satisfied, cheerful, happy, she says, after the performance we went to see the main director boris lutsenko we had a good time, then boris took out some more wine, and we talked about art, talked about about his plans, galina asked him about something, i said, i sat in silence, volodya, he said, there was such a holiday, one day, sitting in the theater, she pointed out to me an actress on stage, she said: this artist is my patient, i think how so, where is the medical confidentiality? well, she obviously trusted me a lot and you know that galina, in my opinion, was about the same age as this artist, this artist still shines in the theater, today in 2023, but the golides are long, long gone, in 2002 galina i warmly applauded my performance and staged wolf's songs. theater belarusian dramaturgy in 2005 at a banquet after the premiere of the play random waltz, which we composed together with boris lutsenko , and he staged in the russian theater, she made such a toast, long and colorful, that it looked like a generally laudatory review of our performance. the employees of her radiological depar

my wife, satisfied, cheerful, happy, says, after the performance we went to the main director, boris lutsenkoand galina says, she took out a bottle of wine, and... we had a good time, then boris took out some more wine , and we talked about art. boris talked about his plans, galina asked him about something, i said, she sat silently , volodya, he said, it was such a holiday, one day, sitting in the theater, she pointed out to me an actress on stage, she said, vladimirovich, this the artist is my patient, i think, how can it be, where is the medical confidentiality, well , she apparently trusted me very much, and you know that galina, in my opinion, was about the same age as this artist, this artist still shines in the theater, today in 2023, and galina has been gone for a long, long time, in 2002 galina warmly applauded my performance, staged the wolf's songs at the belarusian drama theater in 2005, at a banquet after the premiere of the play by chance waltz, which borisomko and i... and he staged in russian theater, she made such a toast, long and colorfully, that it looked like a generally

it, i can’t help but remember your performance , return to khatyn, which you staged with boris ivanovich lutsenko not agree for a long time to stage his khatyn story, how did you persuade him? the fact is that when this idea was born to lutsenko, adamovich was really afraid of this production, i remember at the first meeting, he said that this is a documentary story, this story is very difficult, and i, he says, can’t imagine how, then boris ivanovich told him his plan, that it would be in the center of the hall, we are practically removing the first 15 rows there before the aisle, yeah. there we set up a platform, and the spectators sit on both sides and make a hut, like this, here there is a solid wall, here, and the spectators have an open one, as if conventionally, and there it was when it was burning, it was scary, when here everything was heating up , and there were people throwing around, of course, it was terrible, then of course the very idea of ​​talking about, well, the terrible inhumanity of fascism. what does it mean to eat people? lutsenko himself made the insinuation, and i was lik

will paint your portrait. wrote: in the nineties, the main director of the russian theater boris ivanovich lutsenkoge the play perpetuum mobile or jewish jokes. this performance was performed on a small stage, because the big one was under reconstruction. tickets for the performance were expensive, because they also treated me to, i don’t remember, either... or champagne, and for 12 years while this performance was on, pouring, among the jokes, kanty sang, his voice sounded very good, he explained it like this, he said, you know, vladimir, this building of the russian theater was built as a synagogue, so everything here is designed so that the voice can be heard in the synagogue, so my voice fits very well into this space, into these walls, indeed, it was a very good performance, the theater took it to st. petersburg, then to leningrad and moscow. in the performance of the perpetum mobile, it begins with an ancient old testament prayer in ancient hebrew. elagainy shoma is a prayer for the soul: lord, you gave me a soul, if this soul is pure, take it to you. and imagine, i was painting this icon jus

i can’t help but remember your performance, the return to khatyn, which you staged with boris ivanovich lutsenko for a long time to stage his khatyn story, as you persuaded him, the fact is that when lutsenko had this idea, adamovich was really afraid of this production, i remember at the first meeting, he said that this is a document. this story is very difficult and i say i can’t imagine how. and then boris ivanovich told him his plan, that it would be in the center of the hall, we were removing almost the first 15 rows up to the aisle, we were putting a platform there, and the audience was sitting on both sides, and we were making a hut, like something like this, here was a safety wall, here , and the audience from... as if conditionally , and there it was, when it was burning, it was scary, when everything was heating up here, and people were rushing around, of course, it was scary, then of course the very idea of ​​telling about, well scary inhumanity, fascism, what it means to kill people, lutsenko himself staged it, and i was like his second director, because after all, our profession is