some kind of this started, i open the door, stop , i say, why are you opening the door like that, i say, how do you even resemble an iceberg, there’s something small on top of you, i don’t see it inside, where you can turn it all over, and i opened it like that, a lot, turn it back, so he, like iceberg , twisted me back and forth, basically sank me.

violate nature, physics, and this is very correct, from what moment did you understand that you somehow, well, no more, no less, or sank and surfaced, somehow no, well, i realized that it so needs to unfold itself all the time, look, this is how it turns out, because cinema requires... very detailed work, in fact, when you are drowned, when everything is big inside, a dream, suffering, it in the depths, in the theater , on the contrary, you need to turn yourself around so that your passion, opportunity and energy intensity , covers the entire auditorium, because successes in cinema mostly happen somewhere in...

a corner, in the dark, when there is no one, in a big silence, suddenly there’s something in the artist’s eyes something has changed, something elusive and you don’t even know in what take, when, due to what it happened, in the theater it’s a sequential work, it’s either yes, you gain, gain, gain, from every rehearsal, from every performance, you gain, gain , and this process... it is endless, never-ending , there is no point, no take, no, the way everything was filmed, everything is fine, and so it remains, no, you understand that you have to go out next time, but the viewer is different, you have to be no less convincing, you yourself have already changed, based on today, this, this constant movement towards a goal, unattainable, it... in the theater it requires a lot of work, in

the cinema it’s almost like theft, uh-huh, right, something came out of it, the camera stood up so well, you’re in the right angle today, which is right he said exactly how it happened somehow, and the director saw it and recorded it, you know, it’s just so subtle, and you know what’s happening in the photograph and in the photograph,

with his attention, i wanted to see in his eyes, hear in his words , praise, hope for the future, and he was quite stingy in praise in words of support, i waited 3 years for tabakov to praise me, 3 years, he had such tactics, but he wrote that even this irritated him a little, yours like that didn’t just irritate him a little, it irritated him a lot. because i really did a lot of sketches and as soon as they asked who was first, i immediately allowed it, but he was like: come on, i didn’t know anymore, i also did the decorations and sketches, in general i prepared seriously, i really wanted to, so that he can see my enthusiasm and my desire and love for this activities and... which i transferred to

him, and you know, when, when he published a book, my real life, and there is a chapter about me, where he wrote, here... vovka, that means i am him, when he studied, already identified in the leading, immediately in the leading position, i’m coming up, oleg pavlovich, you wrote here, you immediately identified why you didn’t tell me right away, you would have told me right away, i would have sat quietly, otherwise i climbed, climbed, you didn’t come to me for 3 years, he didn’t work with me for 3 years, i just showed him, but as a teacher, he, i worked with other teachers, he just looked at my activities, but you had the feeling that he somehow... i had a complete feeling that i was annoying him, and he was just looking for a reason, what about me? turn around, and since i studied very well, in other disciplines, i’m an excellent student, yeah, that is , you can’t get rid of it so easily, well, yes, you need something, yes, and active, and does something, well,

i had such a feeling when the denouement happened, when somehow everything, the denouement happened very unexpectedly, i annoyed him, annoyed him, others were very happy. that i him annoying, but at the same time, when they did independent work, i had great success, i understood that i could do this activity, but in the third year, at the end of the third year, he suddenly, unexpectedly for everyone , especially for me, offered me the role of abram ilvich schwartz, who was played before me by the greatest evgeniy sanovich evstegneev, i understood that this was probably the moment when i needed to put a stop to it, well, this is very old. he is not only old, he is so bright, deep with such a cardiogram of emotions that of course it is under strength only to a great master, which i

was not, but his faith and, apparently, this understanding that i can probably do this, so consistently. they took me, and this image was probably the beginning of my activity, which was already completely conscious, and you made a movie as a director, dad, too, based on sailor silence, yes, i really wanted this story and i dedicated it to all our parents, in in particular, creative parents wanted to leave oleg pavlovich tobakov. here is such a memory of him and of my personal creative inner sensory path, extraordinary adventures of connoisseurs in the winter series of games on sunday at the first

mancacher whiskey product of the stellar group. on the air of the creative industry podcast on channel one , we continue our conversation with the people 's artist of the russian federation, artistic director of the oleg tobakov theater vladimir mashkov, you, as a director, made orphan of kazanskaya and papa two films in which there are these relationships, when this is exactly this topic , mentoring, finding a father, why is this a dominant theme in your creativity as a mode? you grew up in a family where all your parents were with you , indeed, i grew up in an incredibly creative family, my mother was a puppet theater director, my father was an actor in a puppet theater, they were very different and surprisingly complementary

to each other, passionate people, but i lost, i was 20 2 years old when they passed away one after another. in general, a late child at that time, i was born in sixty-three, and my mother was 25, and my father was twenty -three, and of course the beginning of all my activities, when i wanted to share, especially with those people who understand and believe in you, they pass away, of course, it was a big internal trauma, i understood that i had no address, no people who... could be proud of me, this probably gave tabakov’s reason to understand that i am suffering inside. well, let’s go even earlier, then let’s go back, generally in childhood, 6 years old novokuznetsk, you were very sick during this period, as you admit, you became

an adult at six. the doll saved you, that is, the mother, the mother with the doll, somehow made you freak out, what was it for the story, it really happened that. i fell very seriously ill, i was in the hospital for a long time, and had to leave this world, and i, well, children, naturally , don’t understand this, i just saw from... from afar, because my parents didn’t let me in, they were there, they came to me window of the hospital, i was lying in a ward on the first floor, they were waving to me from afar, i lay motionless for three, probably four and a half months, and uh, when everything seemed to have passed, i began to get better already, mom, she as a theater teacher working with children, the doll on... that is, to move at all, that is

, i needed at that moment when all my peers were running very fast, i just didn’t walk, and my mother brought me, when i was still in the hospital, pinocchio, pinocchio doll, puppet , she told me, you do it, take a step for her yourself. take a step, teach her, and apparently, again it’s like that, it worked so accurately, in my mind that i, you know, this is the principle of learning to learn, then it worked very strongly, in general, i began to move, quickly, and then quickly began to move, generally speaking, that all your life you have been distinguished by perseverance, which many in general have to do. but how many times have i failed to enter the theater school? well, i understand that this is a

trait that was somehow brought up in the city of novokuznetsk, looking at my parents, understanding that i had to show them something, and in general in the team of comrades, friends, who demanded leadership qualities from their comrades, this is how the city of novokuznetsk was built, not leaders. did not coexist together, that is, the environment is like that, well, yes, in this sense, yes, it seems to me, in general the city greatly influences the psychology of a person and such survival is enough, non-survival , to present oneself to the world, to present oneself, not to survive, to somehow find an adaptation, on the contrary , to declare oneself, to declare oneself very widely and loudly, this is... i apparently grabbed it because that, well, probably, um, also how i

defined for myself the understanding of what internal harmony is, uh, when three qualities are combined: i want, i can, i must, i must try, there is a certain risk in this, but again - that the profession that i chose this way me, we may think that it was us... she was chosen, but no, she chooses, because in the end the audience chooses, this enthusiasm, perseverance to move towards the goal, but to move towards the goal you need obstacles, well, those there were more than enough, in general, but there was a moment when the obstacles went away and the gates to the profession, to resources opened, or you always have to challenge yourself, to declare yourself. move forward, you are absolutely right, the moment of opening

all the doors for you has never existed for me, but i think that for no one it doesn’t exist, well, most people have the illusion that there might be a gate, well , yes, well, in any case, i tried to open these feelings, as if from illusions, they are momentary, you know, like guys who are seriously involved in... sports, they understand , that the moment when you win, they raise your hand, now it has not yet had time to go down after the victory, there is already a contender for this place, yeah, that is, uh, this is the understanding that, in general, in our profession it is really very close to professional sports, to achievement, to improve yourself all the time, and you need... to prove every day that you correspond to this profession, i was recently

at oleg tabakov’s theater at the performance of a deadly number, there is a lot of admiration for the performance itself, of course, i can talk for a long time, and vladimir’s incredible speech mashkova in front of him, when he addresses the audience, but i was hooked as a person who lives in a video clip world, this moment when the curtain is like this: the curtain flies away, well, it’s just impossible to imagine that it’s flying into some hole froze, here he was, now he’s gone, you’re like that already, and you’re sitting here this whole performance, that is, you were directly caught. and they caught you, but clearly, clearly they caught this viewer who is now sitting on the phone, they need him, they need him, they need to do this to him, so that he has everything incredibly spectacular, well, that is, bombardment, there’s something all the time - something happens, you sit in amazement all the time, here too these guys are in a deadly act, they also don’t let you go for a second, everywhere

you see that this is, well, acting, but there is still a lot invested. of course, it is very important with all these effects and so on and so on, which one way or another confirm the proposed circumstances of the theater, in which the miracle is still preserved, to see a living artist, to see his burning eyes, to hear his voice, which is a mirror of character, to see real

live clashes, this fury, i... here in america, the spectator, they paid money and came to watch, no matter what happens, they immediately start laughing, clap, well, they need to somehow realize themselves. in japan for a long time they are silent, they generally do not demonstrate any emotions during the action. only at the end i was stunned by the applause

along with the feet, they not only clap, but knock their feet on the floor, when the two-thousand-strong audience begins to... perform this, uh, you think they are running away or running after you, so this is the tension, our spectator is incredulous , thoughtful, uh, you need to take possession of it so that he sees a mirror in front of him, which he wants to peer into, to see what it consists of, but if you have sensually taken possession of it, then, then it opens up in amazing feelings.

but when this event happened, oleg pavlovich left, i took responsibility for the theater he created, for the school, in order to realize the ideas that he had, which our team appeared in the course of this or that work, of course you need to spend a lot of time , and i really

can’t afford such close collaboration with cinema. dear friends, we continue our conversation in the creative industry podcast lab studio, roman karmanov, general director of the presidential fund for cultural initiatives, elena kiper, producer video director, our guest is the great actor, vladimir mashkov, whose anniversary is celebrated. do you think there was hollywood in your life, our film industry has come closer in its own way. commands the attention of the audience , huge amounts of money are invested there, and the work to improve this industry

has never stopped, there are moments when ideas and tasks suddenly disappear, but there is still someone who processes it in one way or another, of course, depending on the amount of investment in cinema, of course, we are still far from such means. of course they appear here and there are some opportunities sometimes to do something unique, such as a film challenge, but if we say so, of course , a lot, a lot of money is invested, in connection with this there are a lot of professionals who are engaged in perhaps small activities , but this range of actions is his, he knows it exactly, thoroughly.

yeah, listen to your language, this is probably very attractive, that it’s mine, it ’s close to me, but that’s right,

of course we have a country that requires a lot of serious films, i’m not talking about thousands, but 200 films should be released a year that can attract attention, but in your time you managed to create a movie that captured, well, in general... the civilized world, i mean thief, that is, this movie, which almost won an oscar, that is, history could have been created then, well, well, you see, this too, it was a paradox, the fact is that when the movie war was filmed, based on the script, chukhraya, he worked with the script in such detail , at this moment... when we were filming this movie, in general the movie, in fact, was not filmed at all, in general in the country of cinema, it was not filmed here

, and you know, and also such a paradoxical story, it is a wonderful script, we worked in great detail, and pavel grigorievich, he is such a very furious director, wrote this story , he... was very demanding of the actors regarding space, and you know, when the picture was ready, there were generally such thoughts as to who would even watch this, some guy walking around, a thief, some boy, some people , you know, well, that is, these were doubts commands or general doubts, no , well, the teams seem to have created doubts, it seems to be great, but how does it affect... in the world , we already had so many problems in our country, there was no time for cinema, let alone for a cinema about the development of man , about a man who

stole his life, and suddenly it somehow, this is how it was intended, it became, began to live, live a great success at film festivals at the american film academy. it's one of those films that kids who go to the film academy have to watch, uh, it's all the same such exceptions to the rules, they suddenly, once such a movie is created, well, if you are a person so detailed, uh, with such a very serious approach to everything, now is the time when you can make a movie on your phone, that’s how you coincide with this time, cinema - can you take it on your phone, will there be any value in it? well, you just said about chukhra, that is, in fact it turns out that theater and

cinema originate from... the author, that is, without the author it is not born at all, and where are they in general, the growth of screenwriting in our industry in russia, v film industry, it’s interesting to read about lately, in any case we are working in this direction, now a play is being written for our theater, and more than one, by talented screenwriters and we are also looking for new young guys. in general, this is a very difficult task, to catch the word of this or that time, to put them together, why ostrovsky delighted everyone there, because he was the essence, he scooped these people right from the depths of their souls, this was expressed in very precise words, in dialogues, in clashes, so they appeared, to seize the time, to create

him... of course, this is a big, big difficulty, well, we are working, and you are working on it, but this is the time, it seems to me, anyway, one way or another, works appear that are worthy of attention will appear, you have a school for future young artists, from the age of fourteen they study there, but there may already be a new institution nearby, also a school for young screenwriters, so we have this idea to create a course for directors.

a good person, where he - among other things , writes that he often met oleg pavlovich tabakov, who cruised around floors of power in jeans, that means , quite simply, with keys, that means, on the fingers, well , for the purpose, in general, of extracting various resources for the theater that he was building, this is your role in the theater, what is it now, you are also building something, you see, oleg pavlovich spent his whole life building a theater? and build it as a room, and build it relative to the corpses, and my task is the same, our theater, which is on sukharevskaya, seems to be built, but there is catastrophically no space, we have one stage, so i look with envy for theaters that have several stages, we don’t have a rehearsal hall as such, so despite all our ambitions and desires, we don’t have

space. which we could develop , so we continue to fight for construction, thank god, moscow is helping us, for 5 years we... are trying to make our internal name a kind of center of feelings, in which there will be educational programs and programs from mlada to the largest age, and so that our institute develops for children, and programs, and well, so that this part of moscow, sukharevskaya and peace avenue also began to play with certain meanings, like it or not, but the construction of a holding company. requires, in general, inclusion , the first dream, the second dream, well, i would like for this to be realized and it would be good in life, dear friends, there are premieres ahead, wonderful anniversaries, but most importantly,

for it all to be so wonderful, we need to work, it seems to me that this is the main, main conclusion from our podcast today, but this is how it turns out, unfortunately, i would like it to be different. well, endlessly in the obstacles that you yourself may have you invent, maybe they exist, because it seems that there are no obstacles in front of you, well then i’ll think that i ’m inventing them, celebrate anniversaries at work, dear friends, as the most beloved people of our country, the creative industry podcast was broadcast on first channel, today elena kiper and roman karabanov were with you, our guest was the people's artist. artistic director of the tabakov theater vladimir lvoevich mashkov, happiness and health to you and all the same to you, thank you, thank you,

hello, my name is dmitry bak, i leading. literary podcast, which is called let them not speak, let them read, our first guest today is no less than anton pavlovich chekhov, we will talk about him today and we will talk with wonderful guests, this is people's artist of russia, theater actress evgenia vakhtangov , yulia ilinichna rutberg, hello, yulia lenishina, and boris nikolaevich lyubimov, theater historian, literary.

dostoevsky, this is understandable, his special courses in venice were banned, well, that’s how it turned out, not in turgenev’s lunch, that after all... with from an external point of view, its meaning described some kind of trajectory, from our point of view , no, he doesn’t know anything, it seems to me that he just turned out to be czech in this sense. less vulnerable from the point of view of time, he is some kind of amazing writer and playwright, because what he wrote then, today, when artists of the 21st century say, he touches on such eternal themes, he is so subtle from the point of view of the human soul, he is so ironic towards people, and i have to say:

we studied chekhov at the institute and i did independent works, for me chekhov was associated with anguish, with some kind of , oddly enough, i would say, more gorky intonation, that’s how we are chekhov’s students, that you have to live, you have to suffer, i remember sarah ivanov that’s how , and then - in my life there was such an amazing meeting with redfield, i know that many people don’t like him, but the point is not that someone... loves him or doesn’t love him, let’s tell our interlocutors that rayfield - the author of a biography

of chekhov, who argues a lot, argues a lot, this is the kind of book that he aroused respect for me right away, but what do you think, boris nikolaevich, in general, the fact that i ’m sitting next to you, i feel like i’m not called a nonsense, i feel like who i am when i’m sitting next to you both, so you understand, when a person spent so much time with documents and went to... all points, starting from taganrog, everywhere from childhood, in schools, in the choir school, when he was a singer, what kind of house, how, how he was brought up, family, relationships with brothers, sister , mom, yes, there’s one there, then that’s it, everything about chekhov is so documentary, suddenly, i couldn’t understand why he writes comedy, so we start rehearsing, why comedy?

then, when the disease began to develop , he was so bilious, he was so ironic, he saw people like a scanner, well, creffield has very different attitudes among professionals, he is the most worthy, the biography is the most worthy, there are no pop lies, but firstly, there is a lot of obvious things that are passed off as non-obvious, since the main complaint is not mine, that here... well, there seems to be no balance between the artist and the person, that is

, there is a lot too much human, a lot of attention is paid to how he lived, how he entered brothels, for example, this occupies a very big place there, and so on and so forth, his illness, hence all the personal

. old apartment on mayakovsky square, she came to us a famous literary figure, the wife of the then still living boris viktorovich tomashevsky, the wonderful pushkinist irina nikolaevna medvedeva tomashevskaya, she

came to our house and dad said: this is irina nikolaevna, this is what my parents told me, i said like arkadina, that is, wonderful.

this is a brilliant thing, absolutely chekhovian, and then suddenly it turns out that everything is connected by a single chain with those times where the apostle peter denied christ three times, and that bad weather does not interfere with this connection of times, and this is good friday for us, suddenly we understand this, but this is such a day, but he is not a student of the philology department, not the philology department, he is a seminary student, this is an amazing story, but many say that it is not the most chekhovian. that there is light there, not everywhere in chekhov there is light, there are things where no one knows the real truth in a duel or why the cranes fly in tifa and so on. yulia lenishina, do you have any favorite things? you know, i can say that the jumper, the student, the gooseberry and

many stories in general, it’s very difficult to choose a favorite, but the last few years, you want, laugh, boris nikolaevich.