wrote one of the first, she knows how the soldiers are waiting for news, her older brother is at the front , lisa fights for her life every day, the most severe self-discipline and strict diet, short bowel syndrome, up to 8 years of age food through an iv, she was able to be like this with the help of the drug , it was invented recently, thanks to the foundation, he takes it every day at home, and not in the hospital, greetings were conveyed to the soldiers by the whole family, words of support, just even the attention of strangers, they are very invigorating, they... they give them hope that everything will be fine . zhenya, like all boys, peers, he rarely writes accurately, but today he tries, the story turns out to be long, it doesn’t say much about it, a letter to the soldiers. you won't be able to climb the wall, but you can with your friends. help is very important, because without it they have less chance. he knows from himself that he has an immunodeficiency, he needs immunodeficiency for life.

guardian angel, because it’s even harder for them than for us, grandfather is still serving in the russian navy, for them february 23rd is also a family holiday, they need to give some goodness, some color of hope, maybe even for some it will be so that they just look, like: oh, this is a child’s work, that is, they know me, they are waiting for me there, many stories were brought to the soldiers at the front, among the drawings and letters, generators from ten-year-old vanya were bought with his saved up . and

so many simple words, behind which there are not childish meanings , eva drew, tried, despite her diagnostician, in general, all children are so full of life, so i think that for their sake, here you are, thank you, it’s very difficult for you on the front line, and i would i wish you could come back alive, to their family, loved ones and friends, the pictures that they prepared instilled faith. “yes, everything will be fine , we can do it, we can handle it, victory will be ours, soldier, come back alive, i wish you to arrive home safe and sound, we don’t know each other, but i want to support you, i wish you health, happiness , love, so that you return home alive, i know how hard it is for you, don’t give up, don’t give up, i ’m sure you’ll get through it.”

the first thing masha did was hug her and give her a gift from her guardian angel. there is something real guardian angel sent from god? yes, is he always by your side? yes, he even sits on his shoulder. meeting any child teaches love, teaches childlike ease, simplicity, and teaches fidelity, the main principle of life. and this is what adults need to constantly

remind themselves of. after the heart-to-heart talk, masha was given news from the soldiers who read her letters. the chevrons are a little dusty, because the real ones have been in battle, which means they are brave, so the circle of goodness, anastatia, oleg shishkin, natalya radionova, channel one, large-scale, exciting

, years, the history of russian artillery from naval ship guns of the 10th century to modern geocinths, which are now used during the northern military district, some types of weapons, the only ones preserved in the world, here... all other elements have been worked out, the bolt is lubricated, absolutely serviceable sighting devices, this is a panorama of the hertz produced in 1913, here are real original wooden wheels, in this form the guns defended our country in... the first world war, one finnish collector agreed with us for to give up a symbolic amount of this gun , not us, not even he did not know then about the rarity of this artillery system, we were very lucky, every artillery system here was dismantled down to the last screw in order to return

the samples to their historical appearance, if any parts were missing, they they were restored according to the drawings; perhaps, no museum in the world will show you how the calculation of the howitzer of the 1910 model worked. a characteristic feature of such large systems was a piston shutter, which opened massively to send the projectile into this the large gun was served by such auxiliary devices in the form of a tray, but nevertheless, considerable physical strength was required in order to send a forty-five-kilogram projectile into this system, and this is the motto of the f-22 cannon, one of the first guns completely developed in the ussr, designer vasily. the experimental approach created a universal system, the gun was at the same time a divisional one, that is , it could fire at ground targets, tanks and anti-aircraft, it was understood that the elevation angle of its barrel should be very large, lifted the barrel vertically upward to

shoot at airplanes, and you can see how the shot was carried out directly, using this cord, on... the command gun, fire. the legendary forty-five is the main anti-tank gun, the beginning of the great patriotic war. because of its excellent condition, this particular sample was chosen by podolsk cadets for the filming of the film. the most powerful guns of the great patriotic br2 here used 152 mm shells, which could only be loaded with built-in winch. the range was fantastic in those days.

it’s very hot here in the summer, it rains , it doesn’t allow us to comfortably get acquainted with the exhibition, so we decided to build a warm, large, dry room, most of the exhibition is dedicated to mortars from the times of the first world war, modern automatic, and this is the oldest ancestor of the martyr mortar, it is 220 years old, take a look , all dotted with traces of shells, has been in many battles, this particular one was brought from a russian fortress in the baltic states. two-pound martyr, because they were loading into it two-pound kernels exactly 32 kg. the detonation time of the projectile depended on the length of the fuse. and this russian artillery invention , the unicorn cannon, was called so because it was the favorite brainchild of count shuvalov

, and his coat of arms was depicted on the guns in the form of a unicorn. they differed from all others in the world in their internal structure. up to this point the hole in the barrel is cylindrical, it goes further. cone, due to this cone the core, which is loaded from the side of the barrel, fits more tightly to the walls of the gun, due to this the pressure inside the barrel bore and the ejection range of the cannonball is large, despite the fact that the weapon is compact, short and quite light. this is how this collection was gathered literally all over the world, which is located in the new artillery building of the museum, not only the rarest examples of our weapons, but also complete sets of original uniforms. russian artillerymen of several eras. the museum of national military history in the village of pazikova will celebrate its tenth anniversary this year, thousands of exhibits, restored tanks and armored vehicles on the move, unique weapons and documents. you can touch this living history here completely free of charge. the museum is open 7 days a

week, you just need to notify in advance of your arrival so that you can be assigned a guide. pyotr deryagin, vyacheslav amilyutin, konstantin dzhukovsky, channel one. a cultural journey from st. petersburg to moscow in reverse. for the first time in 20 years, the country's two main theaters , the bolshoi and the mariinsky, are changing stages. so-called exchange tours, which means that the stars of the northern capital shine here, and then vice versa, this is such a gift to everyone for art lovers. the event is dedicated to the 180th anniversary of the birth of nikolai rimsky korsykov. the program is a tribute to the memory of the legendary composer. valery gergiev is at the conductor's stand. the maestro, let me remind you, is responsible for both troupes. report by yana podziuban. our cultural code in art. the music of roman korsykov 100 years ago, listen to her serious philosophical work, three operas a month, so large-scale, valery

gergiev offers to immerse yourself in the work of the great composer, in large all 15 operas of rimsky korsky were staged, everything that is now in the repertoires of the two main theaters, again the stages, the mariinsky theater brought a pskovite the night before christmas, from kazan about the invisible city of kitezh and divi fevronia at the conductor's stand of all three valery gergiev, three more big operas, the tale of tsar saltan, the tsar's bride, sadko, i’ll take both theaters. but in a strange way, even the sleeping beauty has not been on the stage of the big theater for some time, again there is no tragedy in this, but there is absolutely no reason to rejoice, absolutely no, this is still not normal, the sleeping beauty will return immediately. bolshoi theater joint creativity begins with exchange tours for the first time in 20 years. the bolshoi theater will present

the tsar's bride to the st. petersburg audience. a legendary performance in a luxurious design by fyodor fedorovsky. it is already known that every premiere of one theater will be shown on the stage of the second. once upon a time, fyodor ivanovich chaliapin, if we recall at least his great predecessors, successfully sang on the stages of two theaters. it never occurred to anyone then to limit the great artist, choose one or the other. kokoshniks and olga, that’s right, shishak, look in detail, starting with the costumes, restored from the drawings of the first historical production. dmitry grigoriev poskovityanka appears briefly in the prologue, noted that the spirit of the historical scenes, of course, is imperial, this is where the commonality ends. at the marinsky theater i had the opportunity to go on stage many times, there already. acoustics are more unraveled, here we still have to understand it to understand at what

points in the stage you need to stop for singing, the beginning of the opera i sing, or rather, well, vera sings from another room, from the next room, and here i am now i’m worried that i didn’t check it a little acoustically, it’s simpler here, you can sing literally, that is, just to the side back, it will be heard very well, but here it’s not, there’s a moment, we’ll see how it goes. stanislav trafimov here in the role of ivan the terrible works on two stages, but he also felt something new in the theatrical atmosphere, a different scale, a different audience, i can’t say that i felt as comfortable as at home in this performance, there was some feeling as if you are being evaluated, something like competition, well, show us. the public

came to the historic event, the beginning of the touring season of two theaters and a new creative philosophy. for the first time in many years, nikolai tsaskoridze is the premier of the big in the big. when valery besalovich struck the first chord today, you know, tears flowed into my eyes, because for a long time there had been no music performed like this here. russian opera is a completely separate substance in art; it is very deep. and serious music, it is beyond the control of any group, you know, i haven’t enjoyed it for a long time by the fact that i don’t look at the interlinear translation, i hear the russian text, i really, really hope that this is a new page in the history of my native theater, it begins so brightly, you are very happy, yes, this is my home, and if the curtain falls, behind passions were still boiling in him , the audience was looking behind the scenes... behind the scenes the scenery was being rearranged with lightning speed, there were both people and horses, but nothing was mixed up.

a unique moment, it’s hard to imagine that this happens during intermission, the performance is really going on, look at it again closed, we are waiting for the third act , the st. petersburg performance, the moscow horses, they need to work together, rehearsals are going on until the last minute, now the horse performers are rehearsing the route, for the audience there is a full palette and the effect of surprise and beautiful arias,

dear friends, creative industry podcast on channel one, with you, as always, elena kiper, producer, music video director and roman karmanov, general director of the presidential fund for cultural initiatives. and our guest today is vladimir lvoevich mashkov, people's artist of the russian federation and artistic director of the oleg tobakov theater. hello, vladimir lbovich, hello, very nice. our graduation is festive, because it’s vladimir mashkov’s anniversary , we are glad that you came to us again, we are glad to see you, you have one role that has been with you, well, most of abraham schwartz’s life in the play sailor’s silence, you you started playing it as a student, when you were just

over twenty, and you continue to play it to this day, and the movie was made, to what extent? suffered from the fact that i am very young and cannot live up to this old enough person, now i’m already approaching his age, we are already the same age, undoubtedly certain characters, they somehow still live inside you, but it’s important to really

remove them at a certain moment, i want you back in general. from failure to failure without loss of enthusiasm , you know, i ended up with the master, allak pavlovich tabakov, having already had success in novosibirsk, at the theater school, so oleg pavlovich is an iron hand, the iron hand that i gave him from the cat matroskin, which he controlled us all, affectionate and

iron, then i studied with ivan mikhailovich torkhanov from the great. teacher at the moscow art theater school, and then ended up with oleg pavlovich tobakov, he was an absolute master in pedagogical activities, what are you doing, says volodya, i’m a door, some kind of this one started, i’m a door once, stop, i say, what are you doing? so you open the door, i say, how do you even resemble an iceberg, there ’s something a little on top of you. inside, i don’t see this, where you can turn it all over, and i - opened it, a lot, turn it back, here like iceberg, he twisted me back and forth , pushed me in general, on the contrary, he wanted, he wanted to bring this lower part to the top, well , in general, a teacher, to disrupt nature, physics, and

this is very correct, from what moment did you understand that you are somehow... then so, well so, no more, no less? or they sank and surfaced somehow no, well, i realized that it needs to unfold itself like this all the time, look, this is how it turns out, because cinema requires very detailed work, in fact, when you are sunk, when everything is big inside, dream, suffering, it's in in depth, in the theater, on the contrary, you need to turn yourself around. so that your passion , opportunity and energy intensity, it covers the entire auditorium, because success in cinema is mainly...

it requires a lot of work in the theater, in cinema it’s almost like theft, since something came out of it, the camera is so successful

stood up, you are in the right angle today, that you said exactly how it happened somehow, and the director saw it and recorded it, you know, it’s just so elusive what’s happening in the photograph? i wanted to get his attention, i wanted to see in his eyes, to hear in his words

praise, hope for the future, uh, and he was quite stingy, in praise and words of support, i waited 3 years for tabakov to praise me, 3 years, that ’s his tactics, but he wrote somewhere that even this irritated him a little, yours like that irritated him a little.

and active, and doing something, so i had this feeling when the denouement happened, when somehow the whole denouement happened very unexpectedly, i irritated him, irritated him,

others were very glad that i was irritating him, but at the same time, when i did my own work, i had great success, i understood that i could engage in 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 abramavich schwartz, who was played by the greatest before me , i understood that this was probably the moment when i needed to put the finishing touches, man, he is not only old, he is so bright, deep with such a cardiogram of emotions that of course, this within power. only big a master, which i was not, but his faith and apparently this understanding that i can probably do it, like this.

therefore, they took me, and this image, probably, was the beginning of my activity, which was already completely conscious, yeah, and you made a movie as a director, and dad, also based on sailor silence, yes, i really wanted this story to be dedicated to her all our parents, and in particular the creative parents , wanted to leave oleg pavlovich tobakov.

after this, many compatriots learned in a completely different way what kind of enemy. mom, by the way, told me about that scene with luke, at first there was a light hatch, a fake one, she removed it so easily with her head that it was implausible, and they brought her a real one, i ask, even though we didn’t meet strangers with... with bags, packages, when they see me, the first thing i see is they smile at me, our series is golden, the main one, whatever you say, tomorrow on the first, the creative industry podcast is broadcast on channel one, we continue our conversation with the people's artist of russia federation, artistic director of the oleg theater tobakov vladimir mashkov, you... as

a director, made orphan of kazanskaya and dad, two films in which there are these relationships, when this is exactly this theme of mentoring, the search for a father, why is this the dominant theme in your work - as a director , 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 director of a puppet theater, my father... an actor in a puppet theater, they were very different and surprisingly complementary, passionate people, uh, but i lost them early, i was twenty-two years old when they passed away one after another, i’m generally a late child, at that time, i was born in sixty- three, and my mother was twenty-fifth, and my father twenty-third year and... of course, the beginning

of all my activities, when you want to share, especially with those people who understand and believe in you, pass away, of course, it was a big internal trauma, i realized that i had no address , there are no people who can be proud of me, this probably gave tabakov reason to understand, that i’m suffering inside, well, let’s go back even earlier to childhood. 6 years novokuznetsk - you were very sick during this period and, as you admit, you became an adult at six, a doll saved you, that is, your mother, mother with a doll somehow made it so that you basically lost it, what was the story behind it , it really happened that i got very seriously ill, was in the hospital for a long time and had to leave this world, and i - children naturally don’t

understand this, i... just saw from afar, because that my parents didn’t let me in, they were there, they came up to the window of the hospital, i was lying in a room on the first floor, they were waving to me from afar, for three, probably from -4 months i lay motionless, when everything seemed passed, i began to get better, already a mother, she , as a theater teacher working with children , brought in, in general, i forgot how to walk, that is , move in general, that is, i needed a doll on a puppet on my hand and a puppet, she was the moment when all my peers ran very fast, i just didn’t walk, and my mother i also brought me pinocchio when i was in the hospital, pinocchio’s puppet doll, she told me, you do it, take a step for her,

take a step yourself, teach her, and apparently it’s like that again, it worked so precisely in my mind that i. .. all my life i have been distinguished by perseverance, which many in general have to take, 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 we need to present something to them, and in general in the team comrades, friends who demanded leadership qualities from their comrades, this is how the city of novokuznetsk was built, neither the leaders

coexisted together, that is, the environment is like that, well, yes, in this sense, yes, it seems to me that in general the city has a great influence on psychology. of a person and such a sufficient survival of steel is not survival, to present oneself to the world, to present oneself, not to survive, to somehow find , adapt, on the contrary, to declare, to declare oneself very widely and loudly, this is what i apparently grabbed, because, well, probably the same as this, i determined for myself understanding 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 this is the profession that chose me, we may

think that we chose it, but no, it chooses because in the end , the audience chooses this enthusiasm, perseverance to move towards the goal, and for the movement.

to this place, that is, this understanding that in general in our profession, it is really very close to professional sports, to achieving, constantly improving oneself, and you need to prove every day that you are suitable for this profession, i was recently at the oleg tabakov theater for a performance of a deadly number. yeah, there is a lot of admiration for the performance itself, of course, i can talk for a long time, and vladimir mashkov’s incredible speech in front of it when he addresses the audience, but i was hooked as a person who lives in a video clip world, this

moment, when such a curtain flies away hovered, well, it’s just impossible to imagine that some kind of hover flies into a hole, here he was, now he’s gone, you’re already like that, and you you’re sitting here this whole performance, that is... you were directly caught, and you were caught, but clearly, clearly they caught this viewer who is now sitting on the phone, they need to do it, they need to do it to him like this all the time, so that it’s all incredibly spectacular, well, that is, it’s a bombshell, something is happening there all the time, you sit in amazement all the time, here too these guys are in a deadly act, they don’t let you go for a second, everywhere you see what it is well, yes, acting, but also a lot... a lot was invested in the props, there are some kind of pyrotechnics everywhere and so on, how important is this in general now the theater is always looking for some ways to communicate with the audience and our theater is very

dynamically developing, the guys are young, furious, passionate, talented and in order to capture attention, feeling... the attention of the viewer, 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 theaters, in which the miracle is still preserved, to see a living artist, to see him in burning eyes, hear his voice, which is a mirror of character, see real live clashes, this fury, the fury of each character’s struggle for life, here it is, me and so, we are trying to combine this with the image of the performance itself, and of course... the viewer is very distrustful, well, he

was always distrustful, in fact he remains , but well, you know, when our theater moved around a lot, we traveled the whole world from japan to america with performances, here in america the audience, they paid money and came in time to didn't happen, they they immediately start laughing, clap, well, they need to realize themselves somehow. in japan they are silent for a long time, they generally do not show any emotions during the action, only at the end i was stunned by the applause along with their feet, they not only clap, but knock their feet on the floor when the audience of two thousand begins to perform this, uh, you think they they are running away or they are running after you, so this is the tension, our viewer is incredulous, thoughtful, uh, you need to... take possession so that he

sees in front of him a mirror that wants to take a closer look, to see what it is made of consists, but if you have sensually taken possession of it, then, then it opens with amazing feelings, well, we hear the auditorium, we hear its silence, in our theater it is sometimes very quiet. when some events happen on stage, you suddenly realize that there is such silence, when you understand that the audience seems to be afraid to breathe, these are some incredible awards, or then some kind of explosion, laughter, joy, happiness, and of course, this, this is a big responsibility, did you decide not to act in films anymore in 2019? yes, after that it arose, after that a challenge arose, a challenge arose, yes, before the challenge i decided,

a challenge arose, consistently, well, and you know, the fact is that i really, before i came to the theater, as an artistic director , i, uh , devoted all my time to working in cinema, but when this event happened, oleg pavlovich left, uh, i took responsibility for the theater he created, for... the school, in order to realize the ideas that he had, which in the course of this or that work appeared in our team, of course, we need to spend a lot a lot of time, and i really cannot afford, such close cooperation with cinema, dear friends, we continue our conversation in the creative industry podcastlab studio, roman karmanov, general director...

such funds, of course, we

have them, and there are some opportunities sometimes to do something unique, such as a film challenge, but if we talk about this, of course , a lot, a lot of money is invested, in connection with this there are a lot of professionals who are engaged in maybe even a small activity, but this spectrum of action is his, he knows it. happened , this is a big tragedy for them, but nevertheless , despite the fact that this is a battle of money, so to speak, budgets, recently, the last year or two, i meet a lot of people who say: and we we only watch russian films, only russian tv series, somehow america has moved away, for some reason we don’t look there anymore, we feel like we’re ours,

this is what’s connected with it, probably there’s a big bunch of different events here, our stories have become . diversity, our cinematography has grown a lot, the guys are trying to write scripts , trying to somehow twist the plot to make it interesting, but of course, it’s very important, we want to see ourselves, yeah, ourselves, and listen to our own language, this is probably it’s very attractive that it’s mine, it’s close to me , but it’s right, we have... of course, a country that requires a large number of serious films, i’m not talking about thousands, but 200 films should be released a year that can attract attention, but at one time you managed to create a movie that captured, well, in general, the civilized world, i mean a thief, uh, that is, this is a movie

that almost won an oscar, that is, history could be created then, well, in general... well , you see, this is this too, this was paradox, the fact is that when the movie war was shot, based on chukhrai’s script, he worked with the script in such detail, at that moment - when we were shooting this movie, in general the movie was not being shot at all, in general there was no movie being shot in the country, we were not filmed, but... the script, we worked in great detail, and pavel grigorievich, he is such a very furious director, having written this story, he was very demanding of the actors, of the space, and you

know, when the picture was ready, there were generally thoughts like, who will even watch this? some guy is walking around, a thief, some boy, some people, you know, well, that is , these were the team’s doubts or general doubts, no, well, the team’s doubts seemed to have been made, it seems like it’s great, how it affects the world and so there were so many problems in our country, there was no time for cinema, especially for cinema about the formation of man, about a person who... stole his life, and suddenly it somehow, this is how it was intended, and it began, began to live, live, a great success at film festivals, and uh, in the american film academy, he is one of those films that guys who

enter the film academy must watch, uh, these are still such exceptions to the rules. this is the beginning of the author, that is, without the author it is not born at all, and where is the growth of screenwriting in our industry in russia, in the film industry, interesting to read lately.