i need such a kolyada yes, it's good we have such an ecoda theater, i'll try to imitate, look. well, i have a different impression. hmm, in moscow we have in moscow. it's fashionable, it's cool. young faces. we are talking now, after all, about sverdlovsk and yekaterinburg, what kind of cultural center is this? so you got him to me, in general, young, apparently, age. yes, and there dmitri as you say, passionate explosions are so beautiful. yes, in the eighties, we formed dances. rock learned pompilius, pompilius, we have artists. many famous appeared balabanov appeared ural drama. here's the one i'm involved with. as a matter of fact, a lot of things i am very students. why did it work. but all the roots are from there. here, take it. for 30 years or more, everything has been going and developing and moving from there. from what i don't know. and how did it happen that i was in the theater institute of the city of yekaterinburg began to produce one after another, and not a single playwright produced playwrights. uh, at an elite institute for 30 years. that's at least some kind

the next question was just, well, about the style , about the principles of the kolyada theater, butill very sharply, sharply move it away from me, because well, chekhov is simplified by this oblique and, uh, with these bari dances there is no such thing. chekhov has 7. no, look what's there, look what 's in the text before your, uh, scene. uh, in which the text does not need a soul there. now i'm in i'll faint, there's e-shovels. well, they love ranevskaya. yes, this word was said to me, but for some reason i came here. yes, there dunyasha say that the infantry made a proposal to me, and there everything is absolutely tied up with this whole system. as we now speak and fall all this is done. it's interesting in the visual yes, dmitry well, tell me, even my story doesn't give a damn about it at all, it's not about me. tell me change, i'll tell you now. tell tell. so you put on a skullcap, yes, and you cease to be a director, as it were, yes. in fact, the director would who pays the salary and counts the money. so dunyasha is the thinnest. chekhov's is that the sound reaches the ear,

important, because today we have away a wonderful person - this is a playwright and director of the kolyada theater consonant with the theater. as you well guessed. our guest is nikolai kolyada hello nikolai but dmitry, here we are discussing behind the scenes with you. how are your notebooks? of course, here , uh, a lot could be attributed to you of all sorts of properties, because you are a man of orchestras - everyone knows this. you said that in the theater there are cleaners and a cashier. well, yes, yes, i will do everything in a private theater, so i do all some kind of commercials. uh, there is an answer. i write plays, put on plays. i'm heading for the light think about costumes. i even write music dmitry i'm ashamed to admit it. well, really, but think it's a good life. well, write covers. yes, the plays, see for yourself. i mean , i don’t have my own, i can’t watch concerts. here are the conservatories that have already been made. i love to rehearse. this is to indulge. you will come to the process, the artists laugh. let's do it. let's, just like in childhood from my mother's curtains o

let them not speak, let them read and visit my drama by the director of the theater collective nikolai kolyadaian is coming. uh, i think yes, no, we 're done. only the first part of nikolai i will read a few lines. usually i read from a book, but here is an abbreviated text. uh, with excerpts like this, it's just that it takes less time, and from the cherry orchard from boring dramaturgy. chekhov is my favorite, because with the cherry orchard i have been sleeping hugging for decades. i love this play. and so, uh, as we, of course, remember, and who does not remembers, then he will know now and immediately forever that there is very much in your motive of hearing the motive of hearing that hears further. what is it, maybe there, not hearing the firs who speaks the day before yesterday. a tub somewhere in the mines well, in the slammed strings, finally, the most mysterious incomprehensible symbolically loaded, but here is the jewish orchestra, which is heard across the field, but it is very important that literally from the first lines this motif of heightened hearing changes absolutely everyth

because today we have a wonderful person visiting us - this is a playwright and the director of the kolyada theaters consonant with the theater. as you well guessed. nikolai kolyada is our guest hello nikolai but dmitry here we are discussed with you. how do these poison you? and, of course, here, uh, a lot could be attributed to you of all sorts of properties, because you are a man of orchestras - everyone knows this. you said that there would be cleaners and a cashier in the theater. well, yes, yes, i perform, well, a private theater, so i perform all some kind of commercials. uh, there is an answer. i write plays, put on plays. i'm heading to the light to figure out costumes. i even write music dmitry i'm ashamed to admit it. well the truth is, think off the good life. well, write covers, yes , plays, see for yourself. uh, in the sense of their paris no, i can't watch concerts. here are the conservatories that have already been made. i love to rehearse. this is to indulge. you will come to the process and laugh with the artists. let's do it. let's do it this way in childhood from my mother's cur

because today we have a wonderful person visiting us - this is a playwright and the director of the kolyada theaterkolyada hello nikolai hello, we discussed it behind the scenes. how are your notebooks? of course, here, uh, a lot could be attributed to you of all sorts of properties, because you are a man of orchestras - everyone knows this. you said that there would be cleaners and a cashier in the theater. yes, yes, i do everything in a private theater, so i do all some kind of commercials. eh, there is an answer: i write plays, i stage performances. i 'm heading to the light to figure out costumes. i even write music dmitry i'm ashamed to admit it. well , really, but think it's a good life. well, write covers, yes, plays, see for yourself. eh, i mean, they don't have their own. i can not watch concerns. here are the conservatories that have already been made. i love to rehearse. this is to indulge. you will come to the process, indulge in laughing with the artists. let's do it. let's, just like in childhood from my mother's curtains of a stick. let's do theatre, let's do something fun. but when

kolyada thank you misha for coming to you ? thank you. hello this is a podcast of letters and i have today the artist of the lenkom theater alexei maklakovy god. and how am i going to communicate with an artist artist. well, who is this? so let's do it, yes, look right away, i think, well, that's what you are talking about, i think, there should be some kind of common theme. listen, i graduated from the gidmic, but, that is , i graduated in novosibirsk and then worked in tomsk so exhaled and i think, my god, why am i not going to grimace. they will sit straight with their backs and i will portray. yes, well, cool, tell me, please, but right here was born and immediately realized that i am an artist nothing like i should be. and i dreamed about this when i was 13 years old. i went to plasticine, how can they imagine abdominal operations at the age of 13 to watch abdominal operations. it was interesting to me, it was interesting that our who will dedicate our school was next to the departmental institute. so i went to your construction team at the age of 13, because i was what they called a difficult teenager and they were taken to build c