there are many difficulties associated with the freedom of self-defeat of creativity in interaction with such a structure as a plant, firstly , it is simply a large plant with its own rules, principles, production cycle, secondly, it is a traditional old production, thirdly , the production there is not without problems, but actually we probably would not have gone there so that everything would be fine at the plant, therefore there were specifics and maybe not... not everything that is in my head has been done yet, but nevertheless however, if we move on to the facts, that is , we have about thirty artists and designers who took part in this and they created 90 plus concepts of some new products made of porcelain and ceramics, most of them are now present in some single copy simply as an object, like a concept, but we have already begun to replicate some of these concepts, in particular , there is such an author as fyodor kolpakov, he is not a designer, no... but he clearly has

a talent and predisposition for this, and he went through such a training cycle from scratch how it can be done, created a series of mugs, fragments, inspired by constructivism, yes, which in yekaterinburg is considered one of such leading architectural styles, and it turned out to be very advantageous in its style, presentation, here is the series it successfully got into the three hundredth anniversary of yekaterinburg and we created the corresponding... news and about this there was some kind of such a big interest - to this mug and we just opened pre-sales even yes not the mugs themselves , but just made a website you can pre-order by and large for there - 2 months, maybe even less than 3,000 sales took place, and what are 3,000 sales? well , the farforce and serte factories, well, their production maximum was until recently 500 items per month , that is, in essence, in a month and a half we have more than half of this volume. we took over and

now the factory - well, it has accepted such a challenge for itself to very quickly produce something new and be - well, how to work out this demand in the outside for some new product, which, well, they want, so they line up and there are 3,000 people and they are waiting, and economic perspective, what is the cost of this crumb? it is sold in retail, well there from 3 to 3,500 rubles. can we look at it, if here is a sample with you, can we. i hope that something is poured in the mug there, but apparently not, well, okay, here i have to spin, the mug is the house of printing, it is a monument of constructivism, troman, you are a journalist, yes, i am pleased, i am catching a familiar moment, that is, this is my will be, yeah, for you we are like a metaphor, and the binding binding did not find, this is one of the most beautiful buildings in yekaterinburg. it is called a sports complex

dynamo, it stands there on the arrow on the city pond, a ship like that, in general, this is a mug more , yes, it is dedicated to this architectural complex, i would like to say that what is so great here, i don’t know, luck, happiness, success of what is happening now, because well, the mugs are produced by the plant with the preservation of those production traditions that were laid down in the soviet years, this is one of the finest porcelains in russia in general, and it is really very thin, yeah. yes, this is manual production, that is, it is manual casting, women pour all this into molds, pour it out, this mug turns out, then it’s there, in general, there’s a lot of manual labor, and here, in general, the workers love porcelain in each mug, which means, firstly, they are really thin, secondly, there is a stamp here, this is very important, it says anti-crack, it says autoforti here, we are essentially organizing such a co-brand, yes , here, here and... something else is written, but this is

apparently, and the website is also written, well, okay, it’s very convenient in general, in fact, well, and most importantly, it revives, well, the whole city practically, how to now enter offline sales in cities with a population of over a million, there are quite a lot of ideas, in general about the economy, what i would probably like to emphasize, that is , it is clear that in general creative industries, that they actually create some added value yes, that is, when, well, essentially , packaging a story and some kind of identities. stories, yes, in a broad sense, in this brand, in this image, additional values ​​are created, this value is transferred to people, many people buy, for example, these mugs or generally follow project, well, not only because they want a mug, they probably have mugs and other ones at home, but they also want to be part of this story, to help participate, again, this participation, yes, which we talk about a lot, and of course, this gives birth to this, well, relatively high added value allows, including in the future , to carry out reconstruction of such factories, yes, that is, probably this... the idea, it can

go somewhere further, but - it also seems to me that creative industries have such a the effect is very strong, like you know , when you throw a pebble into the water, there are circles, that is, such a very large socio-economic effect. if you package everything correctly, then in the city , indeed, somewhere there, well, the gloom goes away, yes, that is, some cheerfulness sets in, investments come, that is, for example, around porcelain, yes, now there is an idea: maybe a hotel can still be built there, and maybe there can be more tourists here , like in another place, and this is also already an investment, well, for example, construction industry and so on, and these are already more capital-intensive things, and the figures are really very interesting, as for the anti-fragility itself, it seems that this project really can be limited there only to porcelain, because ilya already said that there were requests from many regions of russia, somewhere we ourselves are looking, we understand that this is a way to reveal this identity, on the one hand, there for a city or some region, maybe to start being proud of something again, yes, in general, here we have such a tradition of this fragility as some idea of ​​the time that we are living

through now, it can be embodied through the repackaging of these traditional values, traditional productions, it seems that you can try to go out, well, in... one will come a little better, one will come a little worse, there and so on, different times and so on, but nevertheless, the director came, the director left, it all works, here is your business, which you are doing, it is very much tied to the personality, that is, here you are as people who design all this and all this

lives, you suddenly got bored, for example, at some point, you took or i don’t know, depression, sometimes creative people get depressed, in the end, disappointment, waved, said.

that really some big thing is happening, and you are complicit in it , it turns out to create opportunities for other people to contribute to this in general, because well, in my opinion, all the same, a lot of people, yes, probably everyone in some sense wants to be involved in something big, and it seems to me that now a lot of people, there in that including creative, enterprising, just here through with the help of the instrument of creative industries, culture in the broad sense can just apply their efforts to the development of cities, to the development of the country. schoolchildren somewhere here about producers ilya said that it is very important to teach and in general there people who

can collect such projects, manage them, this is in fact a very high level of competence, but we see great potential in this, because people somewhere there having received managerial experience, i don’t know there in the second. after all, what, what should be in this place, where are you now so energetically operating, this is what kind of picture of the future is there? well, probably, if we talk about the plant, it is clear that this is the restoration of the workshops, in general, them, that is, those processes that have already,

let's say, appeared, that is, it is clear that as a kind of platform for holding a festival, but in many ways precisely as an educational, upbringing project, so that creative people, enterprising people, young people, in general somehow. communicate in a certain way, receive some kind of education, including there - with moscow universities, we already communicate with some of them from the point of view of some branch history, why not, and accordingly , this is probably the main idea, it is clear that these are some... there is a show there , an immersive big sandbox of federal significance, a big sandbox for creative people to try to do something, and if we finish and about the train, ilya and i were flying on a plane right now and we talked, why not, for example, take a train , turn several carriages into a kind of a large office of creative people who will be in the city somewhere to go out, to come in producers and just to drive around the city, stopped in yekaterinburg went to see the east to kaliningrad, yes-yes-yes or vice versa in general to see to drive this...

a feasible story considering that 2024 what does the train have to do with it, but in fact it is quite an anniversary year for bam, so this is such a topic, a very correct topic, but this is a matter for the future, i hope that the guys will have enough strength, energy and most importantly desire for all this, unfortunately, we have to finish the podcast creative industry on channel one, we are with you.

hello, dear friends, this is the podcast life of the remarkable, i am with you, its host writer alexey varlamov, my guests today are the great-granddaughter and great-great-granddaughter of leo tolstoy, marta albertini and fek. tolstaya, we will talk about the fate of the fat in the 20th century.

marta is my father's second cousin, but you know, we are in the tolstoyan family, you have been in our companies many times, we somehow do not consider this, here we still count the generation, and so aunt aunt. how did you meet when? we met 30 years ago in paris, i was lucky enough to get to marty for her eightieth birthday, which was some time ago. we were in italy, in the beautiful estate of albertinia torimpietro.

wrote a book at home, and we admired martina's efficiency and the fact that marta always says: everything is wonderful, everything is wonderful, everything is great, marta, are you tired? no, no, why am i tired? and i must say that the french edition came out a few years ago, now the russian edition has come out, we we were just now in yasnaya polyana, where marta performed at the tolstoy festival, there was a presentation at the moscow tolstoy museum, and i know what a performance is,

this is a wonderful generation, a generation of great-grandchildren who remember their parents very well, tolstoy's grandchildren, those who were born in yasnaya polyana, who still remembered their childhood in yasnaya polyana, to collect their memories so that their impressions of previous generations somehow remain with us, i want to say that this work of marta's, it is very important, because this

is not a scientific book, it is very an emotional story about...

ne connaît pas la fin, oui, il faut ussi penser que il cherchait, he suffered a lot in his work, then crossed out what he had written before, and he was looking for the truth, he was looking for it in religion, he was looking for it in life, his correspondence with gandhi is well known, gandhi, by the way, was acquainted with the grandmother.

well, not that to forget that he is a great writer and a great thinker, but simply to perceive him as - as a member of the family and we criticized lev nikolaevich a little from a female point of view, yes, that he was wrong, yes, but it is very interesting, it seems to me that i hear from foreign fat people, they somehow speak to nikolaevich more freely, or something, in the sense in the sense, like clothes.

i wrote a book and prepared for a lecture that i gave in rome on tolstoy and ganda, opposition. and i came across a book

that was translated into italian.

the need for other knowledge all the time new, now people are somehow absent-minded. much more absent-minded.

spoke too much, no, you speak wonderfully, it's just that i really, listening to you, fekla, somehow even sometimes i forget that you are related to tolstoy, you are such simple, accessible people, i don’t know what he was like in communication, they say that he was also a very simple person, many different

memories have been preserved, but you are right, of course, and a hardened giant of a man, the fact that in our school they laid a mirror of the russian revolution, all sorts of other cliches that exist, because i think, blok said there. your book is true for me, i have read many different books, i have written many documentary books, i have done many things in general , in part, i consider myself an expert in this area, but what you did, what you dug so deep, saw these destinies against

the backdrop of time, how wonderfully it is shown, but these two lines are very, very different, and i really understand marta, who always remembers sofya andreyevna, the tolstoyan, who did a lot for the tolstoyan museums.

tennis, in general it doesn’t matter, but this is our life, and i’m not ashamed, that’s how it is, lev nikolayevich coincided with the heyday, or rather with the beginning of the heyday of the era of cinematography, but we know that many of his works are many once they were filmed, there is the same anna karenina, what is your attitude to cinema, here is italian neorealism, i don’t know, soviet cinema, russian cinema, are you interested in this? but

i don’t know what you mean, oui, i don’t spend time watching films, and let me see, i listen to television, there is, well, there is television, well, in general, i prefer classical music, cinema, no, not really, but of course, there was fellini, he was just a hero of his era, but that also ended, that too is a world that ended, it's very nice to review all this, but it 's no longer there, you were studying islamic culture, yes, yes,

and there, among other things, yes, there were questions

that we now want to ask you to answer. the first question is: what is your goal in life? so that you don't cause harm to anyone. yeah. and what age should you marry? 20 years. and to submit or for others to submit to you? also

very tolstoyan, freedom, yes, but it seems to me that this is also a difference in time, tatyana lvovna could ask such a question, and her the granddaughter doesn't like the very formulation of the question, after more than 100 years. something so personal and presupposes judgment, and no judgment is needed. console yourself with the fact that you had it. now a simpler question: your favorite

prose writer? i should say tolstoy, but that would be untrue, well, in general you shouldn't, you can name another name of course, i really think, well, he's not exactly in prose, but let it be shakespeare, okay, well, the question was like this, yes, your favorite writer in prose? dumas.

features infinitely dear to us and sophia andreevna tolstoy, the eldest great-grandmother of the great-mother and lev nikolaevich, of course. marta, dear, thank you very much for this conversation, for your frankness, we could talk and talk, but unfortunately our time is limited, in any case we will always be glad

to see you, thanks again for the book.