[000:00:00;00] unit into operation, a government commission is also working, last week another serious test was completed as part of the pilot operation stage, this is a comprehensive test when the second power unit was in operation for 15 days at rated power, in total within the pilot stage industrial operation, more than 440 tests were carried out, advanced technologies... from the energy industry and beyond were presented today in minsk, where the largest industry forum energy expo opened. the start of the event was marked by the signing of a number of documents on cooperation between specialized belarusian and russian companies, so that the process of creating a single energy market between russia and belarus is in its final stage. and this is the latest news for

this minute, see you at 19:00. mikhail stanislavich, by what signs do you understand that the performance has taken place, the audience receives applause, because there is respectful applause, and there are others that are very easily distinguished. my guest is a man of unusual destiny. on his along the way he met legends of theater and cinema, and each of them left their mark on his life.

years passed and now... my guest is also 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 it. joy everyone was freed from the oppression of this crazy war and when our family gathered, and the family of my grandfather, my grandmother, uh, was extensive, it was practically, well, a good, well, not half, but 1/3 of the village, that’s for sure, it was like that theater, because my father played the mandalin, all the nephews played

the accordion, there was someone on the button accordion, someone on... i was sitting, watching this whole story , i was surprised, i think, my god, when my cousin-in-law sang , why did i recognize you, my dear, she was coming out, but she 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 'in the fifty-first years built the baranovich house, 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, and when you first went to the theater, that’s how old you were, you know, then this is our city , because

there was a cultural center. the minensky theaters regularly came to 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 classes, on the stage there, besides the plot there was a real war, grenades were exploding, somehow everything was shooting there , that is, well, it was a spectacle that didn’t... i think it was about me when i was seven, already in first grade, first grade, second, when they started to educate us, take us to events, well, serious , and somehow it immediately gave rise to, well, some kind of desire to get into this

magical world, i know that you worked in the folk theater, yes, there used to be a baranovichi region and there was a regional drama theater there, and then, when the region became brest, it moved, a group of professional actors remained in baranovichi 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 leningrad state theater, then there were competitions, well, i can’t explain it to you, there are 300 people per seat, it’s incredible, well, i came, it was yes... i read everything there that was supposed to be in the qualifying round and i, like now

i remember some gray-haired man said, mikhail, grow up some more, well, so to speak, don’t offend, it’s clear, well, maybe there wasn’t any preparation, although i was studying, well, i didn’t pass, but you know, it didn’t offend me at all, on the contrary, it gave me an impulse that yes, this needs to be dealt with seriously, if, that is, the next you devoted a year to preparing for training, 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 called, you’re an artist, come on, well, i could do that such elementary directing, do you remember how they took you to the war, but i didn’t fight , mother, so i know that i didn’t fight, but they took

you to the war, thank you, god, that it ’s over, they got you something there - then they taught, but anything could happen, do you remember when you were leaving, i baptized you, and you agreed. why are you so unconscious, when i arrived at our institute, that is, you entered then already ours, i also arrived with shoulder straps, right away, and vera palovna, redlich saw me, there was an experimental course, so tell us in more detail what this experiment consisted of, the universality of this course was that for the first time in many years it was combined... acting and directing training together, and thus it was required that future directors undergo 2 years acting training is an extremely useful thing. and after graduation, you

were supposed to stage a play? yes, i staged it in brest, there was a graduation performance, that came later, at first i staged a graduation performance in babruisk, because our entire course went and organized the babruski theater, the theater of drama and comedy, 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 from the final scene behind tyulemim practically stripped the girls, blew out steam as they steamed, and when vera palovna and rodomyslensky, who came to the studios school, understood our exams, they were simply shocked and fascinated, firstly, it was done quite tasty. 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 only we had internships in belarusian theaters. and then the rector called us and said that you can go to moscow, to st. petersburg. tastanogof is looking for young directors for... a production on a small stage as an experiment, and alexander volodin, an eminent author, a brilliant author, wrote at that time an insightful story with your loved ones, don’t part with your loved ones, i bought it somewhere on the outskirts of leningrad, because the first aurora magazine , where it was printed, it sold out immediately, i bought it, sat for three nights, came up with the idea, tavtsanogo was leaving the rehearsal, and i was like that, and i came to him... and began to tell him the idea, how i would stage it, he took so long not paying attention,

and then he turned around and said: “come with me, let’s go to your office,” i continued , he became interested, he said what is needed , he says, to extend your internship, i say, your letter, from the third year. i was there for 2 years, he appointed me as second director, it was his production, i worked. adventure of foreigners in belarus good afternoon, hello, my name is sergei, sergei, maria, oh, very nice, and ekaterina, he’s still so heavy, yes, he’s heavy, he’s over 5 kg, they look like a mushroom, like a mushroom, yes, that is, these mushrooms that are growing, you see, there are yellow ones, even some white ones, it looks like a spider’s web, a guy from ecuador, he’s been living here for 8 years. and travels through our entire villages. an aspiring

microbiologist came to minsk to master his profession. as fate would have it, i extended my business trip. i didn't expect it to be so cool. and he happily talks about the most picturesque places in the country. where did the deriza goat run away? this is very detailed, the process itself will receive the milk, it will remove the coals from each one so as not to contaminate the milk itself. she also touched it there and said that she was pleased, eat it, mm, look, in the travel project white dew, on the belarus 24 tv channel, and i noticed that in your life you have always been lucky in meeting amazing people with legends of theater, cinema and i know , that you were personally acquainted with andrey

makayonk, how did your first meeting happen? i was then working in brest as another director, someone calls me, and you wouldn’t like to direct makaenko, and then his play came out, a pill under the tongue, i say, of course, well, ours was already sensational at that time with his performances, and he says: we’ll give you a business trip, go to minsk, call makarenko, what you want, let him tell you what he wanted, i call andrei yegorychka, he says: well, you know, the simplicity of this man was captivating , 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 the brest region, this, that, that then, then, how the performance was born, how this, i then after this conversation, this collective farm

will be chaired. in general, this is the story, then at the same time this play was released at the theater of satire, we somehow called each other, and he says: don’t you want to go see my play in moscow, well, it’s just happiness, come, i come to meet you, he gives me 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, that’s what it is, what kind of attention to the young to the director, so what? i was 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 directed the last deadline 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 in belarus... one of the most promising directors was born, yeah, i will never forget these words from makayonka, naturally, because it also gives, gives wings, this is it, i can’t help but remember your performance , 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, how did you persuade him? the fact is that when this idea was born to lutsenko, adamovich was really afraid of this production, i remember at the first meeting, he said that this is a documentary story, this story is very difficult, and i, he says, can’t imagine how, then boris ivanovich told him his plan, that it would be in the center of the hall, we are practically removing

the first 15 rows there before the aisle, yeah. there we set up a platform, and the spectators sit on both sides and make a hut, like this, here there is a solid wall, here, and the spectators have an open one, as if conventionally, and there it was when it was burning, it was scary, when here everything was heating up , and there were people throwing around, of course, it was terrible, then of course the very idea of ​​talking about, well, the terrible inhumanity of fascism. what does it mean to eat people? lutsenko himself made the insinuation, and i was like his second director, because after all, our profession is a team one, and we did... this performance, and who came up with the idea to turn the performance into something, eat vasil bykov, go and never come back? you performed in tandem again, this happened to me and bykov, when i was a student, i staged his story

kruglyansky bridge as a student excerpt, in my fourth year of directing, i called grodno, he worked there then, i said, vasily vladimirovich, can i come here? your kruglyansky: at the institute, misha, don’t mess with me, you’ll have nothing but trouble, i staged a play, got an excellent grade, in directing fourth year, we were looking for another play for the liberation of belarus, we came across this to go and not return, it’s also striking that it’s not a story, it’s amazing destinies, an amazing meeting of a man with misfortune, with war, boris ivanovich, since he was a busier man , says mish, well, write out the dialogues there, do it, then i... got it done, i was with him, with blutsenko, i was a laborer, i wrote out these dialogues, then we called vasily vladimirovich, he came, well, we say, this, this, coffee, candy, he took the candy,

i took a very subtle bite, guys, i love cinema more, a play came out, vasily vladimirovich came and praised us. then after 10 days, well, the performance, you know, because many theaters in russia took the money, at that time, sometimes when we young people had no money, i go down, there in nadoevsky’s box there is a transfer for 600 rubles, these came from the author’s , because vasiliyvikov is our author, but the most interesting thing is that one day borya says: boris ivanovich, quickly come to me, vasim vladimirovich is sitting and takes three envelopes out of his pocket, this is for you, this is for me, we turn it away, and there are thousands

of rubles each for us, that’s interesting, i’m listening to you, i understand that you started your professional career as a serious theater director of drama. and then suddenly the musical theater operetta appeared, but it would seem that the genre was quite frivolous and light , what attracted you to it, you know, while working in minsk, i had already staged a moral story with eduard honk, and how did you attract him, well, first of all, it's his then songs sounded everywhere, secondly, i met with eduard semyonovich and said that well... i’m putting on a theater for a moral story , such a half-joking comedy, half-jokingly, they took your songs, he says, i have so many songs that have not been written, but have not been voiced , it was practically a musical, or so we’ll call it a play with songs, then in babruska, too, we staged a vaudeville act there, and

you were so drawn into it, yes, i realized that music is a kind of fourth dimension, if i may say so, which so... deepens with skillful use of music, and then time went in such a way that suddenly it demanded a musical, when you watch notre dame cathedral in paris, jesus christ, a superstar came there, my god, you think, this is like a young man of eight, my god, lenkom, the music is very powerful multiplies problems and situations, events, plays, presents them from some unexpected perspective, which is always interesting for the viewer to endure. business with this husband, only the prog is gone rich, more is enough, i don’t need

a banker, niputat, belarus 24 presents a new international season, popular show about young heroes of our time. the echo of grandiose battles still echoes over the arena, but soon she will see new feats, time for the big game. participants are engaged in fire and rescue sports, victory over difficulties and their way of life. eight teams, four countries and four elements. now teams from belarus, russia, and uzbekistan will fight for the title of winner. to win it you need to pass four elemental tests: water, air, earth, fire. participants are welcome. new tests and new emotions. at the first stage i have timur, for him any weight is on his shoulder, he is in fire, in water.

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that at a certain level the navat is different. watch on the tv channel belarus 24, during your creative life you have changed a lot of theaters, you worked not only in belarus in russia, well, 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 i always said one thing, i can be fired.

from a position, but not from a profession. and when i realized that some strength was being exhausted, somehow, as fate would have it, no one kicked me out of the theater, no one terminated my contract there, but people came from other theaters, we communicated, we showed performances in moscow, so my production from pyatigorsk. they invited me to performances, here’s another invitation, an invitation, let’s say from krasnoyarsk to petigork, i staged a play there, i was invited to work there, then to petigorsk somehow by chance, i invited an artist from volgograd, he also worked with me, he told the director, they invited me to volgograd, we worked for 10 years in volgograd, where volgograd is, and 7 years in the musical theater, and then 3 years in the tsaristena opera, i also worked in another opera directing, amazing, i’ll tell you, it’s easier to stage an opera than a musical, than

an operata, because the opera has one continuous musical stream, you had a contract with a theater in volgograd, when richard smolsky asked you to take a course for musical theater , you immediately agreed, immediately, it was a phone call, yes, i immediately agreed, because it was a thread that, as it seemed to me, and so it seemed, would drag me to minsk, that is, wait, it turns out that all these years you were in different cities, and your family, wife, son remained in minsk, no, my wife was with me, she is a dramatic actress, and she worked, studied on the same course with me, worked at the brest theater very successfully, and then with my moves i had to change profession, she became a musical actress theater, and the role of a small singer. bazona, she is a musical person, she was successful, for example, she played khnuma brilliantly, so we were together, my son stayed here

, i remember he entered the academy in the late nineties, and he studied, first acting, yes, without knowing it, that is, he confronted you with a fact, a fact , 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 such a seventh-grader as a professor , he sat there, watched my glasses, well, what do you think seriously, he says, you know, that’s how it was with him, well, your collaboration with the musical theater and subsequent appointment as chief director, is this also fate or a pattern of events? fate, because when we were leaving for minsk, we quit the opera house, when i... according to the directors’ statement, he said: listen, he says, what are you doing? i say, in my lifetime there have been so many times when directors left at night with suitcases, he says, and you bring an application, no one

breaks the contract with you, there were really good conditions. good, i say, home, homeland, homeland, and we arrived, we arrived, i began to teach at smolsky, we began to work, and adam osmanovich, wonderful, murzich, you know, murzi, well, he’s lucky with people, he came up to me, he says, well, could you come and talk, i came, and he offered me his old idea, which other directors, sofia golshanskaya, and after... i immediately agreed, my fiancée sofia, how can it be , agree that for any creative person it is very important support of colleagues, spectators and of course

family, as i understand it, your wife supported you in all yours. yes, you know, she is a very talented person, she did everything for us, in general, to make us successful, it was such rear support, i am very grateful to her for this, and of course, she has a destiny, if she worked, there would be a people’s artist if she, well, we ’ve been coming, let’s say, right there, for 6-7 years. i 'm moving another time, then the genre that is there for her, she played, she worked, so, well, it turned out that sergei, your son, is now the artistic director of, uh, the national russian drama theatre, in this, there is some kind of your influence, well, it’s some kind of

indirect, you know, there was no such person there, i was not his teacher. you didn’t force him, no, no, no , well, yes, you said, i didn’t even force him to make music, he didn’t want to for a long time, he kept refusing, and then i go, you hear, he growls, there’s something there, yes, i say, and you say, no, you’re crying, let’s go to music school, let’s go, how important is it for you that the kovalchikov theater dynasty continued, on your grandchildren, you tried to influence, 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 by itself, this is not an order from above and not an order from the father, if a grandson has this passion, if he also became infected with this matter, so how can i bother him, help him, suggest something, and then without imposition, because well, for example, no one likes me like that, i myself chose this

profession, and i never used influence, right? probably because it's but when sometimes acquaintances ask to see their child, and they do, i say, no matter how much we are in some other place, if there is no talent, it is impossible to go into this profession. another thing is that it is very difficult to discern whether there is talent or not, sometimes it is such an elusive matter, and you , sergei mikhailovich, discuss your work, you know, an amazing thing, children do not like to be criticized, nothing surprising, moreover, i sometimes i hear you, dad, when i say, i’m already a grown-up boy, no, you ’ll never be a grown-up for me, like on photographs, we’ll just exchange opinions, i say, this is something you shouldn’t do, this needs to

be shortened, there’s something wrong here, and i don’t want to get involved. it’s none of my business, let him make his own mistakes, this is the best study, and what family traditions do you admire the most? we had such a tradition, every year we met the baranovichs at our mother’s, no matter where we were in krasnoyarsk, volgograd, on new year ’s we came to baranovich to our family home, now, when there is an opportunity, i go with my family, i definitely take it, we have great-granddaughter, who is 2 years old with the amazing name matilda, our matildusya, whom we also took baranovich, this is the nest from which we all fluttered, i have nothing more expensive, 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, a family, well, try to be competent and successful, if your health and strength allow. in principle, to be joyful and encourage others to do the same is why the whirlwind aprêt genre, thank you very much, this