[000:00:00;00] all this in sports projects on the belarus 244 tv channel, we will conduct a tour of the main enterprises of our country, and at the beginning we carry out an incoming inspection of the water itself, which we collect in a container, this is the initial stage, we even start the working day with this, we learn the history of the development of production. that is , both the first chief engineer and the first chief technologist. already in the sixties, we created our own design base. and of course, we’ll talk about achievements and work results. over the past 5 years, performance we almost doubled it. today , about a million bottles per month are produced in a single shift. today , this is the only enterprise in the former

soviet union that produces. a whole range of vehicles, these are like trucks, these are trailers, these are bus equipment, and for belarusian organizations you can see about the people who work there in the quality mark project

on the belarus 24 tv channel . they live abroad, but they remember and love their

homeland. i left belarus a very long time ago back in 2001, but i visit constantly, the belarusian community in armenia is 25 years old, we participate in all the events that take place in armenia, dedicated specifically to the cultures of other peoples. people contributing to the development of belarusian culture outside the state. our organization is called yereman belarusian community of armenia belarus. we have a children's puppet theater lyalka. why did we organize it? in order for children to learn the belarusian language in an easier form. we have two collectives and today the descendant land our belarusian botleyka is crowing, today our songs are being sung, watch the project look

at belarus on the tv channel belarus 24. hello, you are watching the program tell me not to be silent, in the studio victoria popova and tatyana sherbina. and today our guest is the director of the kupala theater. daniil filippovich. good afternoon, daniil, good afternoon, hello. we are glad to see you again in our studio, today we will talk about the upcoming premiere, the yard of my childhood. you, uh, from the age of 7, yes, you told me there last time, remember yourself, you started keeping diary entries when your mother passed away, you were six, and since then this burden of memory has haunted you, but for the creator it is rather difficult or easy. remember so much, there are two sides to it, sometimes it really interferes, you can’t fall asleep, but because you remember almost the whole day and start analyzing it, on the other hand, it helps a lot in the profession, that is, there is

such training in general, that’s just me i later learned that keeping, firstly , observation diaries, and secondly, remembering your entire day, is according to stanislavsky, but remember all day down to the smallest detail, analyze it when i... read it, i think, wow, i ’ve been doing this training since i was 7 years old just based on my intuitive feelings, and well, i remember so many people, i remember so much their impressions, their events, and their vivid emotions, that well, i have such a collection of different emotions of people, and this helps me in my profession, because when i need to do a love scene, i have 12 scenes of my friends there, so wait, now let's look through the diary, page 32, that's how i remember it i know almost everything by heart, yes, of course, diaries sometimes help me just remember something thoroughly, but mostly i remember absolutely superficially, and what is

stanislavsky for, remind me of the advice, this is training, visual perception training, how do you analyze, how do you feel internally, how do you, in general, this is memory training, emotional memory, and a film of vision, what? predominates in your diaries, memories, more positive or some, maybe negative, no, well, in different ways, i’m always on my first acquaintance with actors, i ask him a question: tell me the happiest incident from your childhood life and the most tragic incident, most of them always say that there was more tragedy, well, in my childhood, firstly, it was happy, at least sometimes tragic, but nothing prevails, i think that i just love him, as in the play... i say i love the yard of my childhood in the finale. daniel, what is your most vivid childhood memory? the brightest and happiest and most tragic

childhood memory, of course, is my birthday, once on my birthday, my grandfather brought half an apple and gave it to me, on the one hand, it’s a blessing that i, you know , somehow, weren’t spoiled, on the other hand, of course, it’s a tragedy, because now i’m somehow very skeptical for birthdays, i very, very rarely celebrate my birthday, but i would like to celebrate it more often, since childhood you have loved poetry, as far as we know, including poems about minsk by vasil vidka, who lived not far from kupalovsky, you included his lines in staging, this generally prevails, this is generally the most important thing, that is in the play - this is his poetry, and not only about minsk, why did i remember him when i was even planning this, first of all, i didn’t know that he lived opposite the kupala theater, he lived. memorial plaque, in his honor, i first remembered the alphabet that he wrote, and he tells it in the belarusian language, that ’s exactly the belarusian people, such a mentality , they talk about a, about b, about c, and so

on, yes, but he is like that this, according to our, not just mentality, but according to our thoughts, according to our reflections, speaks about us, yes, about belarusians, that i think that no other author would have spoken out, then, when we had already won the presidential grant, when we had already... already started to start production, i walked across the street to the second-hand bookstore, right opposite the kupala theater i saw a real sign , vasil vitko, i think, wow, what a coincidence? that is, then we found out where he lived, that he lived directly opposite , that is, his balcony, that is, he was always watching the theater that stands opposite, imagine, and now there will be a production with his last name, yes, which will be to somehow return him, you took it as a blessing , i think so, but i get goosebumps when i remember this, because it’s not even a coincidence, but i don’t know, it’s some kind of , i do n’t know, i have some kind of... such metamorphoses happen all the time, here too, and which other

author goes with you through life? gogol, gogol haunts me , recently for some reason it became thick, i started re-reading it, a lump of simply classic literature, how he describes anna karenina, how he describes each of the heroes, how he describes tree, how he describes the work of men, oh, i don’t know who else describes it like that, i’m just...’ what are you reading now? anna korenina? i’m already re-reading it for the second time, it’s not just about a train about a woman who cheated, but an internal state, about internal acceptance or non-acceptance, yes, how to do this, so he wrote about the internal component of a person and his thoughts, yes, because it is very difficult to describe our reflections, yes, we can basically say, we are scared, but describe this fear on three sheets of paper, just try to do it, it’s impossible to do, and he does it for other... fictional characters

, we have already received at least two trainings from you today, daniil, but you already mentioned the presidential grant, this play is being staged for the presidential grand for culture, and i’m curious why your play in particular and your performance, your project won this grand prize? i think that firstly there was sincerity, now there are a lot of plays, literature, performances. about something, you know, something so global, about love, about hatred, about betrayal, and i also succumb to this, as it were, yes, this spirit, i follow it, well because these are modern times, and i really wanted this to be about nothing , just about nostalgia, this is what to do so that 50, 60, 70 people sitting in the hall remember their childhood, what needs to be done so that each of them i just remembered my childhood, when actors started asking me, what is this about, what? what kind of event is happening here, i’m talking about nothing, it’s nostalgia, well, for world

culture the message is not new, yes, let’s remember andrei torkovsky, his mirror, amar court fredrico filini, but they turned to the past, being already quite mature people, you are still quite young, isn’t it too early to indulge in memories and nostalgia , nowhere will this sound better than in the yanka kupala national academic theater, this thing simply won’t sound anywhere else, because what is this... about minsk, this is my childhood, it passed in minsk , every district, every person, who in what other place can i put about gorky park, for example, they tell a very long story about how i rode on a wheel reviews, but i was skating and that means they lifted me up, i shouted on purpose, look, there’s grushevka, there’s malinovka, there’s chezhovka, who will understand this except us, yes, that is, but i think that visitors can also turn to this work, yes, we

i hope that there will be some kind of translation, yes into russian, well, for visitors, for travelers, so to speak, so that they understand our essence, yes, we are about nostalgia, we are about happiness in any case, even if some tragedy happens , then it’s still happiness, but for me in general, this is some kind of stage just for me, not a full stop, it’s like three dots, he’s gone through this stage and i need to sum it up somehow, in my opinion, that’s the director’s point, but he’s summed up with this kind of work about his childhood, well, that is, you ’re summing it up. the result, yes, they are young, so the next ones are also young, the next ones will also be wonderful days, which will also be remembered, it’s just that there will be an adult audience in the hall, including, and it will be interesting, well, you don’t want to remember your childhood, do you really? you don’t have a story about a ferris wheel, i can agree that it happens curious, i’ll remember sanaev, yes, bury me under the print, this is his only work, but it’s very successful, when... we remembered all these smells there, all

these kitchens that he describes and so on, if you succeed great, but we hope so, and not so long ago you presented to the public an original reading of the tragedy of shakespeare, romeo and juliet, let's look at a short plot. the idea came to transfer all this to the soviet union, but the soviet union is a stylization of it, this is not a classical interpretation, yes, in every time, and even... today there are romeo and juliet, who walk down the street , who are in love , who argue with their parents, the parents don’t, don’t hear these children, so we’re talking about this, yes, there’s something new in this. because we don’t elevate this plot to the heights of shakespeare, we present a little shakespeare as adventurous. are you satisfied with how the public received your adventure? yes, especially after the premiere performance, which also had two performances, at the finale,

when all the people stood up at the moment when i wanted them to stand up, well, it’s big for me happiness, yes, absolutely, well, i was. apparently not at the premiere where everyone stood up, on the contrary, everyone came out dejected, and we discussed this with igor kolb, here in this studio, and it seemed to me that you should be offended by us after we said a lot about your performance unflattering words, in no case, no, no, i am generally a critic, the main thing is that it is not criticism, criticism, absolutely healthy criticism, i treat it very well, why, well, every director is discussed, every director is divided... into good bad, liked it, didn't like it, how the kupala theater survived, the movement of romeo and juliet in our time, in soviet times, well, if we talk about gennady stepanovich , yes, which is the kupala theater, then at first, of course, it was, well, this is how it usually happens to me, the older generation at first, how to say it, it’s even correct, not

that it sets any boundaries for me, but skeptically, skeptically, probably this is one of the appropriate words. is skeptical about that interpretation, you convince, then you stop convincing, in rehearsals, you start working with an actor, suddenly gennady stepanovich says: this is a good reading, this is wonderful, this is how it should be, but for me it’s not that it’s a gift of fate, what genady stepanovich told me, i think he feels good in that interpretation in which he is, you see, there is such a moment here, it seems to me that the artist should not justify himself to anyone at all, right? about what he did in general in terms of meanings, if it’s not clear, it doesn’t mean it’s bad, it means that only at this particular stage someone doesn’t understand something, here i am this is how i justify it to myself, it’s clear, i liked it, that’s good too , let’s move on, yes, the main emotion that you received, yes, if you left even with a negative feeling, that’s also

an emotion, yes, with a positive one, no, not even a speech, about the negative thing, but the point is that time and place, maybe, what kind of performance you don’t expect to see in the academic national theater, right? you are redeveloping this site, reassembling it, so of course, when faced with the fact that someone is skeptical about this, well, firstly, then, i counter you, on the topic of national academic theater of the yanka kupala estate, the academic theater does not imply a museum setting, which means that we have hung a lock, and we, therefore , no one... touches anything to the present, no one moves anything anywhere, on the contrary, this presupposes nationality myself, in my opinion, this is only my personal opinion , all the best in general should be collected here , from forms, from drama, from literature, from all kinds of forms in general, new to the existence of

theater, yes, plastic theaters, everything is here it must be the best, this implies nationality, and there is nationality, the best, shakespeare and filipovich. what could be better, yes this is not of course yes , but it seems to me that this, this kind of answer would be more appropriate, that nationality does not presuppose the castle itself and the museum, well , initially the performance should have been called quite hooligan r + love, but tyus beat you to it with your version of eugene onegin, ideas are often stolen from you, this is not theft, i certainly did not discuss this with the director of the theater, although i was at an interview, and we somehow we didn’t touch on this topic, but we specifically stated, firstly, we must repeat again, that romeo juliet was made with a grant from the ministry of culture of the republic of belarus. and this is important to know, because we announced this a year before the premiere, not that we came up with a month or two in advance, this name r + d = love, yes, that is, this name was already formed a year, and we

broadcast it for a year it’s in the media that we ’re putting this on a grant from the ministry of culture of the republic of belarus. and suddenly, at some point i go out i took a bath from the metro. i’m drinking coffee, i turn my head like this, it means to the stand of the theater for young spectators and i see zhenya plus tanya and love, you can’t imagine my emotions, of course you should have seen it then i choked on this coffee and thought what should i do next, of course i was impressed because that the name romeo juliet and we even discussed it with olga valentinna nefedova and with the artistic director that of course this is not the title romeo juliet of this performance here should have been exactly as they write on the fences r + d = love and love was also crossed out for us, how it happened, i don’t know, the teacher taught me, so never be offended and don’t mm, as you said. he doesn’t hide his ideas, give, give, give, new ones will come, you like

to rehearse with actors for 8 hours a day, or even more, and in general, they call you a tyrant, but this approach justifies itself, as you think , well, it’s different, firstly, about 8 o’clock, it happens differently, absolutely, depending on what kind of corpse, but in the gomel youth theater, just now it was released, who’s afraid virginia woolf, and of course, we felt very good together there, we understood where we were going and there we really could spend 8, 9 hours, i don’t even remember how much, that is , i wasn’t interested in what time it was, they didn’t either i was wondering what time it is, but sometimes it happens that three times two, an hour is already a lot, well, that is, it varies, yes, if you explain, firstly, this is a process, any rehearsal analysis takes time, you you need to seduce the actor with an idea, seduce the plays, do you think they all want to act? started no one wants to play anything, no one understands anything from the actors, this always happens, even if you

got some kind of hamlet, i’m 50% sure that there are people who simply refuse, well, even hamlet, yes there or from juliet, that is, no, how can i not be there, and you begin to involve them, this requires a very large amount of time, you need them , this barrier from i don’t want to i want, this is what you, the director, have to overcome , not an actor, but you are already... looking for ways to different things, there are 12 of them, 13, 15 people, and light up the actors, and the theme, and you yourself, how excited you are about this play, who is afraid of virginia woolf, who is afraid, what are you, well , first of all, this is the genre of the absurd, i always set some goals for myself , well, well, they’re not even insurmountable, but i overcome them somehow or i don’t, it also happens, that is , that i run into a wall, here the task was before me, to make it clear. what is this about, why is there such a conflict, why is there a conflict between these, these, why is there

a conflict between these young people, why is there here in general, all this is happening and i don’t have a lot of answers, well, as if your predecessors repeatedly gave answers to this, it seemed to me that they didn’t give, they didn’t give, it seemed to me that they further aggravated this absurdity, that is , they did the wrong thing what, they were doing, of course, about something, naturally, understandably, it seems to me that they were presenting the absurdity as , well, somehow a given, well, that is... this is the highest absurdity of our life, here it is, look at it, but i wanted no , why does this happen, especially in the final event generally reveal it all, and we, well, maybe we invented it, maybe we composed it, i don’t know, of course we invented it, but we somehow even justified it with the text that is generally in the play, which is why in general, martha has these psychological problems with this george, but because she had a child from her father. she couldn’t tell her husband about it, that is, it’s her pain , which she just dragged through all, i imagine that you

pulled out about anna korenina there, and what problems does she have, well , god forbid, that, that someday at all a rooting happened, but what do you think, you say, we staged a play with the gomel theater, the director, in order to achieve and achieve success, must concentrate on one theater, or is that right? collaborate with several, at some point i very carelessly said that i don’t want to be an artistic director, a chief director, i don’t want to be in a repertory theater, well, that’s all, that means these are some stages i’m telling my life, i’m not saying that i always mean i have some kind of law, that means no, i never will, that is, i say, maybe never, maybe this is the most important thing, because you go through some stage, you understand, something has changed , you start to analyze it, now i understand that of course. the director needs his own theater, his own theater of understanding, it doesn’t matter whether it’s state or not, where you build the artistic

, artistic structure of this theater, yes, the form of this theater, but now you say, how is it in the national theater, there is modernity and so on and on and on, here i am i would introduce this viewer, this is also a process, not like this, it doesn’t happen in a second that they began to perceive my stacks, it ’s step by step, you look 1, 2, three and the person, how are you teaching him what you... are showing , yes, if they fell in love at first sight, it’s good, if they didn’t fall in love, i hope that they will come again and so on, i think that the director needs his own theater, in this, in this understanding, in order to build his artistic component, but at the same time i will say that my experience of productions in many here in theaters, it’s like a rehearsal moment for some very serious , for some serious material, be careful now from the provinces the actors will be offended by you, they will say, but he’s trained, no, yes, first of all, not that i was training, what if this happens to them, well, that is, i will come a second time, a third or a fourth time, then this material will happen, well, that is

, that when we stage something - well, serious, when we are at the level of intuition and perceive each other, i put there fans in gomel in gomel youth theater, and now who is afraid of virginia woolf, who is afraid of virginia woolf, we already understood each other’s thoughts at the level, we didn’t have to talk to each other for a long time, that is, this is a faster process and i wonder what it’s like to come to them for the third time , what does it mean to come a fourth time, a fifth, there ’s probably just a play there, oh, since everything happened, but today you’re all poisonous, we get it. the program “don’t be silent” is on air again, today our guest is the director of the kupala

theater daniil filippovich. and you formulated that kupalovtsy. this is kupalovsky and you very often feature people’s artists in your performances, i mean tamara mironova and zinaida petrovna zubkova , who is celebrating her anniversary today, you might want to congratulate your favorite artist on the holiday, of course, but i won’t directly congratulate zinida petrovna , but i’ll tell you that when we did the first performance, marriage, and zinina petrovna, but went to the theater. first of all, i was amazed when she was still playing , well, as a child, when i went to performances, i looked at zelnita petrovna, like for something bright, for something touching, for something strong, for something serious, that’s how i associated her, when i came to the koplavsky theater, i didn’t know what to offer dennad petrovna in the play at all

, but i wanted to work with her, and when i offered her the shadow of marriage , yes, that is, the shadow of this girl who is getting married, yes, either should get married or doesn’t, we discussed it with her for a very long time, she very easily i took it, i said, well, you ’ll be going through a super task, as it were. through, through this performance, she caught me in the park, she caught me in the corridor, she caught me everywhere, just wherever she could be, i even sometimes somehow avoided it, asked what my task was, where i was, what i , and at some point i say, you are the wind, this wind, and the wind, she thought so, seriously, on this task, began to work, at some point, when we were already there a week before the premiere, then i really saw this wind, such honey, i say, well, you are just a slow wind, not this wind that runs and runs and cuts everything down, yes, but the wind that either goes back, this wind, or, or wants to somehow remember something, well, that is, the wind of these

memories, yes, the wind of change, this wind... she made this silence simply gorgeous, especially in chakana gurchna, then she simply doubled my impression that the actor in general manifests himself in a pause, in our photo there was just a scene from chak’s play naguch, this long pause, when the actor is silent and acts inside, only his eyes, just movement, doing something, it’s simple, well, after the punk wedding... it seems to me that she was ready for such tasks, yes, that is , you are there, but there she said, “upanku”, but here in general it was necessary to remain silent , she performed 100%, that is, she didn’t just have a text, she had an internal text for the role , this is the most important thing, that is, this is the old school, by the way, people’s artist of the ussr and bssr, gennady ovsyannikov, played in romeo juliet, you easily find a common language with

experienced craftsmen, no, this is also a process, this is a different process, everything is faster, yes, with only graduated from the university, it’s all faster, but i won’t say that it’s easier, with gennady stepanovich it’s easier, but not faster, you know why , because this is really the old school, these are really tasks, super tasks, and what i’m doing here, they set absolutely correct questions and thus, i also went through this school, yes, but i use it only to answer for myself as a director what i’m aiming at, where i’m going, where i’m moving, and when an actor, an actor for a long time they don’t ask such questions anymore, here’s gennady stepanov, petrovna, tamara vasilievna, they ask these questions, they return you, you know, back to square one, which means come back again, look at the problem again, yes again, that is, you cannot immediately answer their question, i i won’t say it’s easy, but it’s very interesting, that is, this is some other generation, absolutely, what kind of relationship

they have with the theater, such romances they have with the theater, it’s absolutely amazingly simple and you learn from them, you learn how to relate even to this life , attitude towards the theater, profession, some such, but the fact that you use them is does it mean that you... want to have them as mascots in your performances or is there some other purpose being pursued? let’s not lie, first of all it’s a symbol, of course, and for me a symbol is very important, in general an image, a symbol, uh, it’s important, and secondly, you know, in my opinion, their soul is still so full of impressions, that i won’t say that i take it out of despair, that is, they want to work so much, but as a director it’s nice for me to work with someone who wants to work, that’s it. this is the most important task, if you don't want to, then i will i won’t work with you, because it’s all for nothing, even if you’re somehow there, i ’ll start in a week, i ’ll start there in 2 weeks, it won’t lead anywhere, and when there’s

a desire right away, here are gennati’s burning eyes stepanov, look, but i still wanted to clarify whether the director should have these mascot actors or not, well, you know, in history there are a lot of directors who cannot get by, he is no longer young, but he is still still plays a soldier who... i just returned from the war, yes, well, i haven’t answered this question yet, i don’t know, but in every performance, it seems to me, i involve someone like that, who is the theater’s mascot, even my mascot cannot be, because i don’t run the theater, that is , well, yes, there is no structure of mine, if i had theater, i would answer this question, and since i come somewhere to stage something, yes, that is, uh, well, i take the theater’s mascot there , which you know, it’s immediately visible. because there is a theater in it, the theater is not within its walls, and why didn’t the theater submit any of your works to the national competition theater award, this is a question, this is a good question, i don’t know, this

question needs to be answered by the theater management, absolutely , i don’t know, but you can publicly declare to your colleague’s face that you are dissatisfied with the way he staged the play, for example, i know that the warm heart of valentina irenkova is not very close to you. production, but it was nevertheless shown in person in moscow on the stage of the small theater, and why am i dissatisfied, i don’t know such information, that is, look, firstly, i wouldn’t want to say not happy, i said that this aesthetics is not close to you, and not close, yes, but this does not mean that a bad performance, just like romeo juliet, she can come and say, well , this is not close to me, yes, i like - this is somehow... well, not mine, yes, that is, there are a large number of such directors who are not mine, this is a normal moment, but why not mine, because i, well, have my own worldview, this is normal, yes, it’s like watching a film, this is not my film, this is

not my director, yes, although he is great, yes, it happens, i know what i have, even acquaintances who don’t like fillini, how can you not love fillini, how is it even impossible , how well, they don’t like, yes, they don’t understand, they don’t want it, yes, but there they love someone simpler, and so on, they’re different people are different, but there must be some kind of directorial ethics or not, and discussion of colleagues in the shop, never, never, from a bad point of view, never, only if in person, and if you are asked, that ’s somehow my rule, yes, either very private, well, if it’s with friends or if i need to share, if i really have it somehow it’s just bursting my soul and you can’t keep silent about it, tell me don’t be silent. yes, and then you speak out about this, and why only to friends, friends, and personally to that person who, if he didn’t ask why , why injure, you think, no, why injure, well, that means he is

absolutely not interested in my opinion, if if they asked me, of course, i told him, it’s clear, but how are your courses at the minsk state college of arts going, excellent, young, youth is in full swing, but it’s difficult, of course, they’re holding up just to remember the audience, you course of directors, yes directors, yes minsk state college of art, how many people, not all directors, of course, will be, maybe i have nine people at the moment, great, you already said that they are not interested, for example, in asking you there are a lot of unnecessary questions, what am i doing here, what is my task, like zennaida petrovna, they don’t pester you, and in general it seems to me that this sacred awe of the stage has gone away, is there such a thing? absolutely, yes, no one says hello to the stage, no matter how stupid it may sound now, yes, no one gets acquainted with the stage, well, it’s scary, of course, because it’s a kind of ritual, yes, it doesn’t mean that you ’re like crazy, you want to walk around, touch

the backstage and say, hello stage, it’s like yes, it’s kind of internal some kind of traditional moment, but it seems to me that they are somehow on the run, everyone is working a lot somewhere , yes, but i also don’t want to offend them in any way, this is a different generation, even i can do it for us... to say, from my point of view, yes, although to me, well, i didn’t go far from them, as it were, yes, but, anyway, this is a completely different generation, because we were so meticulous, so... hoofed, that now it’s as if they all, you understand, yes, but what do they lack in thoughtfulness, perseverance, what , you know, have they achieved this moment? some kind of barrier, well, it’s as if a barrier happened and they don’t dig further, they don’t dig further, well, that is, there is even further, further, further depth, and like in van karenin, i wonder how much it needs to be listed in order to generally understand the essence, because for me, yes, there are scenes scattered there,

first about korenin, then about korenin, then there you have it all scattered, how to connect it, that is, you need to re-read it several times in order to understand at all , but they don’t know how to dig deep, deep, deep, once, everything is so superficial, but twice , this is about the generation in general, this is not only about my students, although i teach them and now they are already becoming so meticulous that i begin to check what they have read, what they know, and well, somehow, well they don’t have this, i don’t even know what to call it, well, i can’t go deeper. yes, to dive in general, yes, absolutely, no, they don’t want to go deeper, well, as a graduate of gitez, you’ve probably noticed that many famous russian directors left russia after well-known events. in your opinion, do you have a feeling that the theatrical landscape has become cleaner? of course, i keep an eye on some new releases of performances, it seems to me that the format of the theater has not changed, it is moving somewhere further in its development, but in general, unfortunately...

i look at those who left, whether a russian theater school might be in demand , directing school abroad? even about this i can bet, because i myself was, as it were, a participant in the process of the theater school, the russian school, it is a block, an absolute block, it seems to me that no one will ever destroy it in their life, the russian school of theatrical excellence is in my opinion: the highest, the most brilliant uniform in general, whatever they could come up with, well, because who was there? stanislavsky mirkhold, and mikhail chekhov , well, no one will kill this and no one and everyone still uses this, i must say, in hollywood, including the best artists are not embarrassed to admit their love for russian theater school, and you and i, let 's talk about the nature of compromise and konstantin raikin, and

the artistic director of the satiriku theater, will help us with this. let's listen, there are things that i won't do, because how can i tell you, you know, i can afford a lot in terms of telling lies, if necessary, with someone in a personal conversation, to some unpleasant person, from whom what - it depends, say flattering words, i’ll say it, nothing, wipe it off, kiss him, nothing. my pride, because my pride is in the theater, in its fate, but in the product, yes, but, let's say, to commit some act that will cast some kind of shadow on the theater in the name of my father, well , there are just things that my dad does not allow me to do, but what kind of act is this, well

i have my own scale and my own red line. two questions from this video, did you have to wipe yourself off for the sake of the performances and are you ready to humiliate yourself, flatter, squirm, but not flatter, probably find some ways, but solutions, but there were also prohibitions, do you think everything was so simple for that's all for me and i put it somewhere there, well, first of all, i they shout all the time that they don’t stage as many new things there 45 as there are 40, it doesn’t matter, that’s all, they even started quoting me, yes, especially the artistic directors of other theaters, how could you stage so many performances there and so on and so on , but it can be different, you find not a compromise but a solution on how to do it, naturally, if you need it, if i didn’t need it, i probably wouldn’t have staged so many performances if i hadn’t adhered to these rules, like do you think the twenties opened the way for you in kupalovsk or would you

they were there anyway, i never dreamed of the kupala theater, there was no such thing , i didn’t dream of a theater of any kind at all, in general , such a vakhtaang theater, i didn’t have such a dream inside me, i had a dream to assemble - my own then experience your own style, come up with it, this is over the course of, well, i hope it’s noticeable, you looked at some excerpts of my earliest works and now, it’s noticeable that this is some other style, it went into some other development, i i hope so, yes, that is, that i am beginning... to develop, so i only had it in terms of development, but i never dreamed about kupalovsky, and the fact that a place became vacant or something else, well, i don’t feel that way, that is, this is my pre... experience for development, but the theater, well i hope, i would also like to believe in this, that for the theater this is also some kind of experience, and for olga valentinovna fedova, and for the artistic director of the theater, well, i hope, since they haven’t kicked me out there for 3 years, it means it’s also some kind of experience , i’m in

ours, moreover, i would pay attention that not only are they not expelled, but they also give grants, so and the ministry of culture, i also hope that i justify some of my productions , well, i hope that... it treats me well, and as for compromises, you have some kind of red line, a red line, as they say now , which you will never cross in the art of compromise, yes, betrayal, i will never commit it, betrayal, well, not everything, this is the only thing, probably everything else, well, depending on what you are talking about deception, well, naturally, we have to , we are artists, we are directors, we you have to somehow, well, survive without this, but as for human relationships, otherwise i will never forgive betrayal and commit betrayal, that’s never, and now we’ll take a break for a while, after a short pause, we’ll return to this studio again , for now, subscribe to our telegram channel, say don’t be silent,

look for all our episodes on the youtube channel belarus 1. on the air again, say don’t be silent, our guest is the director of the kupala theater daniil filippovich. you also once admitted in our interview today that the writing profession is not alien to you. could you write a theatrical novel like bulgakov? no, like bulgakov, only like daniil filippovich could, i probably don’t know, but i’m writing, i’m writing, you sign, yes. well, it’s not yet transforming into a novel , no, it’s not transforming, no, it’s probably still a bit like a short story, but do you have any signs, that is, we often communicate in this studio with directors in

including, they have some kind of connection, a mystical one, yes, as you already said, they also left the metro there, you have everything on kupalovskaya mystical encounters happen, right? have you already collected some baggage? but no, this all happens by intuition, i don’t know, i listen to myself very often, that’s all , this is the only thing that guides me, if - well, there are times when i’m wrong, of course, but often my intuition doesn’t let me down , i don’t know what this is connected with, of course, but intuition can already be developed, probably i somehow develop it internally, but i always listen to myself if i need to answer some question, well can you give some example, a case where it was intuition that helped you make some right decision, to connect your text with vasily vidke, it’s simple, well, as if this is that intuition, i tell you, i don’t

know , than even as a hand , how to say this, i’m speaking honestly, i’m telling the truth to you, that i didn’t know that vasil vidka lived opposite kubalovsky, i didn’t even suspect about it, no one, no one suspected. then give us the third lesson, how to develop intuition? well , again, this is from childhood, you know, in general, well, not i know, i’m not a psychologist now, but i’m a director, i can just sort of guess how this happens, uh, my intuition is made up of a set of qualities of other people, how they act in different specific situations, where they develop them, for example, in betrayal, how a person acts, in deception, how a person acts, that is, i have a set of these observations, it’s all back in observation diaries, this is also stanislavsky, these diaries, they provide an opportunity from these qualities of these people , here is a set of qualities people, and actions, well, how to identify your intuitive thing, but it seems to me that intuition is not something like that, you know, as we

call the soul soul, but something unknown somewhere internally, but under the soul we are always , i imagine a fog, like, you know, some kind of frozen fog, this is my image of the soul. for example, yes, this is, this is not the point, it seems to me that intuition is just a set of qualities, people who surround us, in other words, it is experience, experience, yes, yes, ah, daniel, ah, i i would also like to ask what’s in the theater the director is always somewhat deprived of whether the audience will come, most often, not so many come, they still go to the cinema to see barbie , this is when you read the box office, probably like this movie, well, for my taste, absolutely plastic, yes, you are probably surprised, and how you don’t give up, isn’t it a shame? no, such a time, it will pass, you know, uh, i think that theater will never disappear, theater... has always been, will be, uh, this is the first, secondly, cinema, it will also lose,

that’s all, well, it’s like a story, yes, time rises, time falls, time rises, everyone, everyone has their own time, yes, now maybe, but it’s not theatrical time in terms of the fact that the theater is preparing for something, that is, it’s not for nothing that i say that some does the theater have a rehearsal moment? for me, for example, how does a director have a rehearsal moment for something? very important for myself, yes, because i won’t say that there is a very important production for me , such and such, such and such, this is important for me , that is, there is no such thing, yes, i like this, i’m there, i would change something, yes, of course, i would change something in the productions, but these are all just words, this is preparing for something, so it seems to me that now is the time of the theater, when it is preparing for something, for something very seriously, accumulating energy , as he puts it, absolutely, please help me figure it out, all my life i’ve considered comedy to be the highest genre, that is , difficult, in kitis and other universities, and

i called these educational institutions theatrical by the general name, they say that this is a lower genre, so what ? well, it’s generally accepted, it’s always been considered that the highest genre is tragedy, because it is difficult to understand, it is a complex work, yes, therefore it is the highest, comedy is the lowest, because it is easier to perceive, because it says what comedy is, yes, we laugh about some circumstance, which... is very associated with the auditorium, yes, and tragedy is something that never coincides with the auditorium, only hints and images, yes, that is, where the main character dies, yes, that is, the course of events changes, so it's hard to understand, it's hard genre, this doesn’t mean a bad genre , that’s what’s most important, and we’ll wait for comedy from daniil filippovich, in its purest form, let’s count on that, daniil filippovich doesn’t belong to himself, if i somehow have an interest in this genre, with i’ll be happy

to touch it, well, we know, there are quite a few examples when directors were equally successful, worked in theater and cinema, have you thought about cinema? no, i avoid it, they offered me twice, it’s true, and even the budget was good, well, not for a big film, of course, not for a full-length film, but it was offered to me and even according to my script, because i have a script too... by the way, about minsk is also a little connected with minsk, yes, but for some reason, maybe i ’ll say something offensive now, even i don’t want to say this, i always like cinema, how can i say this, in a more cultural way, i imagine cinema, the work of movie directors seems to me a little cold and oh somehow, you know, with water it’s very cold, like when you enter cold water, it's cold all the time, but these ones filming at

filming in some pavilions, filming, how i can imagine it, not from the difficulty, but from the feeling, not because i want to walk around there in the warmth with a blanket, it’s possible there somehow, but i associate it with myself that for me there is some kind of fear that this is not uncomfortable, not uncomfortable, that’s how to say it, in a second, seconds, it will go away, i will worry, that is, in the theater you have the opportunity to go home, yes, sleep, get up . it’s all a process of thinking, yes, go by metro, yes, sometimes you don’t even take a taxi, yes, no you take a car and go by metro specifically so that your brain starts to unload, so that it, yeah , here’s where i’m wrong, here’s this, that is, you have time to think, like in the movies? you’ve been preparing for filming for a year or six months, and you’ve got storyboards, and if you’ve managed to realize 30% of what you planned, that’s a great happiness, but this is a film conveyor belt, but i probably can’t do that. yes, i would love to, because i have experience in this, yes, i have three clips, this is interesting to me,

because it’s a small story, yes, it doesn’t mean anything obliging, i also joked that this is a brilliant hack, well, just like that for myself, it’s like a brilliant hack, hack is such a terrible word, that’s brilliant, when with it, many music video directors later considered themselves brilliant film directors, i don’t i think he’s a brilliant director, just a brilliant hack, as if i had it, because there really , well, i only worked with those who responded to the stories that i offer, i don’t just want images of girls dancing on some near the screen, this is not my clip, story there should be, yes, unfortunately, the story is gone from the clips, and i also note that it is very in the forehead, red is red, i sing that i am suffering, which means i need to take a bath in the fan oven, that i am suffering, this is called visual, it’s definitely very sad to look at these clips, somehow it was more fun in our nineties

, it’s true, yes, but, daniil, you once admitted in an interview that you couldn’t stage a commercial play, including from theaters , well, i know, they require that there be self-sufficiency, but in general, it is necessary to whether to strive for it or not, for a commercial performance, sales depend not on the artist, excuse the harshness, not on the artist, but on the one who sells, so - we recently also gathered at a meeting in the theater and we talked about it, all for some reason - then they say, we need a performance, what performance? it’s necessary, you know, i think that maybe i’ll say a very pretentious thing now, well, give me permission for this, as they say, yes, i don’t think the play romeo juliet is bad and they say that there’s uh, how much is there 85% of the audience is sold, and this is because it is bad, no, in no case , it depends on who is selling, the viewer does not yet

know what he is getting into, the viewer does not know what he is getting into, and this doesn’t mean that he... he may know the director , and again this filippovich means that he fantasized there, oh well, i’ll go for fun, i’ll go and see what’s there, but the viewer needs to be shown what he’s going for and how, how do you talk about it, if you say, well, some kind of performance, strange, well, something, well, who will go for it, yes, who will buy a ticket , yes, and if it tells the story like mine, like my screenwriting teacher at gitis, you know, when she talked about war and peace, and you just ran to read this war and peace, you see, i never thought that i would read war and peace, but there , well, i’m just giving an example and it’s banal, this is how you need to talk about the play in such a way that you will run and buy a ticket for it, it seems to me that it depends on the sales people, yes from those who sell tickets to the performance, well, that’s great, daniil, i’m watching now, but the director doesn’t need to watch a film about a maniac and he explains that he kills bad people, but he doesn’t kill good people, your explanation, in some

cases i just bow to them, they ’re so maniacal, but they have something. well, really, because now they blame artists, for some reason, well, what are we now, you know, now salvador dali is a genius there, but he is also not a genius for everyone, there are a huge number of people who will not buy tickets to his, or those who at least of his colleagues in the shop do not consider his genius, which in principle, and we also discussed this with the artist, here recently valentin gubburev in this studio, that of course, the market dictates, but the viewer is led yes. we wish you to find good marketers for your theater, if you already have a full complement of creative units, well , good luck with your new production, we will be happy to come to the premiere, and then we will discuss it, thank you, thank you for the conversation, tatyana sherbina, victoria popova, we say goodbye to you for today, goodbye, goodbye, and now daniil filipovich is speaking, last time i

said that you love theater because i love it, and today i confirm this remark and say that it is as much as i love it, daniil, we are very glad to present to you our picture, which was depicted by artificial intelligence, according to our already kind tradition, all guests here leave not only an autograph, but

a wish, you should do this too, thank you. and good mood, good program ranitsa belarus, svetlana borovskaya is with you in the studio, men in the female dynasty, now you will clearly see that we are cooperating, the first ones were born in 2007 transgenic little goats, absolutely right, and journalists talked a lot about it, quite a lot of years have passed, where are they, what happened to them, meeting amazing people, and this handsome guy who eats pineapple is... the same as you in badogascar , it seems they came for grapes, but the blueberries have already shocked me, that is, it’s absolutely true that when you were in mom’s tummy, dad decided to do this, yes for the child, and there is also a lot of useful and interesting information, today this herd of producing animals is registered with us in the country as a source obtaining human lactoferin, good morning

belarus, look, good morning belarus with svetlana borovskaya. on the tv channel belarus 244 are ready for an exciting adventure through the cities of belarus on the banks of one of the cleanest rivers in europe and in the second most honorable city , gomel. on ragachovo the borders of three lands met. the lands of drygovich, irazimich and krivichay, and then the principality of smalensky, chernigov and turvopinsky principalities. unique architectural monuments await you. famous russian artist georgy lukomsky, having visited the palace in 1913 , wrote: this is one of the richest estates in the russian empire. and the most interesting , historical facts: caraleva bonasforza , exploring her lands, advedala ragachou, advedala her castle, as she knew here at the castle, not far away, all the adams

of the founders of the cascel, various privileges. the photograph, measuring 42 by 94 cm, was made using the contact method in 1903, and only four such photographs are known in the world. watch in the program: cities of belarus on the belarus 24 tv channel. what unites soviet coins and the scale of the canvases? rarity, uniqueness, sophistication. the idea , the illusion of faces, was based in the concept of this creativity in general, the visual, and since when these works were created, then, of course, the idea was just portraits made from coins. i am happy that there is a critic, because any criticism is in the mind.... it is very important, when there is criticism, it means there is confidence that there is something to which you, what you have come to, who has achieved something , criticism is in the concept,

you can say, well, you like the work or not i like it, this is not a criticism, watch it today on our channel. this is the history of nature. culture, faith, people,

beauty, you’ll never forget it once and you won’t forget it, it’s all right here. noon news on belarus 1, in the studio