[000:00:27;00] belarusians more than once come with great pleasure to the capital of our homeland, to the heart of our belarus, they are ready to come literally at the first invitation, they live almost all over the world, and according to various sources, from one and a half to 3.5 million, all of them with great pleasure they fly to their historical homeland to meet and talk, tell how they live in their countries, see how beautiful belarus lives, enjoy our belarusianness, take it with

them in order to popularize it and show it there, what a notice... we, as the belarusian diaspora, get together, celebrate national holidays and, of course, ritual holidays , for example, the last holiday that we celebrated was swimming, we let winks on the water, jumped over a fire, st. nicholas day, uh, we organize plein airs, creative meetings, literary evenings, and maintain in every possible way contact with our homeland. we organize internships, linguistic internships for spanish students who study russian on the territory of belarus, they come here in the summer for uh summer intensive courses, mm, they practice the russian language, take official exams in rivshi, another area of ​​our activity is also the organization of uh classes with

compatriot children, according to the school curriculum of the belarusian primary school, the children study online, using belarusian textbooks, and undergo a belarusian school program on saturdays, we do this in order to teach children to look at the world through the prism of their native language, when i arrived in belarus i brought a book printed in spanish publishing house. this is also a very interesting project, our student, a very famous, prominent spanish political cultural figure , has been to belarus several times, was imbued with our atmosphere, history and decided that it was time for spain to also tell a little about belarus, and chose a military theme, so the book , which we translated this year and

published - this is... vasil’s book to go and not return, a non-profit project, this is a volunteer initiative, mikhail stanislavovich, by what signs do you understand that the performance took place according to to the viewer, applause, because there is respectful applause, and there are others that are very easy to distinguish. my guest is a man of unusual destiny; on his

way he met legends of theater and cinema, and each of them left their mark on his life. as the years passed, my guest was already a theater legend. today my guest is the main director of the musical theater, mikhail kovalchik. mikhail stanislavovich, hello, hello. mikhail stanislavovich, you were born in 1943, and your childhood was in the post-war period, what do you most often remember from your childhood? childhood was difficult. despite the fact that the people experienced such a powerful tragedy, there was so much grief, misfortune, everyone wanted joy and that’s it, everyone was freed from the oppression of this crazy war, and when our family gathered, and the clan, my grandfather, my grandmother, uh , was vast, it was practically, well, a good half, but 1/3 of the village, that’s for sure, it was

such a theater, because my father played the mandalin, all the nephews played the button accordion, there was someone on the button accordion, someone on guitar, i sat, watching this... i was surprised at the whole story, i thought: my god, when my cousin sang, why do i need you , my dear, i recognized her, she came out, but it was an opera singer, you understand, it sunk in, everyone i wanted joy, everyone was happy, so this family atmosphere, there were examples of parents, there were uniquely hardworking people, my father in the fifty-first years built a house in baranovichi, which became our family nest. it has now fortunately been preserved, this is the most sacred place for me , and now this happens, i can say, if they talk about such a center of power or center , this is one of the places there, when you first

went to the theater, that’s how old you were, you know, then this is our city, because that there was a house of culture, minensky theaters regularly came. and one performance, i even remember the name of the youth of the fathers, or the youth theater, or maybe like another theater, they brought us to the classes and on the stage there, in addition to the plot, there was a real war, grenades were exploding, somehow everything was shooting there, that is well, it was such a sight which couldn’t help but shock me, just how old were you then , then i think i was about seven, already in first grade, first grade, second, when they already began to educate us, take us to to an event, well, a serious performance, and somehow it immediately

gave rise to, well, some kind of desire to get into this magical world, i know that you studied in the folk theater, yes, there used to be the baranovsk region, and there there was a regional drama theater, and then, when the region became brestper. v in baranovichi there remained a group of professional actors who did not want to move to a new place, they had apartments , dachas, naturally, they stayed and organized a folk theater there, and after finishing school you went to enter the theater institute, but did not enter, which did not suit the examination committee ? it’s hard for me to say, it was the leningrad state theater, then there were competitions , well, i can’t explain it to you, it’s... 300 people per place, it’s incredible, well, i came, it was before the army, i’m all there

i was supposed to read it in the qualifying round and, as i remember now, some gray-haired man said to me, mikhail, grow up some more, well, so to speak, so as not to offend, it’s clear, well, maybe there was some kind of preparation , although here i am for... well, i didn’t pass something, but you know, it didn’t offend me at all , on the contrary, it gave me the impetus that yes, this needs to be taken seriously, if, that is, you devoted the next year to preparation, but then the army came, the army also had very strong amateur performances at that time, they played in the orchestra, and i had to stage a play somewhere north-west of berlin, well, the commander is calling... you’re an artist, come on, well, i knew how to tell it, i knew there that i had to go there, it was necessary so that the actors would not collide there, etc., such elementary directing, you

remember , as they took you to the war, i didn’t fight, mother, so i know that you didn’t fight , but they took you to the war, thank god, the pants are over, because they taught you something there, but anything could maybe you... do you remember when you were leaving, i baptized you, and you agreed, but why are you so unconscious, that’s when i arrived in our institute, that is, you entered , then our theater, i also arrived in uniform, right away, and vera palovna redlikh redlikh saw me, there was an experimental course, tell me in detail. this course was that for the first time in many years they combined acting and directing training together, and thus required that future directors undergo 2 years of acting training, this is an extremely

useful thing, and after graduating from the institute you had to stage a play, yes, i staged it in brest, it was my diploma the performance, that comes later, at first i staged the graduation performance in bobroysk, because our whole course. i went and organized the babruski theater, a theater of drama and comedy, so the azori here are quiet, and i experimented there for the first time, i had to show how fascism kills beauty, and they kill five girls, they still know this plot, and then i’m far away at the finale of the scene for tyutulim, they practically stripped the girls, blew out steam , smoke, as if they weren’t steaming, and when vera palovna and rodomyslensky, who came to the mkhat studios school to take our exams, they they were simply shocked.

firstly, it was done quite deliciously, it’s true that you had an internship with tavstony, how did you manage to get to him, it was the idea of ​​the ministry of culture of belarus, because before that we only had internships in belarusian theaters, and then we the rector called and said that you can go to moscow, to st. petersburg. tovstanogov is looking for young directors to stage a production on a small stage like alexander volodin, an author, a brilliant author, who at that time wrote a poignant story with his loved ones goodbye, i bought it somewhere on the outskirts of leningrad, because the first aurora magazine , where it was printed, sold out immediately , i bought it, sat for three nights, came up with an idea, tovstango came out of rehearsal, and i was like that, and i started telling him he had an idea of ​​how i would stage this, he... walked for so long without paying attention to me,

and then he turned around and said: “i’m fooling, come with me, let’s go into his office, ” i continued, he was interested in this, he says , and what is needed, he says, to extend your internship? i say, your letter, since the third year i was there for 2 years, he appointed me as the second director, his..." there was a production, i worked. i don’t know at all what kind of accumulated knowledge can be used in life’s tone. to one degree or another, in any case, physical activity is the very hormone of happiness that makes you look younger, that allows blood to run through your veins, as they say, increases metabolism , etc. golf is a sport that , in such conditions, allows a person to

always be with nature, to be in development, because in one game you need to complete 8, 10, 12 km, different sides, what is there to pass on to future generations? my task is to give the child the opportunity to try this or that hobby, and the choice that she makes in the end will be only her choice, we have tamara timofeevna and we... samorad has six grandchildren and we are pleased that they are absorbing those life lessons that we provide them every day, look at the story about wonderful people on fridays at the belarus project, the best way, don’t forget to spend the weekend, is to arrange a little trip for yourself. i think i've found a unique one a corner of belarus, which for many will become a place of power. let's visit belarus together.

village, i returned to the village to my grandmother, just look, here is the ideal option for a complete reboot, no gadgets of the blessings of civilization, we will visit the largest volun in the volozhensky district of the district, according to folk superstitions, for your wish to come true, you need to leave a coin on the top of the stone , let's learn all the intricacies of wood carving, in fact. it’s just like some kind of meditation, because when it goes well, it’s very pleasant, see in the program the route was built on the belarus 24 tv channel. belarus is dynamically developing interregional cooperation with russian regions, today we are on the list of key partners of the moscow region, issues of transport communication are being resolved, import substitution is being worked out, the expert is currently calling the battle for africa. the continent is gradually clearing itself of

the colonialists of the past and is ready for cooperation. africa is objectively our field of opportunity; they can and want to cooperate with us. nato countries are practically they immediately decided to conduct exercises in the baltic and black seas. during the maneuvers , landing operations and strikes from sea to land will be practiced. we invite the polish military to our training. refusal in return is a helicopter provocation. we do it without visas, we get closed borders, and someone else gets the impression that we are pushing it. main topics on the main broadcast. watch on tv channel. rus 24, and i noticed that in your life you have always been lucky to meet amazing people, with legends of theater and cinema, and i know that you were personally

know andrei makaenok , how did your first meeting happen? i was working as another director in brest at the time, and he asks: would you like to direct makaenok, and then his play a tablet under the tongue came out. i say, of course, well, here’s ours, already at that time making a splash with his performances, and he says: we’ll give you a business trip, go to minsk, call makayonok, what do you want and let him tell you what he wanted. i call andrei yegorochka, he says, well, you know, the simplicity of this man was captivating, you you know, he just... come, set a day for me, i arrived, i tell him, he tells me, and then he started telling me that this is the chairman of a collective farm, which is located in a nearby area, so-and-so , that’s how the play was born, like this, then after this conversation i went to this collective farm to this

chairman, in general this is the story, then at the same time this play was released in the satire theater, we somehow... and he says: and do you want to go see my performance in moscow? well, it's just happiness. come. i come to meet him, he gives me a place in the satire theater, after that he comes up to me, says: now come to me, we are going to his luxurious room in the moscow hotel and the premiere is held there, you understand, this is what it is, what for attention to the young director, why was i there? this is the essence of makayonka, to help a person, to help a young director, and the most interesting thing is that later , when i staged the last term in the russian theater, he was the chairman of the commission from the ministry and he then said a very

significant phrase for me, that well, it seems to me that one of the well-known promising directors was born in belarus, i will never forget these words of makayonka, naturally, because it also... gives, gives wings, this is it, i can’t help but remember your performance, the return to khatyn, which you staged with boris ivanovich lutsenko on the stage of the russian theater, i know that oles adamovich did not agree for a long time to stage his khatyn story, as you persuaded him, the fact is that when lutsenko had this idea, adamovich was really afraid of this production, i remember at the first meeting, he said that this is a document. this story is very difficult and i say i can’t imagine how. and then boris ivanovich told him his plan, that it would be in the center of the hall, we were removing almost the first 15 rows up to the aisle, we were putting a platform there, and the audience was sitting on

both sides, and we were making a hut, like something like this, here was a safety wall, here , and the audience from... as if conditionally , and there it was, when it was burning, it was scary, when everything was heating up here, and people were rushing around, of course, it was scary, then of course the very idea of ​​telling about, well scary inhumanity, fascism, what it means to kill people, lutsenko himself staged it, and i was like his second director, because after all, our profession is a team one. and we made this performance, and who came up with the idea to turn it into a performance, eat vasil bykov, go and never return? you performed in tandem again, this happened to me and bykov, when i was a student, i directed his story

kruglyansky bridge as a student excerpt in the fourth year as a director, i called grodno, he worked there then, i say, vasily vladimirovich, can i here... your kruglyansky bridge at the institute. misha, don’t mess with me, you ’ll end up with nothing but trouble. i staged a play, got an excellent grade in directing, in my fourth year, we were looking for another play for the liberation of belarus. we stumbled upon this one to go and not return. also poignant, what is not a story, it is amazing destinies, an amazing meeting of a person with misfortune, with war. boris ivanovich, since he was a busier man, says: mish, well, write out the dialogues there, do it. i’ll draw it up later, i’m with him, with blutsenko, i was a laborer, i wrote out the dialogues , then we called vasily vladimirovich, he came, well , we say, this, this, coffee, candy, he

took the candy, took a very sharp bite, guys, i love cinema more, the play came out, vasily vladimirovich came, praised us, then 10 days later, well , the play had, you know, because many theaters in russia took our dramatization, at that time sometimes: when we young people had no money , i go downstairs, here’s a tamoi, there’s a translation in the box for 600 rubles, it’s arrived copyright, because vasiliyvich bykov wrote us down as the author, imagine, the lutsenko kovalchik bulls, that is, you received a fee that divided the bulls between the three of you, but the most interesting thing is that one day borya says, boris ivanovich, quickly come to me, vasimovich is sitting and

before takes three envelopes out of his pocket, this is your choice, this is for me, we turn it away, and there are thousands of rubles for us , that’s interesting, so i’m listening to you, i understand that you started your professional career as a serious theater director of drama, then suddenly appeared musical theatre, aperetto was squeezed out, but it would seem that the genre was quite frivolous and light , what attracted you to it, you know, here... you’re in minsk, i’ve already staged a moral story with eduard honk, and how did you attract him, well, firstly, it was then that his songs sounded everywhere, secondly, i met with eduard semyonovich and said that well, i’m putting on a theater with a moral story, such a comedy, half-joking, half-true, and they didn’t take

your songs, he says, from me no, they put it on so much and you were so drawn into it, yes, i realized that music is a kind of fourth dimension, if you can say, which deepens so much with the skillful use of music, and then time went such that suddenly it demanded, when you watch the cathedral of notre dame in paris, jesus christ is a superstar. yes, my god, you think, this is, it’s like, juno , my god, lenkom, music very powerfully multiplies problems and situations, events, plays, presents them in some unexpected perspective, which is always interesting for the viewer, i’ve had enough with this husband, only the trial went rich, more is enough, i don’t need a banquet. for his creative

in your life you changed a lot of theaters, you worked not only in belarus, in russia, but as far as i know, this also includes krasnoyarsk, stavropol, volgograd, that’s what these moves were connected with, what were you looking for? i have always said one thing: i can be fired from my position, but not from my profession. and when i realized that some strength was being exhausted, somehow as fate would have it, no one fired me from the theater, i didn’t terminate my contract there, but people came from other theaters, we communicated, we showed performances in moscow, here’s my production from petigorsk, they were invited to productions, here’s another invitation, let’s say from krasnoyarsk to pyatigorsk, i staged a play there, i was invited to work there, then to pyatigor,

somehow by chance, i invited an artist from volgograd, he also worked with me, he told the director, invited me to volgograd, worked for 10 years in volgograd, where in volgograd, and 7 years in the musical theater, and then 3 years at the tsaristensky opera, i also worked in opera directing, it’s amazing, i’ll tell you this, to stage an opera... because there is one in the opera continuous musical stream. you had a contract with a theater in volgograd, when richard smolsky asked you to take a course for musical theater, did you immediately agree? right off the bat, was it a phone call? i immediately agreed, because it was a thread that, as it seemed to me, and so it seemed, would pull me to minsk. that is , wait, it turns out that all these years you have been in different cities, but your family, wife, son, remained in minsk? no, my wife was with

me, she is a dramatic actress and worked, studied with me in the same course. worked in theater in brest very successfully, and then with my moves i had to change my profession, she became an actress in the musical theater and roles in a small singing range , she is a musical person, she was successful, for example, she played khnuma brilliantly, so we were together, my son stayed here, well, yes, yes , i remember, he entered the academy back in the late nineties, and he studied, without knowing it, first acting, but without knowing it, that is, he presented you with a fait accompli. he, he couldn’t help but respond to the profession, because i didn’t force him to do anything, so he came to me, being there as a seventh grader, the professor sat and watched my performances, then i said, well, how do you like the earrings, he says , you know, that’s how he had, well, well, well, your collaboration with the musical theater and

the subsequent appointment as head director, is this also fate or? pattern of events, fate, because when we were leaving for minsk, we had already quit the theater at the opera house, when i brought a statement to the director, he said: “listen, he says, what are you doing? i say, there was so much on my page when the directors left at night with suitcases, it’s you who bring the application, no one breaks the contract with you, there were really good conditions there, good, i say, home, homeland, homeland, and we arrived, we. we were driving, i started teaching usmolsky, we started working and adam osmanovich, you know, he’s so lucky with people, he came up to me and said, well , could you come and talk, i came and he offered me his old idea, which other directors , sofya golshanskaya, and after salting, the director and adam

osmanovich called me and offered me to be in charge director. i immediately agreed, my fiancée sophia, how can you agree that for any creative person the support of colleagues, viewers and of course family is very important, as i understand it, your wife unconditionally supported you in all your experiments, yes, you you know, she's very... person, she did everything for us, in general, so that we could succeed, it was such rear support, i am very grateful to her for this, and of course, she has a destiny, if she worked in brest, she would be a people’s artist, if would she, well, we come, let’s say, right there, for 6-7 years, i move another time, then

the genre that is there for her, she is a game. she worked, so, well, it turned out that sergei, your son, is now the artistic director of, uh, the national russian drama theater, so in this, uh, there is some kind of your influence, well, it’s some kind of indirect, you know, there was no such thing, i was not a teacher for him, you didn’t force him, no, no, no, well, yes, you didn’t force music, he didn’t want it for a long time. i kept refusing, and then i go, i hear, he’s babbling there, something, yes, i say, and you say, no, so you’re babbling, let’s go to a music school, let’s go, how important is it for you that the kovalchikov theater dynasty continues, on your grandchildren, you tried to influence, you you know, i don’t have such a focus that it is necessary for there to be a dynasty, if it happens, it should happen naturally by itself, this

is not an order from above and not an order from the pope, if the grandson has... this passion, if he too got infected with this matter, how can i bother him, help him, suggest something, and then without imposition, because, for example, no one does this to me, i chose this profession myself, and i never used influence, well, yes, probably, because well, this is when sometimes friends ask to watch their... child , but simply, i’m saying, no matter how different we are, if you don’t have talent it’s impossible to go into this profession, another thing is that it’s very difficult to discern whether there is talent or not, sometimes it’s such an elusive matter, but you sergei mikhailovich discuss your work, you know, an amazing thing, but children

they don’t like to be criticized, no wonder. moreover, i sometimes hear, dad, when i say, i’m already a grown-up boy, i’m not, you’ll never be an adult for me, for me you’re just like in the photograph, small. we’ll just exchange opinions, i say, this is something you shouldn’t do, this needs to be cut back, there’s something wrong here, and i don’t want to get involved, it’s none of my business, let him make his own troubles, this is the best study, but what you tremble most of all with family traditions, we had such a tradition, every year to meet baranovichi at our mother’s, wherever we were, in krasnoyarsk, volgograd. for the new year we came to baranovichi to our family home, now, when possible , i go with my family, i always take my grandchildren, we

have a great-granddaughter, and she is 2 years old with the amazing name matilda, our matildusya, whom we also took to baranovich, this is the nest from which we all jumped out, dearer to me... there is nothing, our program is called the meaning of life. what is the meaning of life for you? to be happy means to define yourself in a profession, build a family, well , try to be competent or something, successful, if, as far as health and strength allows, in principle, to be joyful and encourage others to do the same, that’s why... cancan, thank you very much, this was the meaning of mikhail

kovalchik’s life. they connected their lives with the countryside and realized ideas that at first few people around them believed in . i don’t like the partnership that is located near minsk , that is, it is 6 acres. i wanted more space and more, as it were, fresh air away from minsk. heroes of the project about life in the belarusian outback. it's here grows, produces about 150 tons

of wheat and rapeseed? yes, of course, yes, it’s very hard to believe, the numbers are simply threatening. they will offer the presenter to master a new activity that is unusual for the townspeople. will three tasks be ready for you? i arrived, the first test is to climb here. i’m sitting high, i’m looking far away, it’s great, 20 monsters, 20 bullets, one me, one you, well, some kind of prize , without today, watch the show, i’m from the village, on our tv channel, sometimes, to see the most interesting, you need to look at it in array the rest is also interesting, i believe that at all ceremonial events the national anthem to... should be performed in full. independence is a relative concept, but we, we have this independence, we have sovereignty. at the same time, we are sovereignly diversifying our dependence,

which is called multi-vector, but in essence it is just logic. the global goal of our sovereign right is to create combinations of interdependencies, to make sure that our interdependence with the world is as beneficial to us as possible. igor's author's view. for the main events in the country in the international arena, the propaganda project, watch on