[000:00:00;00] i understood correctly when we stop where we who can understand feel it - without being there, but when you from the outside are trying to find some kind of dramaturgy in order to talk about ballet so that, well, roughly speaking, it is interesting, it is very difficult , i understand very well those people who take on the theme of ballet and look for this very dramaturgy in it, because the viewer needs something to watch, and here, i think that maybe even ivan alexandrovich will support me. in our art, dramaturgy, it is within our cause, because this is a huge overcoming, but this is a huge overcoming of oneself, how to make sure that the audience is connected to this, you probably need to be, lvomovich, fat and do those same monologues from anna karenina or andrei bolkonsky, for this , to understand, yes, what happens inside you when

you have to overcome it yourself, and i, for example, play... a performance, my father marepa, and going through this story, the same one with my father, and for this we perform performances used my father's diaries, and we took the diaries this preparation for the premiere of the ballet spartacus, that is, strictly speaking, this is the very dramaturgy when the artist goes to his olympic goal, i must say that for a ballet artist there is the difficulty of being an olympian, he has several olympic games in his life, yes. and he must overcome this several times in his life, but for a ballet artist, every performance is the olympic games, but a ballet artist never ceases to be a husband, a simple person, a person who wants to have friends, children, but with this burden is not relieved, every time before a performance, like one like spartak, for example, yes, the artist must be an olympian, he must live a secluded life, he cannot

afford to go, go on a visit, drink beer, please forgive me, in the evening, or or to eat, the fact that he doesn’t need it the next day for his work, and this already requires his own, this is his own organization, so this dramaturgy, it’s inside, you know, it seems to me that gilzalisovna touched on a very important topic and important aspect. actually in fact, people of art do not always like to talk about what they feel, what they sense, how they themselves understand art, ballet probably cannot... exist without music, that’s why we are here together today, as if complementing each other, but here is the feeling, first of all, i will become attached to the idea voiced that overcoming complexity, overcoming physical complexity, overcoming some physical laws, that is , in fact, a person, be it a musician or a dancer, must soar above, only

by soaring, overcoming everything that here it gets in the way us, in order to rise from complexity to art, from simple performance , to real art, then we get an impression, then we understand what this composition is about, what this dance is about, i can’t say that i’ve been drawn to it since childhood to ballet or understood it, no, probably not, but the older i get, i stop and see some examples, i see some performances that tell me how expressive dance can be, incredibly expressive and cinematic maybe ballet, that is the impression from seeing a ballet can be no less than from some blockbuster, they say, well, it really is a work of art, and of course, the

same can be said about music, in principle, rachmaninov can be played on stage endlessly with an orchestra, with a conductor, well in general, in the old fashioned way, and this happens again and again, but people appear who begin to experiment so that, if you are talking about akhmaninov, then we really experimented, took the neural network as a tool in order to, uh, do rachmaninov in the year of his 150th birthday, part... of our concert, part of our symphonic performance, talk to him, find out with the help of the neural network, and so that he answers certain questions, so that he answers with this or that composer, that is, we do rachmaninov, we bring him back to us and make him one of us, it is very important for people to feel the person, the author, who is behind this music, and modern technologies

help us communicate, show composers of the past, that’s how living people, talented people, revive maybe in general anyone, but in general i was sitting like this, now i was thinking whether everyone... is generally suitable for being treated like this, i would say so, that’s what you think, it seems to me that now is the time, maybe maybe i’m continuing ivan aleksandrovich’s thought, it seems to me that now is the time when, alas, the viewer is needed, you need to somehow really achieve it, and you need to achieve it in order to sell tickets to earn money, and you need to achieve it in order , in order to - in order to save him, you know, to heal him. to heal, so here is the search for these ways to in order to catch the viewer, it seems to me that in this sense we are probably, but these our searches are united, are all methods good in finding a viewer, first of all, they must be

sincere, come from the heart, indeed, from the love of art , from the love of that music or the idea that you are currently working on, if your thoughts are pure, then in any case , people, people feel it somehow, this is an exchange, an exchange of energies that happens during any concert, it really exists because playing in an empty hall, just like we played in a pandemic - this is a completely special, it can be a difficult feeling , i can’t imagine how to dance in an empty hall, it could be even more difficult, probably, if we touch on the mystical side of the issue, it seems to me that artificial intelligence is now or all this technology simply makes it possible for the mass audience to understand in what language, uh, people of art actually talk to eternity, because it

seems to me that this is a contact with eternity, there is some kind of divine, divine yes, and maybe divine no, maybe so, you know, as for music , it seems to me that despite... the absence of any really signboards of the musical court, nevertheless, i think that everyone is truly a musician , real musicians, people who truly understand music, feel, know music, we can say what the composer would agree with, what he would not agree with, and we perfectly understand and know that well, yes, let people live very they've been gone for a long time, however, i'll tell you, which is quite creative... it would be quicker to classify jagan sebastin bach, who invested huge amounts of money in the development of ordering new instruments on his order, a lot of things to do, and leonardo da vinci can be called creative industries, almonosov

can be called, that is, that is, what, what is the creative industry, creative, creative people, people who don’t invent, because today from 12:15 to 12:30 i invent something, that’s not what’s happening. but on the other hand, do you remember this joke i really like when two people met composer and one asks the other how you are doing, he says: well, something like this, he says, well, i come from about 7:00 until there until 12 or until 6 pm, i mean, i’m studying, where is the inspiration, he says, well, i’ve somehow gotten used to it over the years, it’s approaching about this time, i may have said it poorly, sorry, but the meaning is, well, i ’ll still introduce an element into this, in general, so cynical... in the next year, people are already waiting for something else to happen, here like it or not, from

9 to 18, please, first of all these people, we ourselves are owls, here i am, in my own way, we come up with things so that we ourselves can live interestingly, i guess. ilza and ivan, they are here not only because they are wonderful people together, but because recently at the zaryady venue , in fact, there was an event that the ilzas are involved in, the russian ballet forever project, and this also unites people who unite on one platform within the framework of the implementation of some projects, and it seems to me that this is important, that there are still some joint plans ahead, well, i must say, raman, that this is our project. because this project was created with the support of the presidential fund for cultural initiatives and the greatest gratitude to our president for these opportunities, and this is simply incredible, you know, our project was born

when the words were first heard that there was a ban on russian culture, so now somehow it’s all gone, we somehow even get ironic about this topic , naturally, yes, but yes, it was very, very alive, and so this project was born, russian ballet forever, first of all, to support those ballet dancers who, so that they do not feel discriminated against, they cannot dance on the stages of the grand opera and coven garden, yes, but so that they understand that we have many wonderful opera houses and that it is possible, somehow, for an artist who serves in a corpse, what -even in a big theater and even in a good position, he always lacks some kind of this freedom, where he could - come and dance some kind of i don’t know, his own repertoire, in addition to the theater, yes, where he could somehow express yourself and

even your own theatrical repertoire at the end. to our theater even more, and so this project was born, but it seems to me that the most valuable thing was this laboratory that existed throughout the whole year, when we selected 12 personnel through a competitive selection, premiere, premiere, wow, example, example, which just took place on the stage of the charging hall and ... this laboratory was headed by elena bogdanovich, an amazing master, choreographer, in fact, these 12 numbers, this was what was created inside our laboratory, it was important for us to show not that that's what they are they stated that it was like some kind of stamp , yes, it was important for me that their thoughts were clear, how they listen to music, how they broadcast their own author’s choreographic style, that’s what i was working on with elena bogdanov. in fact, we have been working this year, what will happen to the project

next? we want to develop it, we are already negotiating with theaters and so that, because it became clear that the choreographers really lacked internal communication, they said, oh, now, now, now, when we saw each other, when we already understood the meaning behind what, why, in fact, we suffered so much, you tormented us so much all this year, now we would like some kind of internal communication, and we realized that this communication must exist, will it be in moscow, will it ... somewhere we are now looking for a platform, it became clear to us that we need to experiment not only by letting them into the experiment, not only by modern choreography, but also by thinking in classical images, because there is also a great interest in reviving the classics and there is a need this is you you know, it would seem, well, classic, it’s so, it’s so simple, but what could be simpler, the same movements, the same seven notes, the same... yes, speaking, tamarasque,

fi, glisade assembly , you see, here’s dore mythal si, yes, but do it musically, do it in such a way that when you look , for example, the traffic rules from the sleeping beauty, this is exactly what, for example, well, really, the five-piece remains, then you understand, oh my god, it's so simple, it's so musical, there 's syncopation here, there's a little bit here, well, it's so... how expressive, you need to try, and this also needs to be done, and young people need to be taught this, jerezona, help the investigation, don’t go to jail, you must learn to live with who you are, i don’t have a single clue left, so i lost , mosgaz is cherkasov’s latest case, there is news on your case, there is, tomorrow after the program time, on the first,

bourbon stir. pavel andreevich koltsov, adjutant commander, yuri solomin, man, legend, star of our cinema, artistic director of almost the most classic in the country of the small theater, he does not consider himself a great artist, just an old one, one of the old artists of the small theater, so he just said that he is not a great actor, he is a great russian actor, he has hardly appeared in the last few years. all these years we were waiting for him for an interview, what a miracle, we waited for an invitation to the theater square, we rearranged everything , we agreed for about 30 minutes, but the people ’s artist did not let us go for 3 hours, the conversation turned out to be confessional, i have no enemies, i did no harm to anyone , the favorite of all women soviet union, and such a person, very simple, sweet, charming, our exclusive unique... footage taken a few days before the emergency hospitalization of yuri

solomin. exclusive with dmitry borisov, premiere on saturday on the first. the creative industry podcast is on air and in the studio roman karmanov, elena kiper, our guests are ilza liepa and ivan rudin. so, well, i can’t help but ask a question that is constantly hanging in the air. here we have two absolutely creative ones, implemented many times. people in general and who could stay in general, continue to be creative people, but you have to be managers in general of this process, why is this... an administrative role has appeared in your life, tell me, actually, administering creative projects, i started in my first year at the moscow conservatory , when my festival appeared, which is 23 years old this year, in fact, this is administration for the sake of creativity, for the sake of the fact that you know that what you want to do,

no one will build this process better than you, in principle, this is what i do in chargers are indeed - we all processes are subordinated to a creative task, the creative concept of charge is an important function, this is one of the leading concert venues not just in moscow, in the country, we must provide the opportunity to daily come into contact with high art, with culture, on the one hand, with a variety of projects, we have a grandiose festival ahead of us in december, the second winter music festival zaryadiya. and we made one of the central themes just dance, and for me dance, i want to get to know it better myself , to know what ilza marisovna said on about the choreography of pitipa, it is absolutely said, because everything that seems simple is not so, how simple

mozart is, and what could be simpler than pushkin, you don’t want to, that means about roofs, about pipes, about preparation, oh no, indeed, all these processes are for the sake of making the coming artists feel comfortable, comfortable, and the first thing i started with when i came to the hall was to create conditions, comfortable conditions for the artists to be there, so that everything that happens inside the hall, contributed to the achievement of the highest creative result, so that nothing would interfere with this separation from the ground from which i began. ivan, please tell me, on stage the charge can only sound... classical authors or interpretations or there may be new authors who create, there are new authors who create ballet, i haven’t worked with contemporary composers, so no, well, if you read tartarian, koncheli to modern composers, well, yes, it’s just a question

of terminology on the one hand, on the other on the other hand, we just literally had three concerts of contemporary music, contemporary academic music , of course, in this case i’m not talking about show business, uh, just the other day there were premieres, we constantly have musical premieres within at the same winter festival we will have a premiere of the wonderful composer sergei akhunov, together, by the way, with the ballet, it will be a composition called liturgy, we are trying to give the opportunity for new composers to perform, in particular our year as a teacher is coming to an end and we are purely calendar-wise, so to speak, but naturally, our mentors are those who instilled in us a lot of good things. let’s talk about your mentors, who had an impact on your life? well, you see, here we are, united by your program, and i think that one of the things that unites us is, of course,

the creative family that is behind us, this, ivan aleksandrovich also absolutely feels this, is our father. .. when i was little , my brother andr and i often told us: remember that you are children of liepa, and the fact that saying goodbye to someone will not be forgiven to you, in this situation he meant precisely the same burden of responsibility, and which my brother and i certainly still bear. ivan, i studied with wonderful teachers, first of all, they, they taught me a lot, of course, i agree about some kind of genetic cultural. luggage, which is, well, of course, without teachers, luggage could have remained at the station, so i am very grateful to my teachers, in general there were a lot of them, although i was walking without changing teachers often, at school i studied with tatyana zelikman, at the time when

i studied, i think that she was one of the best teachers and is now in the world, then at the moscow conservatory, then i studied for... also under the wonderful musician evgeniy korolev in germany, graduated from the st. petersburg conservatory, as a conductor, symphonist, but to all these people who are not just also, in a single person, but also representatives of some kind of cultural baggage, knowledge, experience, from one to another, and so in principle it is possible trace the line, for example, the pianist line, right up to beethoven, it seems to me, and in fact, like fundamental science, not a single next discovery or law destroys everything that was done before, also in art itself, every next step is good in a sense, stands on the shoulders, continues, develops the experience of previous generations , to which we are certainly grateful, should parents command the choice of their

children, or insist on this choice or push for this choice, and i think that here, rather, rather rather, the view of a man and women, i think that someone else will suit us, i don’t know, maybe the mother should push, let alone push, but the mother can see the child more closely, what is in him, what abilities he has, and the father can support , in principle, in my life it was so that my father did not study with me on any instrument, yes, and he did not study with me on the royal, he did not study with the conductor, nevertheless , it was always somehow invisible, of course, i learned a lot from him i learned at concerts, first of all, that’s why i’m such a person who... took me to the gnechensk school, who led me to a teacher and naturally there was a mother, but as a musician i knew for sure that i would not

want my children to be musicians, because this profession is very difficult, very difficult, there is a risk of failure , as i think in ballet, it is huge, and as far as it is rational and reasonable, i think it is possible... because this profession requires uh, self-sacrifice, without a guarantee of any success, there is nothing, a formula for success, yes, my children studied in a simple children's music school, on the piano, and they definitely didn’t become musicians anymore, but i don’t feel any pity for this , on the contrary, i’m glad for them that they know what music is, but they go their own way, that is, you seem to be in the direction, you tried to just be ? ilsa, what do you think, we need to push children, so to speak, well, it’s so simple, if

we now abstract from what we are talking about, that pushing our personal, our own children towards our profession, this is of course one question, but then that children need to be pushed and forced to do the right, good things, this is certainly a child cannot, he should not be allowed into this in the sea of ​​life, when he still does not understand what is good, what is bad, that there is a moment of overcoming, what you don’t like today, and tomorrow you will overcome yourself, suddenly you will fall in love with it, fall in love again not so that maybe you can become a musician or a dancer, but so that it just becomes a part of your life, and so that you understand both music and - children get into ballet when they don’t quite understand it yet, it seems to me, in general...

no, i started studying around six, but already i went to kolo when i was 10 years old, and went straight to the colo with pleasure right away, but no, not right away , but for me it was 13 years old, yes, when suddenly i realized that i absolutely loved this, that i already loved this job, i love this work, but it wasn’t at 10 and it wasn’t at six, of course, but success didn’t come immediately either. i’m so, you know, well, i, this is a very interesting question , i’m eternally grateful to my father, my mother, for the fact that in our family, despite the fact that there was such an outstanding artist-father, it never sounded like there was a need to be the first thing is to be a star, yes, in this profession, it’s amazing, i’m eternally grateful to them for this, and we heard, try, overcome yourself, be patient, work, my father endlessly told us to... jump, you have to jump, to spin, you have to spin, to dance, you have to dance , that is, what are you, if

you want to overcome yourself, but he never told us, be the first, so when we even had small steps, because you don’t immediately make some huge achievements, and that’s not it, that he was there, why were you dancing there, some little guy, well, then, come on, show me what you are capable of, no, it was so great that you were in this, he appreciated you in this small overcoming. yes in this, so this moment of success, it seems to me that they should not be burdened with our children, yes, that you should be, yes, it is clear that there is a surname behind you, but the surname is precisely in that relation to yours, you do your best effort, no matter what you do, you read, you write essays on literature, you do something else, you make every effort, and then god will give you who you will put you on your place, it is no longer yours, not your competence. it seems to me that this is the century of our successful success, radio success, it turns out that we have a lot of

people who talk about success, as if in principle having no right to it. on the one hand, on the other hand, people who have the right to this, they don’t talk about it, because well, well, success, well, yes, you have to work a lot and so on, so it seems to me that this is also some kind of topic for a project when, after all, people are famous, have already achieved, and despite, in many ways, they they come out and talk about success, about the present, what it should look like, how to perceive this success, whether it is necessary to strive for it. there is a lot of fake success of this present now, so let’s say, yes , fake, but how to perceive real success is a big question, we need to think about it, we need to think about it, i know two good presenters who can think about it, we continue creative

industry podcast on channel one, with you elena kiper, roman karmanov. ilsa liepa and ivan rudin ivan says that ars longo appeared in the first year, in general projects arise in my opinion, but we supported a lot of projects, more than 6,000, 65,000 were submitted to us, at the heart of each project there is a lack of something, well, a lack of opportunities, a shortage, a lack of some kind of resources, a shortage , well, in general, in any case, this is a lack, what a person lacks when he starts his own festival in his first year, this is wonderful, absolutely very accurate. remark, and you are absolutely right, in fact, i came up with the festival itself in 2000, when i graduated from the gnechesk school, last class graduation, i decided that if i entered the conservatory, i would do a festival there, wow, and uh, how much time has passed, it was invented in june, having entered the conservatory, i really started

in september, in october, i started preparation, it took 9 months, it was an oath to yourself, a challenge yes, of course there was a shortage, well, at that time in general the situation was so difficult, it was different from the amount when there is such a project, such a project, such a project , such a project, then these projects did not exist, everything was a little bit in a state of such weightlessness, therefore, my temperament and my creativity told me not to turn to those projects that already existed then, yes, but to create my own, and i am very glad, that the arongo festival is really 23 years later, which has come all the way from a student initiative, it was created primarily as a festival then for the young and for the young, we gathered, played music with our peers, with our classmates, with older guys, but already

then the student initiative was simply supported by great adult musicians who sometimes joined us in the chamber ensemble, for me it was also an opportunity and joy to play music with them, it was a great experience to be on the same stage in the same chamber ensemble with natalia gutman, then , who supported us or collaborated with other musicians, yuri bashmet supported us, they just played with us in chamber ensembles, this is truly absolutely invaluable, well , there is no other way to say it, a huge musical experience. ilsa, well, in the region. ballet, it seems to me, i could be wrong, of course, but in general there are also directions that could , so to speak, achieve certain results by implementing certain projects, or this is a conservative sphere, which in general is not very much such an intervention,

loves, well, maybe i’ll say that the result... of our project premier-premier, for me could be a search for finding personalities who are capable of generating a large, programmatic, serious performance for - a serious opera theater, but i still came from the walls of the bolshoi theater, so i still think in these categories, and i understand that the era of grigorovich has passed, yes, who gave the bolshoi... theater outstanding performances, it’s very good that they exist, this is some kind of second layer of classics, already a big theater, created for this troupe, and it’s good that they are preserved, because indeed, these are unsurpassed glass pieces that were in tune with the time, spartacus, ivan the terrible, but now is the time, what a time

now, is it really not now, thoughts, personalities, who are ready to give birth to that theme, performance, some kind of name, i don’t know, so when we started with our choreographers, we started everything with a big conversation, we talked with each of them for several hours and you asked the question, what do you want to stage, which? thoughts, what a dream there is, yes, it is very difficult, there is, there is, of course, yes, thoughts, but here they need a team, maybe we will be the result, yes, if our project lives, maybe we will become the very team that will help them, and if we say about the same era of nikolaevich grigorovich, he was not alone, but there, by the force of time , he formed a team, simone versolat for an outstanding artist and playwright at the same time, yes, stockings would be. that is, this is such a powerful team, yes, we really want to create such a batch of thoughts around these young people so that

they are able to give birth to a big serious performance, then a modern composer will be needed, yes, then it will be necessary, as if serious, such powerful artillery, so that, after all, performances of our time are created, densely there's a smell of revolution, and what about special effects in ballet? perhaps, that is, classical ballet, it seems, yes, but suddenly something takes off, and the faun was not such a special effect, well, you know, the faun was the destroyer of special effects, because when those very glass performances were on, marus ivanovich petipa existed such a set designer, andrei roller, he was a fantastic master of creating special effects, and what we see now , i don’t know in musicals, is a phantom... for an opera, yes, when a chandelier flies or something else incredible collapses, then there this is even in to a greater extent, it was the stage of the opera house, there were billy fountains, there were castles collapsing , these were some kind of miracles, and people, including

the ballet performance, came to look at some incredible innovations and so everything was just after the full praise , a performance created in the enterprise of sergei pavlovich dyagelev, he seemed to be destroying it and it would seem that nothing is needed here , there is only... the dancer’s body, even practically without a costume, and today is a revolution, tomorrow is a tradition, so in general, we at the next turn, we are yet again, now we see in different areas, in cinema, in the theater, in general in concert halls and so on, we see these sprouts of something new breaking through and you see soon, if i can add more, it just may seem from the outside that musicians or dancers are some kind of closed community, nothing like that, it’s just that sometimes such an impression can arise , because in fact, this is a profession that requires a lot of work, like sports, also high achievements, if you didn’t take up ballet or music in early childhood ,

in any case, in early childhood, you will not be able to achieve any success, and it may seem from the outside that there seems to be nothing easier: to come up, press something on the piano, or stand in this or that position in ballet, it seems , but in order to do this for real, it’s really a lot of work , but in fact it’s very innovative... in general ostrovinsky, after all, this is still the same dyagenev who actually brought russian ballet to france, and who raised and returned ballet to some kind of incredible music for the ballet was created great, the effects are amazing, well, i don’t know, i say this carefully, the park ballet, it was all done to the music of mozart, but in a completely different way. it makes a huge impression, a huge impression, so the music can be classical music, a special effect , in my opinion, this is the effect of beethovin’s fifth symphony or beethovin’s ninth symphony

, no less than in a movie some kind of jump on an airplane, or maybe be more if all musicians are truly one, they themselves believe in this and want to play it sincerely, unfortunately we have to end the broadcast... there was a creative industry podcast on channel one, with you were elena kiper, producer and composer, video director, and roman karmanov, general director of the presidential fund cultural initiatives and a top manager , we were visiting, today we were visiting the brilliant ballerina, people's artist of the russian federation ilza liepa, and ivan rudin, conductor, director of the zaryadiya concert hall, pianist, wonderful, completely honored artist russian federation, thank you for

coming. shared, thank you, this podcast is a must read, i am glaya napatnikova, my guest is the writer andrei gelasimov and we will discuss nikolai leskov, his short stories, andrei, leskov is such a controversial author, on the one hand he is a classic, on the other hand he is a little lost against the background of his contemporaries, tolstoy, dostoevsky, we are talking about the 19th century, this is what determines his certainness. a strange place, yes, it seems to be in parallel with the main classics, but at the same time time and by many, it is underestimated, how to explain this? well, this can be explained simply by the feast of literature of the 19th century, it so happened that this art was socially in demand, so much so that very large, serious, talented people came to this specialty, and the competition was very high throughout the 19th century and incomparable with that what we had in... well

, in the twentieth, other entertainment appeared, well, cinema, radio, entertainment was more understandable for the crowd, and than literature, the share of literature in, say, culture entertainment was one hundred percent, well, the theater could somehow compete, but still literature was the most important of the arts, well , because literature still spreads everywhere, theater is for those who are present in the hall, yes, but for literature anyone can read this, although you know, so long ago in pyatigorsk i was in the lermonov museum and there they showed me the first edition of the hero of our time, guess what the circulation was that made him super famous, maybe 100 copies, something like that then, 300, i guessed right, i was very surprised, then i thought, 300 copies, and a person becomes famous throughout the st. petersburg society, in general throughout russia, well, these were the most important people in st. petersburg society, probably, and they created this opinion, what kind of reputation did liskov have, what was

literary... modern society has an opinion about him, i know that he survived persecution, you know, it’s worth talking about this persecution separately, because yes, from his own memories, from his letters to his publishers, we absolutely we definitely see that he was persecuted, in particular at the beginning of his career, because he spoke out against the nihilists, blaming them for some fires there, was too conservative, yes, he was too conservative for the liberal and radical public, and as he claims, he subjected himself to attacks because of which he could not even publish anywhere for 2 or 3 years, and so on and so forth, but in one of the essays by salttykov shchedrin, i was surprised to read that all the attacks were by mr. stebnitsky, this was his pseudonym liskova, he was liskov stebnitski, all the attacks invented by mr. stebnitsky, because no one is interested in him, no one attacked him, and he is the elusive joe, yes, who no one needs anyway, he himself called this fire on himself and after it he actively...

defended himself very much, tolstoy , uh, spoke positively about liskov’s later works, well, they were friends of tolstoy and liskov, they even met in 1987, 8 years before leskov’s death, and liskov himself, again, according to his testimony, yes, because which is very interesting when you read the works literary scholars, they say: according to the testimony of liskov, tolstoy very much praised this and that text of his, there is a wonderful aza, for example, yes, a hagiography about early christianity. i didn’t doubt anything, i called maya kucherskaya, she is a great specialist in liskov, and that means, i say, maya, but tolstoy’s letters have been preserved, in which he praises leskov for this thing, because liskov says that tolstoy praised him in a letter to someone then to another, he says, i say, this letter has been preserved, maya says, no, there is no such letter, i say, but wouldn’t he have saved tolstoy’s letter in which he is praised by a great genius, that is, i would have kept it, no, probably such a letter simply did not exist. we don’t know,

then i asked maya: could he have lied? she says such a sin was introduced behind him. okay, well, liskov is probably best known for the story lady magbit of the tsensk district. yes, including. oh, this is a story, uh, that is, it is emphasized, yes, by the author, that this novel has a documentary basis, that is, this is a case that really happened about a rich housewife who had an affair with her employee. together with they killed the whole family on the way to prison, to the camp, this lover, with whom so many crimes were committed, cheats on her, she throws herself into the water and drowns her rival, that is, such a cool russian female character is described, with a cry , moreover, if you don’t get to anyone, so don’t get to anyone, this cry , actually from lady magayet of the misssky district , leskov is also famous for his story lefty, based on the anecdote that the british...

forged and steel the blade, our tula masters they shod this flea and sent it back to them, well, in general, liskov is rather known for small forms , legends, tales, some kind of documentary, what he had in general with genres, what kind of relationship he had with literary genres, everything is not so simple here, yes? i think he had serious problems with the large form, because he, but even if we look at his rather scandalous novel, there is nowhere or on knives, he... has difficulty maintaining the composition, by the way, his contemporaries also told him about this , dostoevsky reproached the novel with knives, precisely for this incomprehensibility, incomprehensibility of the design, and let’s say, about the enchanted wanderer, many critics said there is no center in it, meaning precisely errors in the composition, but liskov himself said that the rounded plot was funny to him and that’s the center of attention, that is, the composition of the novel itself to him was for some reason disgusting, you can say so, but it is quite possible that he simply could not

cope with the novel form, often by the way the writer lacks novelistic breath, well , that is, what is this, novelistic breathing is when you run over a very long distance, like a stayer, a stayer, yes, you are running 10.20,000 m. this is not the case of liskovo, because he could well make a multi-page voluminous work, but it seems to me that he still did not have the ability to build a story so that it would all time kept the reader's interest, let's say, just the composition, but this is the beginning, middle and end. yes, there is a beginning, a middle and an end, but the point is that they must be connected by cause-and-effect relationships, they must be conditioned by one another, and the subsequent part must flow organically from previous, this is actually working with the composition, this is where nikolai semyonovich had problems, in particular in the enchanted wanderer, which, as i repeat once again, many of his contemporaries said, is just a set of short stories that are strung on one thread, they are one of the other doesn’t follow, but this is very modern, this is a very modern form, just like some of his

first-person narratives, there in the same hare remise, there’s a big monologue of the hero, this is well, autofiction, this one is novelistic form, it seems to me, now - it looks very modern, in tune, yes , in tune with the modern form, i am absolutely sure that this modern form comes precisely from the inability to make a good composition, but here you are scolding liskov, well, let’s praise him and so little they pay attention to him, i’m now trying to analyze just the reasons why he didn’t write a big book , that is, let’s say, czechs, who was very worried that he couldn’t do a big thing, he didn’t hide it, he said, in short, sister, what does not mean at all that he praised himself, he