tv Novosti 1TV February 28, 2024 3:00am-3:06am MSK
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you have to, of course, here you have to, as dmitry nikolaevich zhuravlev said, you have to keep yourself on track, yeah, that is, you can’t let yourself go into this empathy, so to speak sentimentally , you can’t dissolve in it, you can’t swim in it, you can’t enjoy it , but you really need to lead, and the author’s line, yeah, the author’s speech, the author’s voice. that is, to feel the author’s point of view, not what is happening between these people, but how the artist does it, this is a very important story, and it is not even in such tragic things that you can see it, i, for example, when i tell students about tyuchev, i say that there are some of them, there is no violence in the poems, of course, no, no cruelty, there is death, it sometimes happens there in denisyev’s cycle, but nevertheless, i tell them there is tragedy .
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“yes, of course, how murderously we love, yes , of course, she sat on the floor and sorted through a pile of letters, as the burnt-out hall took them in her hands and threw them, and even there the possibility of love, the collapse of love, tragedy, that’s it, yes, yes, everywhere she lay in oblivion, shadows were already covering her, but i’m talking about the fact that tyuchev sometimes he gets to some kind of view that is inaccessible to an ordinary person, there is a certain hour of the night of world silence , what is the night of world silence?" "well, somewhere it ’s night, and somewhere it’s day, yes, i was especially struck by the line, like the sky flowed like an ethereal stream to an elderly person, that is, you can simply die if you imagine that the sky, the world, an amazing story are passing through you. van nikolaevich, well, in general in the theater, it is customary to say that the main thing is still the gesture, the main scenography, the main... .to
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a strong author, strong in terms of mastery, mastery of words, precisely when we play weak literature, but it happens, yes, it happens, here we have to do something with something, that means, to compensate for the lack of power of the word, yeah, that is, if the word is strong, talented, then you don’t need to do anything else, you need to express it, exactly.
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express, you know, you can’t spoil it, convey it, but it itself holds the viewer, not the gesture, not the intonation, nor the costumes, it gets here, and the viewer begins to associate, to think about himself, in connection with what he heard, that is the actor does not know the full extent of the effect. skander, and once i invited him to a performance at the theater, he was watching a modern sitcom. well, then he
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’s sitting behind me, there’s tonechka, his wife is sitting, yes, fazil is behind me, i say, vazil abdullovich, well, how do you like it, so he’s speaking, well, in general he’s speaking, a very good pace, but it still seems to me, that in the theater the main word, a message from the president of the russian federation, the federal assembly,
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a piss with a friend, arrests, this begins his journey through torment, these camps, these exiles and so on and so forth, suffering, how he beat cancer, right? yes, yes, yes, he was ill, yes, seriously, preparing for death, and how he survived, and how he began to write, absorbed this experience, which is generally intolerable, yes, and how he began to think about russia in the 20th century in general, he wrote books about this, about its history, about its fate in the 20th century, about this performance, this short one, by the way, runs for an hour and a half, there are young actors, we have a team.
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