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hello, on air is the program " life shots". and that means that today in our studio, as always, we have a very interesting and talented guest who is ready to share with us not only the secrets of his professional skills, his life experience, but also the shots to which he is directly related. he is a native of minsk, a man of great talent, highly... most

state holidays and events are not does without his participation, but the theater, his selfless...

was born in minsk on may 19, 1952, in 1974 he graduated from the belarusian state theater and art institute, department of industrial graphics, since 1977 he has been an active participant in art exhibitions, works in the direction of scenography, theater posters, in the design of national and international music and film festivals, musicals, city holidays, outdoor advertising, socially significant state events, as a scenographer he designed several dozens of performances in different theaters, since

1996 veniamin marak, member of the belarusian union of artists. hello, i am very glad that you are a guest of our studio today, i hope that the footage that we have prepared will be interesting not only to the audience, but you will have something to remember and something to comment on, but to begin our program, i still want to ask a question that worries everyone who hears your last name and patronymic for the first time, do you have any relation to marshak, the famous writer of children's poems, i always do this:

and maybe they largely determined your fate, let's see. sergei petrovich,

a wonderful artist, a wonderful teacher, and thanks to him, probably thanks to him, i, in general, somehow immediately plunged into this profession. republican. did not smell this paint, could not help but come, somehow, could not help but come, on the one hand or on the other, i do not know how, but i would still have ended up with sergei petrovich, that is, another life, you can not even imagine that it could have turned out differently, i can not imagine another life, it so happened that all the interests

, all the undertakings that were born with growing up, they all accumulated in work, because here is scenography, and painting, and directing and... since we are friends, i came to them, it is interesting, there is also a beautiful girl, and it was very interesting, and then he says to me,

listen, he says, well, come on, help, and then in general such an interesting story happened, how for the first time, in general for the very first time, when i became a director, seriously, i finished the first year, i am sitting on the committee komsomol, the phone rings, you are being disturbed, so skk komsomol, who are you? i say, i'm just, i'm a student, an artist, i'm sitting here, just talking, komsomol member, i say, well, komsomol... "let's come to us, here we are, here we are, there is a serious job, yes, an event is being prepared, a hike to places of military glory, we need an artist who will design this event, i immediately became an artist, a director of such a serious event, it was in borisov on the main square, i know that you devoted a lot of time amateur theater, because i graduated from the institute, served in the army. i needed to work somewhere, well, i was invited to work

at the palace of culture of the automobile plant as a production designer, they made plays, but everything was grown-up there, the palace had just been built, it was new, a large stage, well equipped, they ordered large decorations, real, serious decorations, and there i met my love, with whom i lived for almost 45 years, and where did you get this information, absolutely right, yes, a girl came, graduate, so directing for practice and to make a diploma performance, well, we made a diploma performance, we had such a good , very creative union, and then perestroika happened, all amateur groups began, naturally they collapsed, collapsed, because it was necessary to support it, it was necessary to pay for everything, everything was closed, how to find contact with different people with different directors, this is the most serious question, and the most... difficult, because a production group is being assembled, completely different people come, let's do it

say, professions, everything in art, that is, all creative professions, but people come to do one thing, here are the characters, the level of training, experience, some kind of psychological compatibility, compatibility between, all this is very difficult, when together we already find a common language. but i don't like it, it doesn't suit me, let's change it, let's remove it, i won't wear it at all, let's go back to our shots

and look at more shots that are also connected with your life, this is the frog princess, and this and this and this is, it's in the archive somewhere such.

the amount of work in the theater in other spheres and areas, but i know that in principle the work of an artist, it is like... the beginning is that today there is money, tomorrow there is no money , today there is work, tomorrow it is gone, or have you always found work, have you always had the opportunity to earn bread for socks, there is creativity, there is work in the profession, when it all comes together, when you have a job, when

it is very creative it brings you satisfaction. and you create something, you are also paid for it, this is happiness, but when this no, there is a profession that you have, that's because when they tell you: do this and that for me, you say well, and you know how to do it, when you've done one job, naturally, there is a result, you little by little, it's not right away, it's step by step, year after year, radio, yes, it starts to be developed, developed, i remember, i started with...

stimulates an artist will never be left without work and as i understand it will never be left something drips and of course it drips it's without bread if of course he is a professional if he wants to work well, a good prospect for

children, for grandchildren, did they follow in your footsteps, daughter, grandchildren, each of them worked out, their own vision of their future, each of them little by little, here, my grandchildren, for example, they themselves little by little decide what is interesting to them, but what warms and pleases me very much is that they have a passion for fine art and some abilities to convey, they have, my daughter, she has a good, serious profession.

together we did all this, this is this performance, in which i made both the scenery and costumes, the whole stage in the final premiere, the whole stage was covered with straw, like in a stable , and then little by little with straw, because this is what created the atmosphere, created the texture, that's where napoleon ended up, before each performance, so all this has to be spread out, and then after

the performance, it all needs to be collected in bags , swept away, and this little by little they little by little had everything. then they have to return it all, well, you often have to get out of it, that's when it's constant, it happens constantly, because that you always want it to be wide, rich, rich, like grown-up, yes, so that everything would shine, shimmer, and so that the fabrics would be expensive, and so that the hangings, structures and so on, but

unfortunately, there is a budget, there are the capabilities of the workshops, there are deadlines, so little by little everything comes and is cut, cut, cut, but this is actually, actually, what a profession is, and what a professional is, a person who has been given a certain... you don't have to choose the conditions, you are a professional, you are given a task and be so kind, let's say you have some amount of money, let's say you have 1.00 rubles, you can go wild with 1.00 rubles, but please make sure there is an image, and the material lasts for 2-3 years, and the artists are not naked, but covered with something, yes, that's the profession, to find the main thing. to create something out of nothing, out of some small things, to create an atmosphere, or just with the help of light or with the help of smoke,

tell me, just with the help of light, only with minimal resources, and i'm interested in what the payment of a production designer depends on, on the large volume of costumes, on the scenery, on the idea, on creativity, what do they pay you for? the director sets a task for you, and you have to solve it, you find some creative solution, the director likes it, the task is completed, and it doesn't matter whether the scene has one stool or five plans of picturesque fans, this is creativity and you get, what for this, what for this you get the same amount, the same money, when you come to the theater, here you are they offer: some production, they offer you some terms, they tell you what opportunities there are here and what your fee might be, and what percentage you can get out of it, here at this moment you

decide whether you will do this, whether you will or not, when you have decided, and you can screw up as much as you want, or you can put one nail in the stage, and as a result you still get this amount, theatrical art is a conventional art, and cinematography is... so literal, you never wanted to go to the cinema try yourself as a production designer? so, when i was still studying at the institute, i had in my mind that someday i would definitely become, i would definitely go into cinema, and i would be an artist, cinema, and i also thought in general that i would go into animation, since i really loved drawing characters, cartoons, heroes, in the future i thought that i... then study directing, that's what i had, that i wanted to master all this, but when the theater appeared, somehow it sucked me in, carried me away, it sucks you in, it draws you in, and you already you become an integral part of this whole

mechanism, everything, it's already in the blood, i know that for many years you were engaged in the design of mikhail finberg's concerts, the question arose, at first, what to design there, but i... found footage where you explain this, ninety-eighth year, every time you can freely show creativity and do everything, everything that you see fit, for the first time i decided this as - well, in the pop art style, the next festival i did in a classical manner, then i somewhere...

am absent, yeah, well, you need to create an image, and what we talked about, about the budget , how did you and mikhail yakovlevich find contact, how did you find contact, the first one, exactly at the jazz festival, and they just found me, knowing that i was doing a director of such things. he did a lot, he was a workaholic, then we did the festival of unesvizh, muzanyasvizh, for the city it was such an event, there it was just

touching to tears, everything that happened there. in each city golden hit, novogrudok, well molodechno of course constantly, all festivals in molodechnaya, molodechno, all festivals i designed finburg, he was constantly making new programs, he was constantly discovering new people, boris ivanovich, lutsenko, mikhail yakovlevich, and boris ivanovich are just as unique people, i think, such creative personalities, with rather complex characters, how did you find an approach to boris ivanovich? the thing is that it was always difficult to work with him, because he is a phenomenally creative person, a person who is always always in search,

he... always doubted, he never, let's say, got hung up on something like that already made decision, on something already found, he could break everything, rebuild, change and find a completely new move, and naturally, the difference in the work of an artist and in the work of a director is that during the production period the artist made drawings, first a model, then sketches, then drawings, handed this over... that's it, materials are already being purchased, everything is already being built, nothing can be changed, the money has already been spent, and the director can rehearse for himself, no, let's do it differently, let's do it this way, well, let's do it this way, they start to do it differently, and of course there are moments when what has already been built, it turns out, may not be in demand, it doesn’t fit, all this is needed, but this is already, this is already a budget, this is already necessary to have enough, let’s say,

lutsenko, he does something, he rehearses, he is some, and you don’t understand what’s happening. and the actors are unhappy, they are tired, because they do one thing, then they have to redo something, and the prop shop, which is necessary, now give this, now give that, here is the sewing, these costumes are not going, come on we'll sew it up, let's sew it up, they start sewing it up, it, it all happened, but in the end you don't understand, it seems like nothing 's working out, when the time comes, everyone sits down, when the curtain opens, and you

look... lutsenko and somehow it's not clear where this comes from, these threads that tug at your most, most intimate places, he has very touching, interesting performances. let's look at the footage that we've prepared, one of boris ivanovich's performances, which at one time i was impressed not only by the acting, but also by the work of the artist, the director. and this is quite a difficult performance, it was born for a long time, very difficult, it was very interesting to work on this performance, very interesting, the production is a very big job, because the textures, the textures, and so ...

a fake stripe, by the way, it still hangs in the props shop in the theater, how many decades have passed, and it was supposed to fly out this window, that is, fly to freedom there, but there is a fire line, the fireman hung, and this crosses the fireman hung, and they did not allow, by the way, it is necessary to take into account not only the director's ambitions, but also the firemen, this is a very important, this is a very important point, by the way, because this is also

a profession. acquaintance with belarusian enterprises and the outstanding result of their work. without -

compliance with the required characteristics, the products will not come out. if we do not apply modern knowledge, modern technology, then we will have no future, and i assure you, we have a future. we do very an amazing and rare product - not only in the country, but in principle in the region, because so many companies that make watches, directly do production, an approach to business that everyone should strive for, when we release something, it is a big burden, and we need to maintain the brand, so our mood is responsible and fighting, i can say with confidence that our team is a team, the overall result, our common cause depends on the contribution of each for... and we try to convey to each employee that each important and necessary. watch the project quality mark on the belarus 24 tv channel. they are dedicated to their

work, ready to share knowledge, modern technologies are developing so quickly, today artificial intelligence rules the world. probably, in 50 years the museum will look a little different than today. no matter how modern the technical capabilities are, people come to the museum, after all , in order to touch a genuine historical, art, literary artifact. and our mission, i believe, is to preserve historical memory for the sake of future generations. and show one day from your life. belarus is truly our heritage, our beauty, our pride, in order to preserve this wealth, it must be protected from pests and diseases. for more than half a century we have been guarding the protection

of forests, our main concern is the health of the forest, protecting it from pests and diseases. watch on the belarus 24 tv channel . today, young artists have a huge palette of tools, the latest technologies, well, computers, i know that you still draw with a pencil, do not envy them their capabilities, it is they who should envy us, everything that is invented today, proposed, everything that is already being exploited today,

did not last long in the repertoire, a director has an unsuccessful performance, and a production designer has unsuccessful performances, how is this expressed. i had one such performance, we also did this at the gorky theater, there was a play by lyuti by alexei dudarev and lesha dudarev acted as a director, well, and he invited me, i as an artist, they began to make a performance, it seemed like they had thought of everything, everything seemed good, something came

such an idea, that here is some room with some mirrors and window openings, and there are windows, and behind the windows like an aquarium, there are fish swimming, they ordered from some dutch company, they ordered. thing, they brought it, put it in the yard, i say, guys, please, so, weld a frame there, be sure to put rubber under it, be sure to put it under it, because the water pressure goes from top to bottom, yes, aquariums are flat and very flat like that, they are narrow, very high, well, as a result one, so, they decided to experiment, put it in the yard right there, not even evenly, they decided to pour water, check, poured water, it immediately burst, they were expensive, there was one left, well, i redid it, rebuilt the scenery for one aquarium, it seemed like i was already, it seemed like i was monitoring, it seemed like i was controlling everything, it seemed like

it was good, the run-through is underway, they went through, they set up the light, well, it seemed nice, backlighting, it seemed like everything was there, we thought, well, let's launch the fish, then everything will be fine, and this aquarium by the end bam and bursts, that's what i'm left with, i'm left with a bare bare stage, such holes, no scenery, well, here i am i say, well, forgive me, that's how it happened, one aquarium burst, the second burst, that 's how things happen, i'm asking you, do you like music, why do you... ask, just like that, i like to know, i collect information on various issues, so you like music, this is a performance, a performance very dear to me, because this is, this is such a team of like-minded people, which is shelestov, tkachona, kolya klibanovich, modest abramov, i, we did this performance together, it was on the small stage, it was very wonderful, a very touching performance, uh. and it went on for a very long time with great, let's say,

interest from the audience, and here i had one small problem, it means the performance was made on selection, that is, everything that is here, i found a table there, i found this there, in order to create, because the audience is sitting right in front of the audience, the audience is sitting next to it, like a movie, yes, like a movie, yes, that's it, there was one moment, modest, that is, the director came up with such a very important trick, that's what... created this kind of the whole setup, it's like he has a leaky roof somewhere, water is constantly dripping in droplets , and so there was a basin on the proscenium, so it was necessary to hide it, there are no studs there, so it was necessary to come up with this dropper so that it drips and so that it lasts for the whole performance, he spent a lot of time until he achieved this, it seems like a trifle, yes. it was easier to come up with a large set than to make it

drip here and there throughout the performance, this thing, so as not to pour it in, not add, and then this performance was moved to the big stage, she won't go to bed without some march, two or three marches before bed, it's amazing, your parents, they are mechans, yes, they are not connected with the creative. no, my father spent his whole life behind the wheel, he went through the front, he went through stalingrad, he got to here from the beginning of the war stalingrad, the kursk bulge, there prokhorovka tank, he got to genichesberg, he went through everything, and a simple, simple driver, here his mother is a simple accountant, i never had the desire to stage it myself as a director performance, when i read in my youth i read some stories.

the advantages of linuel gulliver, which will be the subjects of our discussions, happened to be as we will present here. the background, so, three friends met, three buddies, and together, we made this performance, we made it in the theater, it worked, we played this performance at different venues, such an offer came, let's make a television television. television version, then i

had this desire, and natasha artemovich suggested, come on, she says, here i am, i will help, let's do it together, well, let's do it together, in 2024 we will celebrate 100 years of belarusian cinema, you know and 30 years of the listopad festival, i want us to remember the footage of this festival, where we worked together, you as a production designer, and i as a director of television versions. this festival is very dear to me, because there was a very good team of like-minded people, at vrodislav ivanovich's house, we gathered, all this began to be born, as what, what will happen, then we worked, naturally, naturally, opening sketches,

naturally closing sketches, naturally there were parallel festivals, small ones too , there is a stage there. there is a stage, all this was needed, all this had to be collected, a single style everywhere, and again not very big budgets, each time it was a big holiday, what i like about the listopad teams is that people come to work who do not just make a festival, they live this festival, they want it to be a real event for the republic, and for the city and for people who come, it is so important. in your life there was another very significant project. yes, dugchin, olenikov,

this, this is really, this is, perhaps, one of the largest projects, a very dear project to me, very important, very interesting, i always remember it with great, and how did it happen that you got to this project, i come to the workshop, then, olenikov, oleynikov, they say that there is such a project,

8 m of scenery passes on the other side plus from behind, since there is a video projection of the back and a video projection of the hall in such a a 3d effect is created, there you need another 12 m behind, because back then - back then the wide-angle lenses were not so powerful and they did not allow you to open wide, you needed a large distance to create all this, and

i say that this will not fit on any stage, they then worked in st. petersburg in the oktyabrsky concert hall, the choreographic team was all of belarus. everyone, all the dancers, and it all cost a lot of money, as a result it turned out that such a scale, i warned that it would not fit anywhere, the cost price is very high, the premiere was made in the sports palace, and after that they played again in the football arena , ultimately the profitability, that is, it was impossible to raise, then they showed a big project in moscow once, then they worked in st. petersburg, all this was until lenikov got sick.

which, it seems to me, are also dear to you, in which you took part, let's pay attention to the screen, really very... dear, well, dear to me topic, a very important topic, the topic of memory, here is the topic of the patriotic war, the topic victories are... an infinitely important topic for me, like some kind of ordinary protocol event, well, well, well, we arrive with

the director, we arrive there, you look, there’s nothing there, there’s just a monument, the director sets you a task, here i need to put this, here it will be, here they will go from here, they will come there, here such and such music will sound, well, that’s it, the task is to organize this entire space and to create... everything arises anyway,

this is already the second event, that’s where it was opening. the gates of memory in trosents, and this is the second event, so you start, you start thinking, you start empathizing, passing it through yourself, well, in the end , some proposals, decisions appear, which help, then people come and get into some kind of atmosphere, a certain atmosphere. after all, i understood that the theater is your love, and i want us to remember another performance, also by boris ivanovich lutsenko, footage of which we

prepared, on which you worked. the heart of the old city, very good. very good, interesting performance, it was on for many years, it was on for many years in the theater, i think that it was, for me it was very pleasant and quite, let's say, it seems to me that it was successful, that is, then only printing appeared, printing, large-format printing, before that there was none, everything was drawn by hand, and then printing appeared, so i, then for the first time, so, used, there is this backdrop...

here is the dynamics, here is the movement, these transformations, multifunctional use, when unexpectedly from these from the same details different plots, different pictures appear. you did one of his last performances , also all the last ones and even the one where he

plays himself, it was the first time he played such a leading role. i wonder what you put into this, in essence, yes, it is the globe, which, which was judged to a small, to a small world, here, here they found themselves in this ball, that is, they found themselves in this flask, here together, i foresaw that you would not keep your word, you would not keep your word, and if i hadn't had time, if i hadn't had time, you would have been, where, where you would have been, right there, yes,

where the majority of us are, memory. who ordered you to make it, you yourself suggested this concept of this wing and this profile, as if the stage, portals, grates and a black square that is pushed in, the stage is closed, the wing is on top, and its profile is cut out, when the sun, when the sun goes, shines, then here is the shadow, this is more accurately the light, its profile and... like this, it floats there like this, the thing is that when boris ivanovich left, i already knew that i, that i am something, that i have to do something, that this is mine, i have dreamed of traveling around the world all my life, i dreamed of becoming a sailor, to see the whole world, but

i know that you are not alone. you sail on these cruise ships for a year, and what do you do there? all sorts of interesting events take place on all cruise ships, all sorts of festivals are organized, theaters open, somehow they see that we have good specialists, they invite and invite, yes, they invite to festivals, sometimes, sometimes they invite for interesting productions, it's incredibly interesting, once...

i hope that it will be interesting to you, oh, oh, wow, it's me, it's me, that is, me, it's mikhovichok, mikhovichok - it's mikhovichok venya, this is my doll, i made this for the kolyakhanka, a completely touching, charming doll, oh, so she, so she also works, fun, fantastic, very cool, thank you very much. to feel her pulse. we have another tradition, a small blitz survey, a short question, a short answer. your zodiac sign. taurus, your favorite color, turquoise. your favorite drink, bergamot tea. what is your favorite holiday? well, probably your daughter's birthday.

what is your favorite place? in minsk, kropotmensky lane, which no longer exists, i grew up there, there were barracks, there was a private house, it is just near the belarusian drama theater, i like to come there, it is easy for me to breathe there, there is always some kind of emotional wave inside me, and a memory, and i want to somehow continue to live like that. you have traveled a lot, which country impressed you the most? japan? who scares you the most? loneliness, your main advantage, let others say, your main disadvantage, gentleness of character, in principle and dignity, this is also gentleness of character, but this is my main disadvantage, your life principle, to enjoy everything you do, what is

the meaning of life for you? in children, what is the happiness of veniamin marshak, in the health of my children, my loved ones, my dear people, that's when i'm happy if they are healthy, if they... prosperous, if they succeed in everything, then i'm happy, the rest is all myself. i want to wish you great happiness, so that you all are healthy, and there is still a lot of creative work, which keeps us in a good incentive, mutually. traditionally, this little book, it is dear to me, because it is a performance that i have staged several times in... in several theaters, this is a book with my illustrations, this is a play by the star of the seventh menep with my illustrations of the characters, here is who wrote the play, wrote the play by gennady davyt our task is

to carry out a new scientific and technological revolution in an accelerated format. state investments in education only in in recent years, they amount to tens of billions of rubles, they build new schools , overhaul those that have worn out. today, at our enterprises, most of which have branches of departments, leading universities of secondary specialized educational institutions of our country, we are already taking away actually trained specialists after graduation. this year, we exported our products to 60 countries around the world, we are opening new countries in the african region, there are also.

watch the project view of belarus on our tv channel.

live news in the studio tatyana nikrasova, good afternoon and briefly about the main events of the day. an important meeting in the palace of independence, the president of belarus received credentials from ambassadors of foreign states. congratulations to senior citizens . belarus celebrates the day of the elderly. and the majority of belarusians supported the amendments to the traffic rules.