land plot 100 g. rent 53-55 fruit garden and 45 currants. the presenter from the capital will have to experience all the delights of rural life. she eats canadian, is this normal? this happens. grisha, be a man, come on. we went to an apple farm - they said, everything is modern there, almost nothing needs to be done, it will be, they said. just like you were holding a book in your hands, grabbing one piece after another, sipping on skin words, the most creative, the most

valuable and useful ones are these books. books have thoughtful thoughts, reports and expressions guchats galasy people. everything that chalavetstva made, she hogged on old books, byssan the sorceress. we read the past centuries, the closer ones, we appreciate the past for our daily life. belarus 24.

hello, you are watching the program say don’t be silent, victoria popova and tatyana shurbina are in the studio. 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. since you were 7 years old yes told us last time, remember yourself and started keeping diary entries, when your mother left, you were six, since then this burden of memory has haunted you, but for the creator it is rather difficult or easy, to remember so much, there are two sides, sometimes this is very disturbing, you can’t fall asleep, 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, i only later learned that keeping diaries in the first place observations, and secondly, remember your whole day, this is according to stanislavsky, but remember your whole 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 simply based on my intuitive feelings and and well, i remember so many people, i remember so many of 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 there's 12 scenes of my friends, acquaintances, relatives and so on, wait, now let’s look through the diary, page 3.2, i generally remember almost everything myself... that is, yes, well, of course,

diaries sometimes help, just to remember something thoroughly , but basically, superficially, i remember absolutely why stanislavsky , remind me, advised, this is training, visual training, perception, how you analyze, how you feel internally, how you are, in general this is memory training, emotional memory, and film vision, what predominates in your diaries, memories, more positive or some maybe negative, no, well, it’s different, i’m always on the first... about meeting the actors, i ask him a question: tell me the happiest incident from your life as a child and the most tragic case, always, most of them say that there was more tragedy, well , in my childhood, firstly, it was happy, although sometimes tragic, but nothing prevails, i think that i just love him, as in i say in the play, the yard of my childhood in the end i love you, daniil, what is your most vivid childhood memory? the brightest,

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 happiness that, you know, how to put it, i wasn’t spoiled, on the other hand , of course, it’s a tragedy, because now i’m somehow very skeptical about birthdays, i very, very rarely celebrate my birthday, i would like a part from your childhood you love poetry, as far as we know, including poems about minsk by vasil vidka, who lived not far from kupalovsky , you included his lines in the production, this generally prevails, this is generally the most important thing in the play, this and... his poetry , yes, and not only about minsk, why did i remember him when i was planning this at all, first of all i didn’t know that he lived opposite the kupala theater he lived, that there was a memorial plaque in his honor, i first remembered the alphabet that he wrote and speaks in belarusian language,

this is exactly the belarusian people, this is the mentality they talk about a, about b, about c and so on, yes, but it is so according to ours, not just mentality, but according to our thoughts, according to our reflections. that i think that no other author would have spoken out, then, when we had already won the presidential grant, when we had already begun to start staging, i was walking across the street to the second-hand book store, right opposite the kupala theater i saw a memorial plaque, vasil vidko, 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 constantly watching the theater, which stands opposite. imagine, and now there will be a production with his last name, yes, which will bring him back, well, somehow, you took it as a blessing, i think so, but i get goosebumps when i remember it, because this , i’m not even a coincidence, but, i don’t know, some kind of, i don’t

know, some kind of metamorphoses happen to me all the time and here too, who else is the author goes with you through life, gogol. gogol has been haunting me, recently for some reason 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 a tree, how he describes the work of men, oh, i i don’t know who else is describing this, i’m just inspired by what you’re reading now, i’m re-reading it for the second time, it’s not just about a train, about a woman who... an internal state, about internal, acceptance or non-acceptance, yes, how to do it , here he wrote about the inner component of a person and his thoughts, yes, because it is very difficult to describe our thoughts, yes, we can basically say, we are scared, but to describe this fear on three sheets of paper, just try to do it, it is impossible

to do, but he does this for other fictional characters, we have already received at least two trainings from you today, but i will already mention them. about the presidential grant, this play is being staged at the presidential grand for culture, and i’m curious why your play and your performance, your project, won this grand? i 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 modern times, and i really wanted to, yes, i’m following this vein, well, because so that it’s not about anything, but only about nostalgia, that’s what to do so that the 50, 60, 70 people sitting in the hall remember their childhood, that what needs to be done is for each

of them to simply remember their childhood, when the actors started asking me, what is this about, what is this, what event is happening here, i say, there’s nothing this is about, it’s nostalgia, well, for world culture the message is not new, but let’s remember andrei torkovsky, federic fellini’s mirror image, 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 national academic theater named after yanka kupala; this thing is nowhere else simply not will sound because it is really about minsk, this is my childhood, it passed in minsk , every district, every person, who in what other place can i... put it about gorky park, for example, they tell a very long story about like i, uh, was riding on a ferris wheel, and i was rolling and that means they lifted me up, i shouted on purpose, yes, 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, i think, 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... happiness in any case, even if some kind of tragedy happens, then it’s still happiness, but for me in general, this is just some kind of stage for me, not a period, it’s like three dots, so he went through this... stage and i need something to sum it up, in my opinion, in a director’s way, but it’s also summed up with such a work about his childhood, well then there you are summing up, the result, yes, but you are young, this is not, 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 you want to remember your childhood, really, you don’t have a story about a ferris wheel, that it can be interesting sanaeva i’ll remember, but bury me under the plinth, this is

his only work, but it’s very successful, when we were there and remembered all these smells, everything these kitchens that he describes and so on, if you have it will turn out 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 it. 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, we are talking about this, yes, there is something new in this, because we do not present this plot, on the height of shakespeare, we imagine shakespeare a little so adventurous. are you satisfied with how the public received your film?

yes, especially at the post-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, for me great happiness, yes, absolutely, well, i was, apparently not at that premiere, where everyone stood up, on the contrary, everyone left dejected, and we discussed this with igor kolb, here. this studio, it seemed to me that you should be offended by us after we addressed your performance they said a lot of unflattering words, in any 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 and bad, i liked it, i didn’t like how the kupala theater survived the transfer of romeo and juliet to our time, well, if we talk about gennadi stepanovich, yes, which is the kupala theater, then at first of course it was, well,

this is what usually happens to me, senior the generation at first, how can i say this, is even correct , not that it sets any boundaries for me there, but skeptical , skeptical, probably this is one of the appropriate words, skeptical about that interpretation, you convince, then you stop convince, in rehearsals you begin to work with the actor. and 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 this is a gift of fate, what genati stepanovich told me, i think that he feels good in the interpretation in which he is, you know, here is such a moment, it seems to me that the artist should not justify himself to anyone at all, yes, about what he did in general, in the sense of meaning, if it is not clear, this does not mean bad, it means that only at this stage, yes... someone doesn’t understand something, 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, well , received, yes, even if you left with negativity, this is also an emotion, yes, with positivity, no, it’s not even about what’s with negativity, but what we’re talking about is that time and place, maybe you don’t expect to see such a performance in an academic, national theater, yes, you are mastering this one. therefore, of course, faced with the fact that someone is skeptical about this, well, firstly, it means, i counter to you, on the topic of the national academic theater imenka kupala, the academic theater does not imply a museum setting, which means the setting, yes, that we have hung up the lock , and we mean, no one touches anything to modernity, no one transfers anything anywhere, on the contrary, nationality presupposes this, in my opinion opinion, this is only my personal opinion, here should be collected all the best from forms, from drama, from literature, from

all, in general, forms that are new to the existence of theater, yes, plastic theaters, here everything should be the best, this presupposes oneself is national, there is national, modest, the best, shakespeare and filippovich, what could be better, of course, yes, but it seems to me that this one, this kind of answer will be more. love, but tyus was ahead of you with his version of evgeniy, often with you. this is not theft, i certainly did not discuss this with director of the theater, although he was at the interview, we somehow did not 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 and 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 is r + love, yes, that is , this name was already formed, a year and we have been in the media for a year, which is what we are on grant from the ministry of culture of the republic of belarus we set this, suddenly at some point i get out of the metro kupalovskaya, i drink coffee, i turn my head like this, it means the stand of the theater for young spectators, and i see zhenya plustan equals love, you can’t imagine, of course my emotions should have been seen then, i choked on this coffee, and thought what should i do? further, of course, i was, well, impressed, because the name is romeo juliet. and we even discussed this with olga valentinovna nefedova and with the artistic director that , of course, this is not the title of romeo juliet for this performance, it should have been exactly as they write on the fences: r + d = love, and our love was also crossed out, how it happened, i don’t know, the teacher taught me this way, never be offended and do n’t, as you said, don’t hide your ideas, give,

give, give, new ones will come, you 8 hours a day, or even more, you like to rehearse. with actors, in general, they call you a tyrant, but this approach justifies itself, what do 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, it was very good there together, we understood where we were going and we really could spend 9 hours there, i don’t even remember how long, that is... i wasn’t interested in what time it was, they weren’t interested either , what time is it, and sometimes it happens that three, 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, you think that they all want to play, from the very beginning 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, or juliet, that is, no, how can i not do it there, and you begin to involve them, there’s a lot of time for this you need, you need them, this barrier from i don’t want to i want, this is what you, the director, not the actor, have to overcome, and you are already looking for ways to different things, and their there may be 12, 13, 15 people, and light up the actors, and the theme, and you yourself, how you got excited about this play, who is afraid? who is afraid of vergins, what are you, well, first of all, this is the genre of the absurd, i always set some goals for myself, well, well, not even, insurmountable, but i overcome them somehow or don’t overcome them, it happens, then there is that i am running into a wall, here the task was before me, to make it clear

what it is about, why such a conflict is happening, why is there a conflict between these, why is there a conflict between these young people, why? answers no, well, it’s like your predecessors repeatedly gave answers to this, but 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, not that they didn’t mean anything, they did of course about something, naturally, it’s understandable, it seems to me that they presented absurdity, as if it were somehow a given, well, that is, there is the highest absurdity of our life, here it is , look at it, but i wanted no, why is this happening, especially in the final event, in general... that's all, and we, well, maybe maybe we came up with it, maybe we composed it, i don’t know, of course we came up with it, but we somehow even justified it with the text that is in the play, which is why martha has these psychological problems with it george, well, because she had a child from her father, she could

not tell her husband about it, that is, this is her pain, which she simply dragged through all, i imagine that you are talking about anna korenina, what problems does she have? well, god forbid that someday it will happen in the open. and what do you think, here you are talking, with gomel we staged a play in the theater, the director , in order to achieve and achieve success, should concentrate on one theater, or should he 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 talking about my life , i’m not saying that i always do, that means i have some kind of law, that means no, i never will, that is , i’m saying, maybe, never, maybe, this is the one. important, because you go through some stage, you understand, something has changed, you begin 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 an artistic, artistic structure this theatre, yes, the form of this theatre, yes, now you are saying how it is in the national theatre , there is modernity there and so on and so forth, so i would introduce this viewer, this is also a process that does not happen like this, not in a second. what started to perceive my stacks, it’s step by step, you watch 1, 2, 3, and a person is like this, you teach him what you show, yes, if they fell in love at first sight, that’s good, if they didn’t fall in love, i hope that they will still come 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 theaters is like like a rehearsal moment for some very serious serious material. be careful, now the actors from the provinces will be offended by you, they will say, but he was the one training, firstly, yes, firstly,

not that he was training, what if this happens to them, well, that is, i will come a second time, a third or the fourth time, that’s when this material will happen, well, that is, when we stage something, well, serious , when we perceive each other at the level of non-intuition, i staged fans there in the gomel youth theater and now who’s afraid virginia woolf, who is afraid of virginia woolf, we already understood at the level of each other’s thoughts, we didn’t have to talk to each other for a long time, that is, it’s a faster process, and i’m wondering what it’s like to come to them for the third time, what it’s like to come to them for the fourth time, the fifth time, it ’s probably just a play , here oops, since everything happened, but today you are all poisonous, we understand, yes, but for now let’s take a break for a while , i remind you that we have a telegram channel, say don’t be silent, subscribe, ask questions and suggest guests, we are connected.

the program “tell don’t be silent” is on air again, today our guest is director kupalovsky theater daniil filippovich. and you formulated that the kupalovtsy are the kupalovskys and you very often feature folk artists in your performances, i mean tamara mironova and zinaida petrovna. zubko, who celebrates her anniversary today. maybe you’d like to congratulate your favorite artist on the holiday, of course, but i won’t congratulate zinida petrovna directly, but i’ll tell you that when we did the first performance of marriage, and zinida petrovna went to the theater, and first of all i was amazed when she was still playing , well, in childhood, when i went to plays, i... petrovna, as something bright, something touching , something strong, something serious, that’s how i associated her, and when i came to the koplolovsky theater, i didn’t know that

should i offer dinna petrovna in the play in general, but i wanted to work with her when i offered her the shadow of marriage, yes, that is, the shadow of this girl who is getting married, and either should get married or doesn’t, we discussed with her for a very long time, she took it very easily, i said, well, you will... it’s like a super task to go 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 this, asking what my task was, where i was, what i was, and i was in at some point i said to petrov, you are the wind, this wind, and the wind, she thought so seriously about this task, began to work, at some point, when we were already there a week before the premiere, i really saw this wind, like this, i say, well, you are only a slow wind, not this wind, which

runs, runs, cuts everything down, yes, and the wind, which 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 one wind, she did it simply gorgeous, this silence, especially in chakana guchna, and then... she just doubled my impression that the actor generally appears in a pause, in the photo there was just a scene from the play chakanaguch, this big pause when the actor is silent and only the eyes act inside, only 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 spoke upanka, but here in general it was necessary... she fulfilled the silence 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,

the people’s artist of the ussr and the ussr, gennady ovsyannikov, played in romeo juliet, do you easily find a common language with experienced masters? no, this is also a process, this is a different process, with young people everything is faster, yes, with those who have just graduated from 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 really, this is the old school, really, these are tasks, super tasks, and what am i here for? i do, they ask the absolutely correct... questions and thus, i also went through this school, yes, but i only use it to answer for myself as a director the question of what i’m filming about, where i’m going , where am i moving, and when an actor, an actor has not been asked such questions for a long time questions, here is gennady stepanovich, petrovna, tamara vasilievna, these questions are asked, they return you, you know, back to square one, which means come back again, look at the problem again, again, yes, that is, you cannot answer right away

when asked, i won’t say it’s easy, but it’s very interesting, that is, this is some other generation, absolutely, what kind of relationship do they have with the theater, such romances do they have with the theater, absolutely amazing, simple, and you learn from them, you learn how to relate even to this life, to the theater, to the profession, well some of them, but the fact that you use them means that you want to have them as talismans in your performances, or some other goal is being pursued, let’s not lie that the first... gradually is a symbol , of course, for me a symbol is very important, in general an image, a symbol, this is 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, and as a director it’s nice for me to work with someone who wants to work, that’s it the most important task, if you don’t want me to not work with you, because it’s all for zero, even if you’re somehow there, i’ll...

start in a week, i’ll start there in 2 weeks, it’s not going anywhere will lead, and when there is a desire right away, look at the burning eyes of ginati stepanovich, but i still wanted to clarify whether the director should have these mascot actors or not, well, you know, there are a lot of directors in history who don’t they can get by, he is no longer young, but he still plays a soldier who has just returned from the war, well, i didn’t answer i haven’t answered this question myself yet, i don’t know, but in every performance it seems to me that i involve someone like that... who is the theater’s mascot, even my mascot cannot be, because i don’t run the theater, then there is this, well, yes, no, i don’t have my structure, if i had a theater, i would answer this question, and since i come somewhere to stage, to stage something, yes, that is - well, i take the mascot there theater, exactly, which you know, it’s immediately visible, because there ’s a theater in it, the theater is not within the walls, and why isn’t the theater

submitted none of your works to the national theater award competition, this is a question, this is a good question, i don’t know, this question needs to be addressed to the theater management, absolutely, i don’t know, but you can publicly state to your colleague’s face that you are unhappy with , how he staged the play , for example, i know that the warm heart of valentina irenkova is not very close to the production, but nevertheless it was shown in person in moscow on the stage of the maly theater. why am i dissatisfied, i don’t know such information, that is, look, firstly, i would didn’t want me not to say, 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 in romeo juliet, she can come and say, well, this is not close to me , yes, somehow it’s somehow not mine, yes, that is, there are a large number of such directors that are not mine, this is a normal moment, but why not mine.

because i kind of have my own worldview, that’s normal, yes, it’s like watching a movie, this is not my film, this is not my director, yes, although he is great, yes, it happens, i know that i even have friends who don’t like fillini, how can you not love fillini, how is it even impossible, how well, they don’t like it, yes, they don’t understand, they don’t want it, yes, and there’s someone... then they like something simpler, and so on, these are different people, different, but should there 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 closed , well, if there with friends or if to me i need to share, if it really somehow just bursts my soul and you can’t keep silent about it, say don’t be silent, and then you speak out, about this, why only to friends, friends, and personally to the

person who? he didn’t ask why, why injure, you think , no, why injure, well, that means he is absolutely not interested in my opinion, if i had been asked, of course, i told him, it’s clear, but how is your course in minsk - in the state college of arts, excellent, young, youth, vibrant, but difficult, of course, many can’t stand it, just remind the audience, you are a course of directors, yes, directors, yes minsk state college of art, yeah, how many people, not all directors, of course, will be, maybe i have nine people at the moment, here you are they said that they were not interested, for example, in asking you a lot of unnecessary questions. what am i doing here ?

now it didn’t sound, yes, no one gets to know the stage, well, it’s scary, of course , because it’s a kind of ritual, yes, it doesn’t mean that you’re walking around like crazy, touching the scenes and saying, hello stage, as if yes, it’s like some kind of internal traditional moment, right? it seems to me that they are somehow on the run, they all work a lot somewhere, yes, but i also don’t want to offend them in any way, this is a different generation, it’s ours, even i can say from my point of view, yes, although to me, well, i’m not far from them, like yes, but still this is a completely different generation, because we were so meticulous and so inquisitive that now it’s as if they all, you understand, yes, but what do they lack thoughtfulness, perseverance, what is this? you know, they reached some point, well, it’s like, a barrier happened, and they don’t dig further, they don’t dig further, well, that is, there is even further, further, further depth, yes, as in van karenin, i wonder how much of it is needed list in order to generally understand the essence,

because i have scenes scattered all over the place, first about korenin, then about korenin, then there you are, it’s all scattered, how to put it together, 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 into it several times, 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 now they are already becoming so meticulous that i start checking what they have read, what they know, and well, something like this, well, they don’t have this, i don’t even know how it is to name themselves, well, they don’t know how to go deep, and in general, to immerse themselves and go deep absolutely, no, they don’t want to, well, as a gi graduate , you probably follow the fact that many famous russian directors left russia after well-known events, in your opinion, there is a feeling that has the theatrical landscape become cleaner? i, of course, 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 i look with regret at those who left, can russian theater be in demand? theater school, directing school abroad? i can even argue about this, because i myself was, as it were, a participant in the process of a theater school, a 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 ingenious and the form in general, that they could only come up with, well, because who was there, stanislavsky mirkhold and mikhail chekhov, well, no one will kill it, no one and everyone still uses it, i must say, in hollywood, including the best artists, are not shy about admitting their love for the russian theater school, and you and i, let’s talk about the nature of compromise

, konstantin raikin will help us with this, and the artistic director of the soterikon theater, let’s listen, there are things that i don’t i will do it because how can i tell you? you see, and i can afford a lot in terms of telling lies, if i need to say flattering words with someone in a personal conversation, to some unpleasant person on whom something depends, i’ll say nothing, i’ll wipe myself off, i’ll kiss him, nothing, my pride, because my pride is in the theater, in its fate, but in the product. yes, but uh, let’s say, to commit some kind of action that will cast some kind of shadow on the theater in the name of my father, well , there are just things that my dad doesn’t allow me to do, but what kind of action is that, well,

i have my own scale , and its own red line , two questions from this video, did you have to wipe yourself for the sake of production and are you ready to... but not to flatter, probably, to find some ways, but solutions, but there were also prohibitions. you think everything was so simple for me since everything was there and i staged it somewhere , well, first of all, they shout to me all the time that they don’t stage so many productions, there are 45 there, how many there are 40, it doesn’t matter, i’m everything, it’s even me they just started quoting, yes, especially the artistic directors of other theaters, how could you stage so many performances there, and so on and so forth, but things happen, you find not a compromise, but a solution on how to do it, naturally, if you need it, if i i probably shouldn't have, i wouldn't have put it there were so many performances, if i had not

adhered to these rules, do you think the twentieth year opened the way for you to kupalowski, or would you still be there? i never dreamed of the kupala theater, there was no such thing, i didn’t dream of a theater of any kind, in general, such a vakhtangel theater, i didn’t have such a dream inside me, i had a dream to collect - my own experience, my own style, to come up with it, this is throughout, well, i hope you watched noticeably. some excerpts from my earliest works and now, it’s noticeable that this some other style, it went into some other development, i hope so, yes , that is, that i am starting to develop, but i only had development, but i never dreamed about kupalovsky and the fact that the place freed up or something else, well, i don’t feel like that, that is, this is my additional experience for development, and the theater, well, i hope too, i would like to believe in this, that for the theater this is also some kind of experience, yes, for olga valentinovna fedova, but for the artistic director

of the theater, well, i hope, since i haven’t been there for 3 years they kick you out, which means it’s also some kind of experience, i’m in our summer, moreover, i would pay attention that not only do they not kick you out, but they also give grants, that’s the ministry of culture, i also hope that i’m justifying some of my things productions, well, i hope that he treats me well, and as for compromises, you have some kind of red line, a red line, as they say now, which you never. will you step into the art of compromise? yes, betrayal, i will never commit it, betrayal, well, not everything, that’s the only thing, probably everything else, well, depending on how you talk about deception, well, naturally, we have to, we are artists, we are directors, we have to somehow, well, survive, but how would it be without this, but as for human relationships, otherwise i i will never forgive betrayal and i will never commit treason, that’s never, and now we’ll take a short break, 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 youtube -channel belarus 1. on the air again, say don’t be silent, we’re visiting director of the kupala theater daniil filippovich. you also once admitted today in our interview 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 write, i write, you write, yes i write, well, it’s not going anywhere yet, it ’s not yet transformed into a novel, no, it’s not transformed, no. do you have any

signs, that is, we often communicate in this studio with directors, including, they have some kind of connection, mystical, yes , as you already said, you also got out of the metro there, all mystical meetings take place on kupalovskaya, yes, have you already collected some baggage of signs? but no, it 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, i’m probably developing it somehow internally, but i always listen to myself, if i need to answer some question , well, can you give me an example of a case where it was intuition that helped you make the right decision, connect the text with vasil vidke this

just, well, as if this is that intuition, i tell you, i don’t even know how to say it, i’m speaking honestly, i’m telling the truth to you that i didn’t know that vasil vidko lived opposite the kubalovskaya theater didn’t even suspect about it and no one no one i didn’t know about it, but then give us a third lesson, how to develop intuition? well, again, this is from childhood, you know, i don’t know at all, i don’t now... i’m not a psychologist, but i’m a director, i can just, well, sort of guess how this happens, my intuition is made up of a set of qualities of other people, how they act in various specific situations where they develop, for example, in betrayal, how a person acts , in deception, how a person acts, that is , i have a set of these observations, this is all back in the observation diaries, this is also stanislavsky, these diaries, they give the opportunity from these qualities, these people, this set of qualities of 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 the soul, but something. .. somewhere there internally and under the soul we always imagine some kind of fog , you know, some kind of frozen fog, this is my image of the soul, for example, yes this is not the point, it seems to me that intuition is just a set qualities of the people who surround us, well, in other words, this is experience, experience, yes, and daniil, i would also like to ask that 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’re reading the grosses, probably, like this movie, well, for my taste it’s completely plastic, but you’re probably surprised, and how you don’t give up, isn’t it a shame? no , such a time, it will pass, you know, i think that theater will never disappear, theater has always

been, will be, this is the first, secondly, cinema, it will also lose, that’s all, well, it’s like history, yes, time rises , time falls, time rises, everyone, everyone has their own time, yes, now maybe, uh, not theatrical time in terms of what theater is for -it’s getting ready, that is, it’s not in vain that i say that some kind of rehearsal moment exists for the theater, for example, as a director, i 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 it, i like it there, i would change something, yes , of course, i would change something in the productions, but these are all just words, this means something getting ready, it seems to me that now is the time of the theater , when it is preparing for something, for something very seriously, accumulating energy , accumulating, yes, absolutely, please help me figure it out, but all

my life i have considered comedy, well, the highest genre , that is , it’s difficult, in kitis and other universities, but it’s called by a general name, and all theater educational institutions say that this is a lower genre, so which? well, it’s generally accepted, it’s always been considered that the highest genre is tragedy, because it’s difficult to understand, it’s a complex work, yes, that’s why it’s the highest, comedy is the lowest, because it’s easier to perceive, because it says that such a comedy, yes, we laugh about some circumstance that is very associated with the auditorium, yes, but tragedy is something that never coincides with the auditorium. only hints and images, yes, that is, where the main character is dies, yes, that is, the course of events is changing, so it’s hard to understand, this is a difficult genre, this does not mean a bad genre, that ’s what is most important, and we will wait for comedy from daniil filippovich, in its purest form, let’s count on it, daniil filippovich

i don’t belong to myself, so if i somehow have an interest in this genre, i’ll be happy to touch it, well, we know, a lot. examples where directors were equally successful, worked in theater and cinema, have you thought about cinema? no, i'm avoiding it, they offered me twice, it's true 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, uh, too, by the way, about minsk is also a little connected with minsk, yes, but why- then, maybe i’m now... an offensive thing, i’ll say, i don’t even want to say it, i’m always in cinema, how can i say this, culturally, cinema seems to me like the work of a director in cinema seems a little cold to me and mm, oh how- then, you know, the water is very cold when you enter the water cold, cold all the time, but these

shootings on the street, shooting in some pavilions, shooting, how can i imagine it, not from the difficulty, but from the feeling, not because? i want to walk around there in the warmth with a blanket, there you can somehow, but i associate it with myself that for me there is some kind of fear, that it’s not uncomfortable, no, uncomfortable, that’s how to say it, for a second, for a second , it will go away, i will worry, that is, in the theater you have the opportunity to go home, yes, sleep, get up, all this is a thinking process, yes, go by subway, yes, you sometimes you don’t even take a taxi, yes, you don’t take a car, but go by... specifically so that your brain starts to unload, so that it, yeah, here ’s my mistake, here it is, that is, you have time to think, in like a movie, you spend a year or six months preparing for filming, yes you do. if 30% of what we planned was realized, this is already a great happiness, yes, this is a film conveyor , i probably can’t do that, video clip, yes, i

would love to, because i have experience in this, yes, i three clips, but this is interesting to me, because it’s small the story, yes, is non-binding, 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 it came to her, many video directors subsequently considered themselves brilliant film directors, i don’t consider him a brilliant director, just a brilliant hack, as if i had it , because there really, well, i just worked with those who responded for the stories that i propose, i don’t just want images of girls dancing on some screen, this is not my clip, there should be a story, but unfortunately, the story is gone from the clips and i also note that it’s very red in the forehead... in red, i sing that i’m suffering, which means i need to sing in the bath in a hairdryer that

i’m suffering, this is called visual, yes, it’s very, very sad to look at these clips, somehow in our nineties it was more fun, it’s true, yes, but daniil, you somehow didn’t admit it, you once admitted in an interview, that you cannot stage a commercial play , even though theaters, well, i know, are required to so that there is self-sufficiency, but in general? should we strive for this or not, for a commercial performance? sales do not depend on the artist, excuse the harshness, not on the artist, but on the one who sells, so - we recently also gathered in a theater meeting and we talked about this, for some reason everyone said: we need a performance, what kind of performance, do we need it? you know, i think that maybe, now, of course, i will say a very pretentious thing, well , give me permission for this, as he says? i don’t think the performance of romeo juliet and

what they say, what is there about it, how many 85% of the audience are sold there, 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 doesn’t know what he’s going for, yes, and that doesn’t mean that he might know the director, but again this filippovich means that he made up his mind, oh well, i’ll go for fun, i’ll go and watch something there, the viewer generally needs to what does he do and how, how do you talk about it, if you say, well, some kind of performance, strange, well, something, well, well, who will go to this, yes, who will buy a ticket, yes, if it is told like mine, like my screenwriting teacher at gitis, you know, when she talked about war and peace, you just ran to read this war and peace, you see, i never thought that i would read war and peace, and there, and so on, i’m just giving an example, but it’s banal, this is how you need to tell the play so that you run , i bought a ticket for this, it seems to me that this is from watching a film of a scammer and he

explains that he kills bad people, and he doesn’t kill good people, your explanation in some cases i just bow to them, they are so manic, but they have something, well, really, because now they blame artists for some reason, well, what do we understand now, now salvador dali there is a genius, but he is also not a genius for... everyone, there are a huge number of people who will not buy tickets to see him, or those who, at least from his colleagues in the shop, do not consider him a genius, which, in principle, and we have already discussed this with the artist, here recently, by valentin gubevev in this studio , which, of course, the market dictates, and the viewer is led, so we wish you to find marketers, or something good, for your theater, if you already have a full complement of creative units.

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 you love it so much how much i love him, daniil, we are very pleased to present you our picture. which was depicted by artificial intelligence and according to our already good tradition, all guests here leave not only an autograph, but a wish, do it too, thank you,

their passion and hobby is their favorite job. after completing my diplomatic career, in january 2014, i was invited by the national olympic committee to head the belarusian golf association. the heroes have many interesting stories behind them. my partners and i decided to do what we were afraid to do before, bring here varieties of european hazelnuts and try them grow in belarus. in the first grade i had to look after the chickens, in the second grade i was assigned to look after the ducks. meeting them will leave a lasting impression. golf is a sport that is built on

complete trust. this is a hazelnut maternity hospital, here , uh, mothers, maternal roots, give birth to seedlings. watch the belarus project on the belarus 24 tv channel. the west and the united states have seriously adopted such a tool as radical nationalism, and, of course, inciting national conflicts. that's what we got for our investment, we didn't lose a single american soldier. what america could do. all the interethnic conflicts that we had after the collapse of the ussr, years later, analysts, those who deal with this, historians, all proved an external factor. we are exactly in the zone of contact, the conditionally collective west and the collective east. and it is fundamentally

important for us to have this confrontation. our territory has not turned into heated military opposition, the project is objective: don’t miss new episodes on the tv channel belarus 24. lack of discipline is failure, failure is war, it all starts with the economy , the same applies to international politics, for some it may seem strange that while

the whole world is in the fires of military conflicts, the president says not about the war, but about the economy, but he does this precisely in order to stop the war. with regards to exports, what lukashenko personally has done in recent years, that is, after sanctions, he agreed with putin that part of the production for products is critical needed by russia, will be organized in belarus. moreover, russia will finance this, and the goods produced will be guaranteed to be purchased at a high price. alexander grigorievich encourages you to learn from the mistakes of others, and not to make your own mistakes. and how much his partners hear him depends. we are embarking on an expedition in the depths of our land, quickly picking up a good campaign and leaving the city, where people for centuries have felt their unity from the birth, destroyed the grodzen region. let's follow myastsov's story.