look at us from photographs... young faces, they were very young when they created this theater, galina volchikiy evstegneev, they are all in their early 20s, the oldest among them is oleg efremov, he was a full 29 years old, he was a leader, you know, for us, i caught him in the last couple of years in a contemporary, everyone adored him, he simply was our idol, our professionals, here is a new object, then i grab it and cut it up. what worries us today, excites us, entertains us, i generally think that theater is a story about love, how to find it, how to believe in it, so that it changes your life for the better, with pleasure, what a nice ring of steps, well then, nude, then, while the contemporary always remained a theater where acting was above all else, the audience forgot that they were playing in front of them, because... they always had a zone of silence when you realized that you couldn’t approach them now necessary. this is probably the only example when three main directors came out of the walls of one theater, oleg efremov, oleg tobakov and , of course, galina volchik, who for man

one dedicated to the period when the theater was led by oleg efremov, the second to the time of galina volchikontemporary times it was the main one until 2019. the day before, every resident of the city could make moscow cleaner, more well-groomed, and more beautiful. there was a big event in the capital. cleanup day, everything was like the good old days, collective cleaning with shovels, rakes and garbage bags, even logs could be carried if desired, tools were given out on the spot, there was enough for everyone, and muscovites not only helped utility workers, but took part in relay races, quests, quizzes and dined on dishes prepared in field kitchens. so, with the onset of heat on the streets of moscow , construction workers and heavy equipment again appeared in the courtyards and squares . of course, they leave some inconveniences, but they always apologize and do everything to ensure that the work is completed as quickly as possible. a large program for improving the city's public spaces is being resumed; by the fall, about 700 streets and 1,500 courtyards should be completely transformed

young faces look at us from the photograph; they were very young when they created this theater, galina volchikvgenia. almost all of them have never been published; you just need to come to the performance a little early in order to have time to go to the contemporary museum, which opened today on the theater’s birthday. i made this exhibition so that, in fact, it is ready to be perceived without a guide. it is happiness that the history of the theater, which is stored in its archives, will now be available not only to the theater workers, not only to those who study its history, but also... to genuine people who are important for our time, our audience, the theater that was the first to talk to the audience about their problems, and no matter what era the play is in, it is always about the present and the contemporary. my relationship with the theater began in the tenth year, when we did the upcoming, now this there is no longer a performance, but there is a performance with marina niyolova, this theater is a legend, because it, it seemed to have outlined a completely new path, what is soviet

evgeny evstegneev had three marriages, the first with galina volchik. they lived in this theater, and this theater. there was an atmosphere of universal love and joy and their relationship was permeated with this atmosphere. and there is a wonderful story, this is... they are still young, denis is still like this, it means that instead of a stroller they sleep in a suitcase, there is no money, she says, and zhenya dreamed of a double-breasted suit, then i got the first money from filming, it seems to me, in donquixote, and my simple happiness was that i decided that i would spend every penny just... on him, zhenya puts it on, she says, i i, i say, how i held back my tears, i don’t know, because he says it ’s like putting a saddle on a cow, and i understand that if i start now, he’ll be upset, that’s it, i ran into the kitchen, which means they’re washing something there, something- they're making noise, they're doing something, in general, that's it, everyone's gathered. what about 15-20 minutes passed and i went out into the room and walked around the

main directors emerged from the walls of one theater, oleg efremov, oleg tobakov and of course, galina volchikon along rivers and canals , the first pleasure boats and trams came out from the palace embankment today; those who wanted to admire the northern capital from the water were not scared off by anyone cold, no rain, no leaden clouds that the scandinavian cyclone brought, this night, and bridges will begin to be raised again, a bright show beloved by tourists until about november. and our viewers can enjoy the views of st. petersburg without leaving at home right now. the undercover taxi was filmed right there, in one of the most beautiful cities in the world. obanik is no longer available. in, inna, also a colonel, she’s alive, yes, go away, inna, go away, don’t disturb. she’s alive, alive, alive, until, already, trash, you still won’t die, yes, it just happened to you that there was no home when your sobs ended, i ’ll get you anyway, i’ll cut you, what did he say, lesh, what he said, lying down, what he said, what he said, i'm going to die. vyacheslav mikhailovich, you have good finger

of the contemporary oleg efremov was the artistic director, monochrome and blue. 47 years old, galina volchikthe museum , people gathered, in whose fate a contemporary had a special word, time, emotions, memories, founded in 1956, a symbol of the thaw era, the authors of the theater reformers tried to speak with the audience in the same language, the creators museum exhibition sought to explore how the large-scale idea that formed the basis of the contemporary passed through the years and continues to live today. once efremov said that a contemporary will be alive until then, a contemporary will... to find this again and god grant them and i will root for them and the fact that they took up their history is evidence that they did not reject it . in order to understand and love something, you need to know it, this is exactly how the authors of the project reason, hoping that the new museum of contemporary art will become a place that immerses into the atmosphere of a time when the word contemporary was an important theatrical password. valeria kudryavtseva, dmitry yakovlev, culture news. the e

turning point, seventy -second, chief director galina volchik, again surprises a contemporary.egend, a star and a professional until the last minute. when he came out on stage, everyone was ready to applaud with such love, but no, this man tuned in every day, every day he had his zone of silence, when it was necessary to understand, now there is no need to approach. friends and artists of the theater managed to save photographs from the first rehearsals and photo sessions. council, first copies plays, posters and programs, all of this was digitized and transferred to the contemporary museum. the idea of ​​doing this in metal, the idea of ​​combining two colors, black and white, it corresponds to the ideology of the theater, which runs forward, sometimes suffocates, then it needs to stop, exhale, maybe make a mistake, but again run forward, the contemporary must always correspond to it. so, already three generations. maryana zhukova, mikhail karasev, sergey namonka, channel one. we remind you that on the calendar april 16, you already sang something in the morning, well, you pla

margarita terekhova, gennady bortnikov, tatyana doronina, konstantin raikin, irina miroshnichenko, galina volchikaliev and sergei makovetsky in the leading roles. this is how people's artist of the country sergei vasilyevich makovetsky remembers the master. i saved this part of the interview with the great artist, which i took from him last summer during a tour, especially for this program. you and vektyuk are from ukraine, you are from kiev, he is from lvov, you talked and maybe joked in ukrainian, we always spoke, switched to language, and if we are in kiev , if we come here, then i speak ukrainian language, everyone is so amazed and it seems, and you know our language, i say, and after reading the abc book, i will never forget this legendary tour, when we came to kiev with performances, unique performances, um butterfly and... played in the october palace of culture, i go to the performance at 5:00, and i can’t get to the service entrance, because people are standing so close at 5 o’clock, i shouted to the guards, they pushed me with their elbows and did this corridor, they took my hand, they

theater, yes, but i always remember, so you say, you thaw , i remember the kingdom heavenly galina borisovna volchikn, everyone are playing i invite you, this is the one. who else is the editor of the sixty-third year, vich, well, you play the guitar well, yes, what do you mean, i’ve never played it in my life, it’s all an illusion, like everything else. in theater and cinema, you know, after such brilliant voices, we call this groan a song, i’m even somehow embarrassed, you know, but i’ve always had a fairly musical family, if you look at my ancestors, at least in these ancient photographs and see what they were, who they were, these are stavropol cossacks and kuban cossacks, here this is propra. grandfather with a beard, who is below, but in the first row, above him in the light stands his great-grandfather, my great-grandfather matvey, whom, to your general surprise, i found, you know, where he worked, in the winter palace, in the cossack choir, here mom and dad, how beautiful your mother is, everyone sang, but these don folk songs, i’m in taganro. i practically spent my adult years, now becoming

imagine what, that means i’m rehearsing with you, now, here you are artists, i’m the director, galina borisovna volchikarsal, so that here, too, the artists have a feeling, yes, that i know what i want and know how to achieve it, she had this feeling, despite that i’m kind of between these... two scyls and charybdis, yes, well, that’s it well, it’s like now it shouldn’t look like i’m complaining about something, yes, or like i’m denigrating someone, no, this is a normal thing, now i also come to rehearsals of young directors and that means with the desire to help or advise them , but it’s just like a contemporary at that time was, well, like a theater that really wanted to win, we had a whole group of young directors who, it seems to me, weren’t really able to meet these tasks, yes. i have developed immunity to poison, so i have developed such an immunity. and you gave five performances in contemporary times, and which performance was the most difficult for you and which one would you be happy to watch from the audience? you know, there was a performance, a warm heart, this is the only performance that