich losyev, it is like this, i know it from memory, when i first learned that the sum of the angles of a triangle is equal to two right angles, i realized that from now on this truth mine, mine, and no one else will take it away from me, you see, this moment is missing, yes , newton’s law, it came to newton as an insight that he understood this at that moment, and things fell with the acceleration of free fall and before he formulated it, this device that we all have in our pockets, it accustoms us to something else, yes, that there is simply...' naked truth, memory, spied , and it’s as if you appropriated it, nothing of the kind, you need to make it your own, appropriate it

through a hyphen, but still, in your example with the gospels, it seems to me, another difference is that scientific knowledge, well, if you like , is violent, yes, i found out that 2.2, and if i argue with this, then maybe they will take me away, but only in kaschen, dostoevsky says twice two, there will be four besides me, not dostoevsky, i am an underground man, yes, yes, here is knowledge, let’s say... of yourself with the gospel truth, it requires a volitional choice, knowledge of the multiplication table, well, it requires, this is another will, but this thing sets us up that this effort requires almost nothing, yes, well, since i looked , i tell the students, what should you do 40 years ago if you don’t remember where the line of the poem came from, he tells me, go to the library, and that you’ll go up to the girl at the checkout and ask where the line came from, the stormy years went by, how can you find out, well by the way, you know, i'm talking about these here - i also wanted to talk about those who steal memory, because look, we started with the fact that

culture is a collective memory, yes, and a person is an individual memory, but what happens is that it may be too bold a generalization, although in essence it seems true to me, any information revolution, it seriously gives an increase in collective memory, begins the invention of writing, and printing, and always hits the individual, but the iliad arises... the need disappears, individual memory decreases, i was a classmate who knew evgeniy by heart from any moment, he could continue, we perceived him as a bowline hero already , although probably for the ancient greeks he had nothing to remember, but individual memory, well, we can’t do anything about it, yes , this is such an unsolvable story that collective memory with the help of that, it is somehow still, well, more or less unsolvable, because a person, of course , lives a short life, it takes him some period in order to turn on here in this buzzing collective creativity, yes

universal, so he gets an education, he turns on, turns on, he’s just turned on, he has to think about the eternal, so, well, yes , here’s the thing, personal memory , historical memory, in fact, a person is 90 percent formed by personal memory and uh personal experienced, here is historical memory, it enters into it like some small 10% of prehistory. first of all, memory is personal, personal, well, this is like some kind of preface, it is also connected with history, yes, because if in your personal memory enters dante, there, i don’t know,

the french revolution, like what you know about it, the gospel story, this, this is the meeting place. yes, in any case, individual and collective, yes, but this is something that ultimately becomes one’s own, it is so absorbed by a person that it passes, this must also be said about this, a special phenomenon when something passes from the sphere of the abstract knowledge into your personal history, i just remember myself, some things, they became facts of my life. let's say, the twists and turns with dickins' characters, it was me, and this is inseparable from me, this is what a person appropriates himself, masters, makes his own , this moves from the category of general historical memory to the category of personal, this is really, you know, just now a thought just occurred to me, maybe it’s quite

immature, but it seems to me that in a sense, collective memory or something that belongs to part of background knowledge, in a sense, can change faster than individual memory, maybe i’m wrong, but i just thought, that’s from our background here context, for example, ilf and petrov left there, well, here i am with the students, when i’m trying to say that i once said that your answers remind me of how shura balaganov, boykono monotonously recounted the contents of meteshna ochakova’s brochure, i thought that the answer would be friendly laughter, and the answer was such puzzled looks, what are you talking about, yes, it remained in my individual memory, that is, the collective in this sense changed faster, no, well, it’s just a large volume, because there are as many seconds in a day as and 2,000 years ago, yes, for us a lot of speakers are fighting, not only ilf petrov, but also from trifonov, for example, i don’t make any comparison between trifonov and ilf petrov, but also from galich, still from sgalich, but there is no person who does not have trifonov in his head, or makanina, well, here’s another one, when i tell students that this is, well

, a classic, well, an absolute classic of a certain time, vladimir semyonovichin, that’s not really my name. no, because, well, how are we accustomed to the fact that literature, art and our life in general exist according to the principle of the media, according to the principle of an informational occasion, what is remembered is what seems to catch you, as the younger generation says, and what doesn’t catch you goes away, yes, indeed, and this is such a serious story, well, some kind of unconditional classic, if i may say so, that’s all -it remains, for me, in a sense, this is still an example of greatness, or something of a work, yes, because sometimes it would be better not to remain, my famous question, i ask a student, is pushkin a genius? yes, why, i can’t say, yes, but just as you love pushkin, you can’t help but hate it, yes, i’m starting right away tell why zhenya could also have confidence, why i can’t live without him, yes, but something that is absolutized on the tablets is written down forcibly, it disappears, yes,

an absolutely amazing story, i sometimes read fragments of chagin, in public . texts by tvordovsky, zoshchenko and nikolai ivanovich. so, i see, no one laughs, no reaction , i say, the audience is quite young, and i say, raise your hand, whoever has read leni pechnik, not a single one, that is, i’m not saying that everyone should read it, but here we have it everyone knew, yes, but it was part of the language, here it was a part. but here there is absolutely a generation gap, maybe it’s not the worst thing, it’s not something that needs to be repeated day after night. lenin and the stove maker, but it shows how differently the generation is structured, what different experiences they have, well, this is the other side of accessibility, democracy, the notorious, yes,

because accessibility means absence, i once said in front of a large audience, well, let’s i'll say mandelstam's line , who can continue, continue, i don't even i uttered a line, and two words, enough to sulk, the audience stood up, as if i were taking a parade, i said papers on the table. let’s put it in, then it was, it’s not, well, these were people of my age, our age and beyond , but madelstein couldn’t be bought, couldn’t be gotten , couldn’t be read, but everyone knew it, now it ’s there, but there’s nothing on this disc, this is the most important thing, your thesis, i actually first heard it from you several years ago, when you said that this is universal accessibility of information and even knowledge of some of its status, it turns around, you just don’t need to get it, i really like theodor adorn’s phrase that in order to fully perceive the music, you still need to get to where it is performed, it’s terribly important, a symphony, there is no sound recording, there is no technical reproducibility according to benjamin, yes,

so if you want to hear a symphony, you must understand where it is performed once a year, and get there to the philharmonic in another city, then listen, now what we are doing, click-click, the ninth beethovina, and the first scriabin, but this is not completeness , this is lightness, which is false. and lightness is even something more, as i remember zanusi told me, who had not used a mobile phone for a long, long time, and he talked about some priest he knew, who had a dog barking on the call, he says, why, he says, well, this is a notification, here i am a person from the village, when someone came, a dog barked, and when excuse me, you are in the restroom and vivaldi, yes, and this is something like that, here well, what is this? like a cultural breakdown, some kind of combination is incompatible and one process and other things, i think, let’s joke so riskily, dear friends, well, we didn’t have time, of course, i think that i’ll have

to gather my thoughts again, i wanted to talk more about the memory of time, to continue the topic of forgetting a little, well, maybe be with your permission next time, and you know what i would like to end with, we are, in a sense, captive of pragmatism today, yes, i would like to ask you, i have an instrumental question, if... you think important memory training, can you advise something, here for this very training, i’m generally not the one who could advise regarding memory, but it seems to me that, that is, i heard, and i think that this is so, you need to learn poetry, so i say exactly this, they say that on in a foreign language it’s better, well, you can, in your own, less, less, but i’m against learning the word, you need to learn, you need to learn, and they just remember good poems, i live, lie on my heart, a national goal, well, russian literature

is poetry, yes, this is like the quintessence of language, any speech dies at the moment our utterances include you and me, here are the poems they are forever, yes, poems, they are generally a universal remedy for everything, likhachev said that during the blockades... when it’s -20 in the room, it’s impossible to read a book, everyone is lying under all the blankets , but he says, but they read poetry out loud, it could be done, and it saved, i agree, absolutely, poetry in russian and not in russian, not in russian, i agree with you, but this is a special charm, it’s still an effort, unless of course it’s your native second language, yes, that is, you understand in a special way what it is,

i really like it, the ancient greeks say, these are native languages, but you know, in this regard , what they used, the pythagoreans, not the pythagoreans, i do n’t know, when you’re already going to bed, going to bed, try to remember the day in all its details, in all in the smallest details, well, firstly, you immediately fall asleep, they say, if you practice, well, your memory really trains, thank you very much, dear friends, i really don’t want to part with you, but time is inexorable, but we still have memory. evgenia germanovicholan, dmitry petrovich bak.

today we gathered our thoughts about. in memory, hello, here is dmitry bak, host of a literary podcast, which is called in very important words, let them not speak, let them read, our guest today is theater and film actor and writer, veniamin smekhov. hello, benjamin, let's start, if you don't mind from the very beginning, this is how it all began, exactly for you, what was in the foreground, or what was in the beginning, and what then? so, i was born in moscow, a year before the start of the terrible war, my dad went to the front, already being a candidate of economic sciences, he was already

in charge of some sector in the main house of the soviet union, which was called gasplan of the ussr. my father is a scientist, and when his centenary was celebrated without him, it was at the current plekhanov academy, where dad taught for many years. and now they opened professor smekhov’s classroom. when i appear in plekhanovka, my middle grandson studied there, and i visited him, and we approached this audience, several teachers immediately reported that there was a rumor among students that if you pass this audience of smekhov, then this promises you good luck, well, this is a good reputation, this is a wonderful, yes, this is an ideal reputation, yeah.

but my father still went to the front in 1945, my family began, what my beloved mother was like, naturally, i had nothing else in the world next to me and do not have anything more sublime and beautiful and beloved, we left for evacuation to red key between chistopol and elabuga. understandable parts, yes, from the second year my mother was already forced to become a doctor, a doctor, as successful as all her life therapist, mother, and father appeared in the summer kindergarten with mother, in military uniform , even then he changed into civilian clothes, but i naturally didn’t recognize him, because throughout

the five... years of the war, my mother and i received letters, where dad drew me, that is, he imagined what you would be like, yes, yes, these are very touching, downright sentimental letters , they have been preserved, they have been preserved, they have been preserved, how cool it is, my little sister, uh-huh, tick, she made of it a whole book, yeah, so, in a word, dad showed up, and dad brought a bunch of gifts from germany, these... were toys, and dad brought poems from the front, like this until his death, until he was 97 years old, he knew many poems from pushkin to pleshcheev, copied by hand or in books, or this is important, as in poetry by heart, what poems he loved, you remembered, well, at least something by mayakovsky, pushkin, lermontov,

bryusov, kozma. prutkov, well, that’s enough, well, bryusov is not so banal, yes , it’s still such an original thing, to love bruce, for the new time, yes, but for tsvetaeva, for example, of course, of course, well, in moscow there is bryusov's house and it is included in our museum, of course, there is no doubt about it, as it seems to you, that's when you start reading poetry around, well, not on the stage, but somewhere at home, at the table, when people find out that you remember , i also remember, a lot of verse. not an actor, people perceive it with surprise or as something else, dima, when the theater on daganki was born, and i was born with it, i ran out of doubts about whether i was an actor, or whether i would go into literature , it was taganka and it was a poetic genre that

my beloved and i opened it, but maybe before moving on to that taganka, well , let’s just tell you about this time again, in recent years very close attention has been focused on this decade or fifteen years, yes, between 56. approximately how it looked from the inside , we know a set of, well, also such cliches, not cliches, well, such common opinions, yes, the spirit of freedom, as it was seen, i felt a fresh wind of hope, a fresh wind of hope, yes, i was already an independent adult guy, i had already canceled my dreams about teaching russian language and literature and uh, followed the lead of an inner voice, or how else to say the inner demon, the existence of which you know as a wonderful teacher at a theater

institute, we all followed the lead of some devil, well, socrates was executed for this, because he spoke to some kind of deinion, remember, with some kind of demon, that is, not only us, but for quite a long time already, well, this is a good devil , positive, and the main thing in our profession, this, of course, is who, for example, my older friend was amazing actor, oleg pavlovich tabakov, a clown, a clown with a capital c, the clownery tormented me, i was drawn to it, my insomnia tormented me, as mozart says, yes , well, this is more of a non-clownery, maybe irony, yes, probably so, and not quite, after all , namely acting - the one who knows how to pretend

, uh-huh, this is a word with a double meaning, of course, with negative and positive, acting, acting with one's face, yes, that is, not being oneself, pretending, pretending, imitating life. or reincarnate, but we will go aside, well, it’s time for the ataganka, here i am i entered what was then the best theater institute, the chukin school, under the young master vladimir etush, and then i can already remind those viewers who are also my readers, and this is a lot... i described how, after the end of the first year, he suggested that i go into mathematics , to get away from acting, that is, not even in a writer, in mathematics, he did not believe , but why in mathematics, well, this is how the word mathematician is rounded off, the concept is too

smart, i think, well, it’s impossible, an actor should not be, this i'm convinced that it is so, actor the head sometimes seems to outweigh, yes, that is, he should be all skin, gesture, again we go into those... dim, that means, yes , indeed, being a stupid person and an actor, well, is not the most interesting combination for me, so, and the actor is smart, well, my favorite actors are smaktunovsky, stegneev, oleg borisov, yuri nikulin, the most beautiful, of course, these are super actors, because there are wonderful actors. and beyond that, there was some case when marlon brondo in london asked laurence olivier, these are the two giants, well, young brondo, who

went through stanislavsky's school in new york , when asked how you do it all, he answered sir laurence olivier, a genius of all times, i am a representative of the school of experience of konstantin stanislavsky, that's what laurence olivier answered, and what swear words sound like in english , i don’t really know, well, it’s roughly clear, it doesn’t matter, well, yes , but when brondo asked him, how do you manage to do everything, he said, you have to be good at pretending, that’s all, look, because the popular opinion is not mine, that taganka is not very stanislavsky, maybe even even quite the opposite, yes or whatever, after all, this is what kind of theater it was, then , dmitry petrovich, you always find yourself in a complex topic that makes you tempted to go

aside, just talk about it, well, a little, well it’s still important to open this up, if the place says , there is a contrast, both the theater of experience and the theater of presentation, here the theater... experience is stanislavsky’s theater, the actor must penetrate inside the image, must shelter... himself, feel like this a person, there inside, to grow in oneself, what is there, uh-huh, and the theater of performance turned out to be stronger in modern times, uh-huh, and if only because one way or another, but in its best manifestations, it is a combination of experience and presentation, therefore brecht, therefore mayakovsky, therefore.

yes, to go from the internal to the external, this is stanislavsky, to go from the external to the internal, this is vakhtangov, stanislavsky’s favorite student, this is how they branched off from him, from the brilliant stanislavsky, vakhtangov towards fantastic realism, we will quote dostoevsky, yes, and mirholt, here in some direction of the theater. constructivism, theater, avant-garde, maybe, yes, mestavand, yeah, well, in general it’s an amazing time, again we won’t go away , but let’s say that it’s not a person, it’s the theater, there ’s haideburg, tairov, vakhtangov, stanislavsky, mirkhold, well, that’s all very close, and komissarsko, this is not too long ago, compared to how well you know the history of theaters, but what are you saying, i’m a spectator, i’m a teacher at the school of studios. but this is an amazing time, it was taganka who still

did not continue anything literally, an amateur’s judgment, but synthesized it all, so twisted, so tied that it hit, as my students say, they say, i got hit, that it hit millions of people , respecting the mode of the podcast lab, i’ll shorten and answer, i didn’t succeed at the very beginning, i graduated with honors, at first, for the second year, i was, as they call it, a partial student, a volunteer student, but in the middle of the second year, etuzh demanded that i return, and i and sasha sbruev, my classmate, who was also deprived of certificates after the first year, were also too smart, yes, probably not, something something else, everyone, well, actually everyone was too smart and

you and i, the shchukin school ends, i choose not only according to my taste, but according to the taste of that new russian literature, prose, which i endlessly loved, the opening of the magazine youth, the appearance anatoly gladilin, vasily aksenov, and binge. i read new prose, young prose, they said then, yes, i’m young, i’m failing, in my opinion, and there, one way or another, i heard a call to leave moscow, because moscow is not russia, it’s the capital, but to go to where the real one breathes, that is, all russian literature between two calls, out of moscow, or to moscow moscow, i just came up with this, but in my opinion it’s not bad, give him a brief description, professional qualities,

good reaction, brilliant speaks german, i was born in a ural village, i’m from a christian family, arrogantly, killed the colonel and the mayor, now i will kill a colonel every day, the elimination of the kokh is of great political importance, is it worth risking some valuable agent for the sake of eliminating the kokh? based on real events, a real intelligence officer must be ready for anything on the razor's edge. the premiere of the multi-part film is soon on the first. he is

the enemy, you fell in love with him like a cat gets pleasure. a traveler coming to venice is more inclined to see his expectations than the city as it is. in the eighties of the century, the carnival suddenly revived on its own. a silent or screaming crowd in a square is always ready to turn the world upside down if the crowd doesn’t... want something, a carnival is impossible, the phenomenon of a mask is difficult to understand, using a mask is a desire to change, hide, become someone else, sometimes. people get the crazy idea that there is no taboo anymore, that energy and some kind of action are not observed here, not even close, and it seems to me that the russians could breathe a new spirit here, confused masks roam the venetian squares and streets, but this is nothing more than the shadow of a carnival, why

wear a mask if you are not able to give up yourself. matador, venice, yes on friday on the first. we continue, and i remind you that our guest today is theater and film actor and writer venyamin borisovich smekhov. veniamin borivich, maybe maybe you still read something clever. now i will finish what i started, which means i left, of my own free will i went to the volga , kuibysh, samara, it lasted me for a year, in a year i went through a gigantic school of experience, nine performances in which i participated, three main roles , at the same time television, radio, skit, something else, in a year there was , damn, what a new thing in my destiny, and he was nearby, without him

nothing happy would have happened, nikolai zasukhin, a great artist, a great actor, and me i saw... how this man works, he a front-line soldier, he came from the war, young, wonderful, a miracle actor, in general, he was my first real teacher after etush, and then i returned to moscow because of nostalgia for my hometown, nostalgia ate me up about this i wrote a story on the way to moscow, the story was given by my teacher... whom you probably knew, yuri borisovich borev, of course, gave his youth to a magazine, they wanted to publish my youth story, a story about a young man who went to the volga and from there returns to moscow, here

everything, and there, of course, zasukhin is one of the main characters, this story was not published , thank god, but the novel continued for life and somehow to live, then, which later became the taganka theater, a year later yuri lyubimov came to this theater , with him are the eight main characters of a kind man from sizuan, the brilliant graduate school of i... the first director's masterpiece, described in all the theatrical anthologies of the mirabniks, of course, of course, well, well, i didn’t know my fate, but i had already worked in drama and comedy and was planning to leave there too, already go to

literature, firmly all the time some kind of fork in you then into literature all the time into literature, as is the norm for an artist, for a normal person with pasternak’s refusal of music, refusal of philosophy, yes, without drawing parallels, but something i keep saying this, not for the first time, he never parted with the word, he never parted with the word, but the music beckoned him, humble, remember, everything, of course, you and i remember this, scriabin, where can i go from the steps of my deity, here, here, well, amazingly, around you, so, appeared, everything, lyubimov, around you, at first there was no one, at first there was a kind man from sizuan, and lyubimov, reorganized the theater, there were not many actors left from the previous theater in whom he believed, including

three, young, still smirnov, all volotsova. here i am, well, and some other group of actors, we connected with him and his heroes, a kind man, and gave birth to this performance, a kind man and sizuana, already on the stage of the theater opposite the taganskoe metro, the theater was called very stupidly, dramas and comedies, we called it trauma and comedy, of course, everything was wonderful. theater was born and life was born at 24, now it’s 7:24 , like yes, yes, around the clock, that means, but... we have such a life, like this, like this, this is how life began, it was necessary after this

gigantic success, it is impossible to perform a play every day, but they played, say, 2 days later on the third, there were some two performances left from the previous repertoire, especially a new performance, it was the debut of pyotr naumnich fomenko, the microdistrict, the microdistrict and himself... pomenko, the man extraordinary attractiveness, a brilliant person theatrical art, became my god in the theater, this is the most beloved creature in culture, if we needed to go somewhere with my beloved wife and your friend, galina aksenova, we had to go somewhere, i called fomenko, i say, bless,

he says, i glorify, let’s expand the vessels and narrow them at once, long live the muses, let the mind hide, wonderful, wonderful, well, our interlocutors remember, of course, pushkin’s original, there are no vessels there, and the mind there, on the contrary, does not hide, but appears, but - so, my soul remained, my brains, not i know, my stupidity, after all... kept the name closest to my heart, this is vladimir mayakovsky, and i am very glad that i came to visit you, dmitry petrovich, because uh, the life of my, let's say, last memory performance mayakovsky began before your eyes, yes, absolutely correctly, in rome, it was a time, it was some amazing family of a grandiose artist who was in love, an italian, who was in love with maykovsky, and came up with the book bug,

illustrations for all the scenes, the bug maikovsky, and his wife larisa, a ballerina from astrakhan theater, who wanted to arrange a grand presentation of her husband’s book, but so that the russian word would be heard, that’s it, they found my glasha, galina gennadievna, she said: “well, of course, we can come, and venya will read maykovsky, you can wake him up, he’s always can read mayakovsky, but, he’d better come up with a play, and i came up with a play for three.” and here you are, masha matveeva, dima vysotsky and i, in rome, after the presentation of a wonderful book, bug, we. we are playing for the first time the performance of aksenov's flute-spine

in fact, the director of the play, she is completely merciless in theaters, exactly here theaters, well, how can i say this, at the start, this is zero directing, and theaters are already in full swing, definitely a director, this will be your mo, today, this is the formula that i.. ... attaches very great importance, well, this is known, well, here is the performance, russian emigrants are sitting in the hall, well then, yes, already russians, yes, russian journalists, guests, a lot of russian-hearing, russian-speaking people, people in love with maikovsky, the credits are rolling on italian and so on, you were, you were one of the dear guests: