[000:00:00;00] several times in his life he must overcome this, and for a ballet artist, every performance is the olympic games, but a ballet artist does not cease to be a husband, a simple person, a person who wants to have friends, children, but this burden is not removed from him, every once before a performance, such as 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, excuse me, please, in the evening, or or eat, then that he doesn't have it he needs the next day for his work, and this already requires him, actually, this is his own organization, so this drama, it’s inside, you know , it seems to me that yuza marisovna touched on a very important topic and an important aspect, in fact, people do not always like art it’s probably impossible to talk about what they feel, what they feel, how they themselves understand art, ballet without

music, which is why we are here together today, as if complementing each other, but here’s the feeling, first of all, i will become attached to the thought 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... hinders us, in order to rise from difficulties 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 since childhood i gravitated towards ballet or understood it, no, perhaps not , but the

older i stop and see what... examples, i see some performances that tell me how expressive dance can be, incredibly expressive , cinematic ballet can be, 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, rachmaninov can be played on stage endlessly with an orchestra, with a conductor, well, in general, the old fashioned way, and this happens again and again, but people appear who begin to experiment for in order to what? if you are talking about rachmaninov, then we really experimented, took a neural network as a tool in order to, uh, make

rachmaninov, on his 105th 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 would answer certain questions , so that he would answer certain composers, that is, we make rachmaninov, return him 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 and... show composers of the past, this is how living people, talented people, you can revive anyone, in general, but in general i was sitting like this, now i was wondering if everyone is even suitable in order to treat them like this, i would say this, what do you think, it seems to me that now is the time, or maybe i’m continuing the thought ivan aleksanovi, it seems to me

that now is the time when, alas, the viewer needs , it’s a lot to achieve, and you need to achieve it in order to sell tickets and earn money money, but you need to achieve it in order to save it, you know , heal it, heal it, so the search for these ways in order to catch the viewer, it seems to me that in this sense we are probably, but these are our the search is the same, are all methods good in searching for a viewer, first of all, they must be sincere. come from the heart, truly from love for art, from love for the 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 happen during any concert, it really exists, because playing in an empty hall, like we played during a pandemic, is a very special

feeling, maybe, i can’t imagine how to dance in an empty hall, it can be even more difficult , probably, well, if we touch on the mystical side of the issue, it seems to me that... that artificial intelligence now or all this technology simply makes it possible for the mass audience to understand in what language people of art actually speak to eternity, because to me it seems 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... 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, even if people lived a long time ago, they are gone, however less, i’ll tell you that it’s quite creative... you can yagan sebastin bach could also be counted, who invested a lot of money in the development of ordering new instruments according to his order, a lot of things to do, and leonardo dainci can be called a representative of the creative industries, lomanosov 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 happens. 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, says, well, i come from about 7:00 until there until 12 or until 6 pm, i

mean i study, how and how where is the inspiration, he says, well, i’ve somehow gotten used to it over the years, it ’s coming around this time, i may have said it poorly, sorry, but the meaning is this, well, i’ll still introduce an element into it, in general, it’s quite cynical . because if we say creativity, this is creativity, of course, and the creative industry is still what earns money, so this year rachmaninov is talking, next year people are already waiting for something else to happen, here like it or not, from 9 to 18, please sit down and come up with ideas, first of all these people, these are us ourselves marisovna, here i am, for my own, for my own, we come up with an idea to live an interesting life ourselves, probably u and ivan, they are here not only because they are wonderful people together, but because recently , on the site, an event took place, which ilzy is doing the project russian ballet forever, this too

unites people who come together on one site as part of the implementation of the same projects, and i think it’s important that there are still some joint plans ahead? well, i must say 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 first since words were heard that there was a ban on russian culture, now it’s somehow everything has moved away, we somehow even become ironic about this topic, naturally, yes, but then? was very, very alive, and so this project was born, russian ballet forever, first of all , to support the same ballet dancers who, so that they would not feel discriminated against, that they could not dance on the stages of the grand opera and covengarden, yes, so that

they realized that we have many wonderful opera houses and that it is possible, somehow, you know, for an artist who serves in the corps of some even large theater and even a good position occupies, always lacks some kind of this freedom, where he could come to dance some i don’t know, his own repertoire besides the theater, and where he could somehow express himself and even his own theatrical repertoire in the concert program, sometimes you dance somehow differently, and then you return something back, to your theater even more, and so this project was born, but it seems to me that the most valuable thing was this kind of laboratory that existed throughout the year, when competition... which just took place

stage of the zaryadya hall and laboratory, this laboratory was headed by elena bogdanovich, an amazing master , choreographer, in fact, these 12 numbers were what was created inside our laboratory, it was important for us to show not what they staged , that it’s like someone like that, it was important for me that their thoughts were clear , how they listen to music, how they broadcast their own author’s choreographic style, this is what elena bogdanovich and i have been working on, in fact, this year, that will continue with the project, we want to develop it, we are already negotiating with theaters 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 of why, why, in fact, we suffered so much, you tormented us so much all this year, now we would like, yes, some more internal communication, and we realized that this communication should exist, will it be in moscow, will it be where? that's why we

now we are looking for a platform, it became clear to us that we need to experiment not only, let them experiment not only with modern choreography, but also think in classical images, because there is also a great interest in reviving the classics and there is a need for this, you know, it seemed would be, well, classic - it’s like that, it’s so simple, well, what could be simpler , yes, the same movements, the same seven notes, the same ones, you know, here’s dore mythal b, yes, but do it musically, make it so that when you look, for example, sdd from sleeping beauty, this is exactly what, for example, well, really pitipa, but it stayed, then you understand, well , my god, it’s so simple, well, it’s so musical, there are syncopations here, there’s a little bit here, well, here it’s like how expressive, you need to try, and you need to do this too, and young people need to be taught this, ask? nurse from

monday on the first. what are you doing here? what are you? could you call? are you a nurse? 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 the question we have. and hangs in the air, here in front of us are two absolutely creative people, realized many times over, in general, and who could, in general, continue to be creative people, but you have to be managers, in general, of this process, why this administrative role? appeared in your life, tell me, well, in fact, i started administering creative projects in my first year at the moscow conservatory, when my festival appeared, which is

2 years old this year, in fact, it administration for the sake of creativity, for the sake of the fact that you know what you want to do, this process, no one can build it better for you, in principle, what i do at charge, it ’s true, we all processes are subordinated to a creative task, a creative concept, at charge important function, this is one of the leading ones. concert venues not just in moscow, the country , we must provide the opportunity to daily come into contact with high art, with culture, on the one hand, with various projects, so we have a grandiose festival ahead in december, the second winter zaryadye music festival, and we made one of the central themes just dance, and for me dance, i want to get to know it better myself , what ilza marisovna said is

absolutely accurate, because everything that seems simple is not so , what a simple mozart, and what could be simpler than pushkin, you mean, about roofs, about pipes, no, really, all these processes are for the sake of making the visiting artists feel comfortable, comfortable, and the first thing i started with, when i came to the hall, it was with in order to create comfortable conditions for the artists to be there, so that everything that happens inside the hall contributes to the achievement of the highest creative result, so that nothing interferes with this separation from the ground from which i started. ivan, please tell me, on the charge stage can only classical music, classical authors, or interpretations be heard, or are there new ones, maybe authors who create, there are new authors who create ballet, i haven’t

worked with contemporary ones, so no, well, if read, torteriana, koncheli with modern composers, well, yes, this is just a question of terminology on the one hand, on the other hand, we just had literally three concerts of modern music, modern academic music, of course, in this case i’m not talking about the show -business, just the other day there were premieres, we constantly have musical premieres as part of the same winter festival... there will be a premiere of the wonderful composer sergei akhunov, together, by the way, with ballet, it will be composition, which is called liturgy, we are trying to give new composers the opportunity to perform. we are ending the year of the teacher-mentor, here it is, well, naturally, it ends purely so to speak, calendar-wise, but naturally, our mentors are those who have instilled in us a lot of good things, about your mentors, maybe, who have provided

influence on your life, well, you see, here we are, united in your program, i think that one of the things that unites us is of course. creative family who behind us, this is a huge baggage, well, a huge responsibility, i think that ivan aleksandrovich also absolutely feels this, our father, when we were little with my brother andr, often told us, remember that you are children of liepa, and that forgiveness to someone will not be forgiven to you, in this situation he meant precisely the same burden of responsibility that 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 code, the baggage that exists , of course, without teachers the baggage could

have remained at the station, so i am very grateful to my teachers, in general there were a lot of them, although i went without changing teachers often. with tatyana zelikman, at the time i was studying, i think she was one of the best teachers and still is in the world, then at the moscow conservatory, then i studied abroad, also with the wonderful musician evgeniy korolev in germany, graduated st. petersburg conservatory, as a conductor, symphonist, well, all these people, which are not just also, in a single person, but also... some kind of cultural baggage, knowledge, experience, skill, then we somehow pass it all on, from one to the other, and so, in principle, you can trace the line , for example, pianism, right up to beethoven, it seems to me, in fact, as

a fundamental science, not a single next discovery or law destroys everything that was done before, also in art itself, each next step, it stands in a good sense: continues to develop the experience of previous generations, to whom 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 rather, rather, rather, rather, the view of a man and a woman, i think that someone else will suit us , i don’t know, maybe the mother should push, let alone push, but the mother... maybe she sees the child closer, what’s in him, what abilities he has, and the father can support, in principle, in my life this is the case it was that my father did not practice any instrument with me, yes, not studied with me at the royal, did not study with the conductor

, nevertheless, always somehow invisibly, of course, i learned a lot from him at concerts, first of all, that’s why i was like that, the person who took... me to the gnechin 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, and in it, there is a risk of failure, as i think, in ballet, it is huge, how rational and reasonable, i think that today in the current world it is possible to choose some safer professions, 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 nursery

music school, here at royal, and they definitely didn’t become musicians anymore, but i don’t feel any pity from this, on the contrary, i’m glad for them that they know that you kind of motivated in the opposite direction more, than, in the direction of just being reasonable, or, what do you think, it is necessary to push children, so to speak, well, it’s so simple, now to abstract from what we are talking about, that pushing our personal, our own children into our profession is, of course, one question, but what we need to do is push children to force them to do the right things, good things, this is certainly true, uh, a child cannot, he should not be allowed into this in the sea of ​​​​life. when he doesn’t yet understand what is good, what is bad, that there is a moment of overcoming, that today you don’t like it, and tomorrow you will overcome yourself, suddenly you are into this

you will fall in love, you will fall in love again, not so that maybe you can become a musician or a dancer, but so that it simply becomes a part of your life, and so that you understand both music and art, but to guide or force it, wait a minute, but children get into ballet , when they still don’t quite understand, it seems to me that parents in general. no, i started studying around six, but at the age of 10 i started, and right away i was happy to do it, but no, not right away, but for me it was 13 years old, yes, when suddenly i realized that i absolutely loved it, i that i already i love this work, i love this work, but it wasn’t at 10 and it wasn’t at six, of course, but success also didn’t come immediately, as far as i’m concerned. you know, well, i, this is a very interesting question , i am eternally grateful to my father and mother for the fact that in our family,

despite the fact that there was such an outstanding artist-father, it never sounded like you had to be the first, that you have to be a star, but in this profession, it’s amazing, i’m eternally grateful to them for this, we heard try, overcome yourself, be patient, work, father endlessly told us to jump on... to jump, to spin you have to spin, to dance you have to dance, that is, that you, if you want, overcome yourself, but he never told us, be the first, so when we even have there were small steps, because you don’t immediately make some huge achievements, and there was a feeling that he was so happy about this, these small steps of ours, that it’s not like he was there, well, you danced some small , well, then, come on, show me what you ’re capable of, no, it was so great that you here... in this he, he valued 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’s clear, that there is a surname behind you, but the surname is precisely in that relation to yours, you make every 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 be and put you in your place, this is no longer... not yours competence, well, it seems to me that this is a century of our successful success, for the sake of 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, it seems to me that this is also some kind of theme for the project. when, after all, people are famous, have already

achieved, and despite, in many respects, they they go out and talk about success, about the present, what it should look like, how this success should be perceived, whether it is necessary to strive for it , maybe this is even a new trend, i would say, because there is a lot of this present now, now very there is a lot of fake success, so let’s say, yes, fake, but what about 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, in principle , think about it, we continue the creative industry podcast on the first channel, with you elena kiper, roman karmanov, ilzalipa and ivan rudin, ivan says that arongo appeared in the first year, in general projects arise in my opinion, well, we supported a lot of projects, more than 6,000, 65,000 were submitted to us, at the heart of each project. lack of anything, well, lack of opportunities, lack, lack of some kind of resources, lack, well, in general, it

’s a lack in any case, what a person lacks when he starts his own festival in his first year, this is wonderful, absolutely , a very accurate remark, and you are absolutely right, in fact, i came up with the idea of ​​the festival itself in 2000, when i was graduating from the gnech school, my last year of graduation, so i decided that if i entered the conservatory, i would make a festival there. wow, a certain amount of time has passed, it was invented in june, having entered the conservatory, i really started in september, i started preparing in october, it took 9 months, it was an oath to myself, firstly, yes, of course it was shortage, well, at that time in general the situation was so difficult, it was different from that the number of opportunities that young musicians have now, 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, so this is my temperament and... and my creativity told me not to turn to those projects that already existed then, to create my own, and i am very glad that indeed the arongo festival is now 23 years later, one of perhaps the few such projects that has gone all the way from here is a student initiative, it was created first of all, as a festival then for the young and for the young, we gathered and played music with our own and older guys, but even then the student initiative was supported by great adult musicians who sometimes joined us in a chamber ensemble, for me it was also an opportunity and it’s a joy to play music with them, it’s a great experience to be there on the same stage in the same chamber ensemble with natalya gutmand, who supported us and played together with other

musicians, yuri bashmet supported us. they just played with us in chamber ensembles, this is absolutely invaluable, indeed, well, there is no other way to say it, a huge musical experience. ilsa, but in the field of ballet, it seems to me, i could be wrong, of course, but there is also a general direction that could, so to speak, achieve certain results by implementing certain projects, or this... sphere, who, in general, doesn’t really like such interference, well, i might say that the result of our project, the prime minister, for me could be a search

finding individuals who are capable of generating a large programmatic, serious performance for a serious opera... theater, but i still came from the walls of a large theater, so i still think in these categories, and i understand that the era of grigorovich is gone, yes, which gave the big 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 performances that were in tune time, spartak, ivan the terrible. but now is the time, what time is it now, is it really not now, thoughts, personalities who are ready to give birth to that theme, that performance, some kind of name, i don’t know, so when we started with our choreographers, we started everything with a big conversation , for several hours we talked with everyone, asked the question, what do you want to pose, what are your thoughts

, what is your dream, yes, it is very difficult, it is, it is, of course, yes, but here they need a team, maybe we, as a result, yes, if our project is live, maybe we will become the very team that will help them, and if we talk about that asshole nikolavich 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, chulaki was a music editor, a playwright, yes, that is, this is such a powerful team, but we really want these young people to make such a batch of thoughts so that they are able to give birth to a big serious performance, then a modern composer will be needed, yes, then it will take, as it were, serious, such powerful artillery, so that , after all, the performances of our time are created , the revolution is thick in the air, and special effects in ballet are possible,

that is, classical ballet seems to be yes, but suddenly something... flies in, and was the faun such a special effect? well, you know, the faun was a destroyer of special effects, because when those same glass shows were going on , marus ivanovich pitepa, there was such a set designer, andrei roller, he was a fantastic master of creating special effects, and what we see now is there i don’t know, in musicals, there’s the phantom of the opera, yes, when a chandelier flies or something else incredible collapses, then this was even more so... on the stage of the opera house, there were fountains, there were collapses castles, they were some kind of miracles, and people, including the ballet performance, came to look at some incredible innovations and so it was all and just after half the fun, the performance created in the interprise of sergei pavlovich dyagelev, it was like would destroy it and it would seem that there is nothing here

necessary, but there is only the body of a dancer, even practically without a costume, today is a revolution, tomorrow is a tradition, so in general - in general, in concert halls and so on, we see these shoots of something new breaking through, and you see , soon. can be added, 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, same high achievements, if you did not take up ballet or music in early childhood, in any case in early childhood, then you will not be able to achieve any success, but maybe from the outside you can show that there seems to be nothing easier to approach, to press something . on the royal, or to get into this or that position in ballet, it seems, but in order to do it for real, it’s really a lot of work, but in fact it’s a very innovative creative, creative thing, like the mentioned

fauns, ostrovinsky in general, after all, this is all the same dyagenev who actually brought the russian ballet to france, and which raised and returned ballet to some incredible, how great music was created for ballet, effects. what an amazing ballet, well, i don’t know, i say this carefully, a park, a ballet, it’s all done to the music of mozart, but in a completely revised presentation, it makes a huge impression, a huge impression, so the music can be a special effect of classical music, in my opinion, this is the effect of beethovin’s fifth symphony or beethovin’s ninth symphony, no less than some kind of jump in a movie there's a plane from the plane, maybe more if all the musicians are really as one, they believe in it themselves and want to play it sincerely, unfortunately we have to finish, there was a podcast of the creative

industry on the first channel, elena kiper was with you , producer and composer, music video director, and roman karmanov, general director of the presidential fund for cultural initiatives and top manager, visited us today, our guest today was a brilliant ballerina, people's artist of the russian federation... and ivan rudin, conductor, director concert zaryadiya hall, pianist, absolutely wonderful, honored artist of the russian federation, thank you for coming and sharing , thank you, hello, this is a psyche podcast, and we continue to sort out the storehouses of our consciousness, calculate the algorithms of our behavior, look for some kind of formula for happiness, i hope that we will succeed in this, today i have a psychologist and psychotherapist in my studio, here in

the expert’s chair is a psychotherapist, ekaterina makarova, who is also a supervisor, today we will talk about what it is, ekaterina, a famous psychoanalyst, vice-president of the all-russian professional psychotherapeutic league, a man who... has conducted, well, almost 2,000 consultations, and in different languages. hello, ekaterina. hello, here is the heroine in the chair, we have a psychologist today. and probably, for people who are not completely immersed in the circumstances of this wonderful profession, it may sound surprising, but why does a psychologist need his own kind of psychotherapy, and what can’t he handle himself? it turns out not. hello, hello, what brought you to us? i i think that, well, for every psychologist in general, you need therapy on an ongoing basis in order to maintain yourself in a resourceful

state, and if, when working with people, you come across some other questions of your own, at the same time, you hear something similar, then with this question you can come to your therapist, sort it out and thereby get some additional additional resource in order to... work with people, plus, having solved your problem, you can give other people the opportunity to solve theirs you have some problems now problem, you have some kind of request, and yes, i have a request , i just recently had a very ugly story with my parents, when we had to separate completely, at the moment we don’t communicate, although for a very long time i worked just on so that these relationships. became more harmonious, but now i saw that if the work happens on one side, it is not the most productive work and at that moment we had to break off our relationship, and

it seemed to me that i had dealt with it, but from time to time i return to this issue and i felt that i was needed after all, and you coped with what, with the interruption of relationships , precisely with the moment of separation, when a relationship is interrupted, it doesn’t matter what... it’s such a loss, i couldn’t cope with this loss, i’m haunted by such a feeling of guilt, ah, somewhere regret, somewhere pain, and so you go to bed at night. you think to sleep, well, everything seems to be fine, but something is wrong. tell me, do i understand correctly that a psychologist cannot practice in such a state, i am inclined to not practice in such a state, because when you if you are not in a resourceful state or you yourself are in some kind of pain point, in any case it will be difficult for you to maintain this zero position in which you must work with the client, you mentioned a neutral position, called it zero, this is called

neutral. position, another interesting point, because the person himself, in the role of a psychologist, cannot assess how much resource there is for his condition, because he cannot look from the outside, cannot look at himself in practice, this is precisely the task of the supervisor or teacher personal therapist, carry out this control, on time, and perhaps even predicting, showing the specialist, you are entering a non-resource state; perhaps what is happening now in your life will affect your work with clients. well then, maybe we’ll first talk about the situation with which alla came to us, and then i would be happy, if there is time left, to ask you about how this supervision happens, what it is, reveal a little of the secret there your backstage. yeah, dear specialists, allah, this is not the first time i hear a request queue for supervision, specifically for educational

personal therapy. unfortunately, often a side effect of receiving psychological education is precisely the interruption of relationships with the usual social circle. what is the training of a consulting psychologist or psychotherapist? this is a four-part model. it consists of four integral parts. the first is obtaining a theoretical education. in this, our profession is no different from other professions; yes, they study at universities, gain skills and knowledge. the second is practical experience, practical tasks, work in pairs, work with colleagues, the third integral part is work under supervision, when an experienced colleague qualified as a supervisor helps, as part of school supervision, as part of training to correctly use psychotherapy methods , counseling in practice, and here he gives assessment, feedback, helps, tells how more can be done. further, when

the colleague has already graduated and become an independent professional character, an independent professional unit, the supervisor helps solve pressing problems in practice, yes, clinical cases, yeah, also the fourth integral part is its own study, educational personal therapy, it may contain an analysis of personal stories, maybe even some kind of clinical work, but first of all educational personal therapy: aimed specifically at the professional personality of the specialist, so that personal history is worked out in such a way that they do not negatively affect the work with the client, including personal training therapy actually teaches you to feel yourself, to trust the professional community, to say stop in time, i am not a resource, i am not in a state in which i can benefit my clients,

like this: a four-part model: theory, practice, supervision and educational personal therapy. undoubtedly, during supervision, the supervisor can analyze cases, well, at the so-called third level, yes, at the personal level of a specialist. usually, when an adult, i mean one who has already completed his education, entered his own practice, has taken full charge of responsibility for the quality of their work, a psychologist or psychotherapist turns to the supervisor, the supervisor asks him a question: at what level or levels will our work or analysis of your case be carried out. the first level is all about the client, about his history, reasons and investigative connections. the second level is the level of relationships, what happens during sessions, between you as a psychologist and your client, as well as in parallel with the session and between sessions. and the third level is the personal level of the specialist, the personal level, how your

personal history, your character, what is happening at this moment in your life, what happened in your history, family stories, what is happening with your ethnic group, what was in your education, all this can affect the work with the client, here this is about the third level, about the personal level of a specialist, here the supervisor can show how what you are experiencing can affect your work with a client, but not necessarily, but if you have a need to change something, work through it, change your emotional condition, improve relationships with family, or not to do this, having made a conscious decision about separation, this is a request to a training personal therapist, just a psychologist for psychologists, uh-huh, ekaterina, but what will happen if a psychologist comes to his client in such, as you say, a non-resource state, in -firstly, and the work most likely will not be effective, and this is at best, in the worst case, of course, an injury will be received, yeah, first of all by the consultant, and

the client may also be injured, because at the moment he is in a serious experience, in an altered emotional state, a psychologist can go beyond professional boundaries. what does it mean? well, for example, enter an emotional state and react excessively, emotionally to what the client is saying. or, for example, getting involved in his story, start giving him advice based on personal experience, which absolutely cannot be done, yes, as i understand it, by a psychologist. situations are different, but imagine a young girl who just became a mother for the first time, yes, the circumstances turned out that her husband left her left alone. a young mother, left alone, may be in such an altered state and not truly understand how to take care of the baby, how to improve everyday life, in this case , of course, a psychologist can show yes, such complicity and suggest where

to turn, this is a matter of informing , yeah, well, of course, no one will teach you how to cook porridge, but inform you about what social services are available, and in our society, what else? stories in more detail, since we are so lucky and you are here today with such a strong i was lucky to be a supervisor at the studio, really, let’s start with the fact that for a long time i really worked with the question of my father , yes, we have a long, difficult relationship with him, he ’s very... my father was all my life in general, when i grew up, yes, when i got married, i worked so that i could come to visit them , for example, and feel collected, not be nervous about always coming

to my parents’ house, yes, and not like going to an exam, yes, more like going to an exam, i guess i came and every time i had to to get ready, i’ll be honest, i’ve never managed to... get into the car , come and say, hurray, great, here she is, no, every time i had to gather all my resources into a fist and hold a meeting like this - positive, feigned more, probably, and probably this also influenced my decision to end the relationship, because at some point very unpleasant crossings of my personal boundaries began, and they began to advise me, not even advise, strongly... recommend how raise a child, how much money does he have? give for personal expenses, what kind of car should i drive, what kind of fuel should i refuel, or can you describe some picture to us, so that we can simply understand, it’s fresh and

a picture when a child had health problems, and we started working on the fact that he went on a diet, of course, with such a diet, no cola, chips, or anything else, but it’s simply absolutely forbidden. i asked my parents, if he sends them a request, send them 100-200 rubles for pocket money so that they don’t send it, or at least consent, because most likely he will go and buy something that is forbidden, and mom seemed to have gotten into the situation, and dad quietly sent him money, either somehow gave him cash, or gave it to him, and several times i paid attention to this , i say, dad, well, this is harmful to health, this is dangerous to health, now there is no need, now, uh-huh, yes, okay, i heard you, 2 days pass, again the money falls on his card again, i see that the child comes there with cola and something else, i call and say, dad, well, so and so, i understand everything, you you want to pamper your grandson, but still,

how old is your grandson, 12, yeah, he has his own