, anatoliy petrytskyi, and the portraits of petrytskyi, by horska, and the works of prymachenko, theorks of anna sobachko shostok, and the works of the boychukists, oleksandr seyenko, and serhiy kolos, because it is true when you read the father's letter. with opanas zalevakha, you understand, here is a person who is being persecuted here all the time, yes, another person is serving a sentence in mordovia, and they are talking about art, about the fact that new ukrainian art is a fact of reality, and they feel called to carry this burden, and it's not actually a burden, it's a mission, that is. for them, this is the mission of new ukrainian art as a combination of two such important things, boychukism or the legacy of the avant-garde of the 20s and folk art? and where, where do you read these letters? are they issued by mr. zalevakh of alagorska? yes, yes, yes, they are published, this is a separate book, edited by ludmila. alagora soul of the ukrainian sixties, and i worked in the archive of literature in sofia, there is a lot of it, again, these letters of hers are presented there,

anatoly petrytskyi and portraits of petrytskyi authorship of horska and the works of primachenko, theks of anna sobachko shostostok and the works of the boychukists, oleksandr sayenko and serhiy colossus, because it's true, when you read these correspondences with opanas zalevakha, you understand that this is a person who will be persecuted here all the time. yes, another person is serving a sentence in mordovia, and they talk about art, about the fact that new ukrainian art is already a fact of reality, and they also feel called to carry this burden, and actually it is not a burden, but it is a mission, i.e. for them, they are a mission, a new ukrainian art, as a combination of two such. boychukism or the legacy of the avant-garde of the 20s and folk are important things art, and where, where are you reading these letters, they are published by mr. zelevach alagorsky, yes, yes, yes, they are published, this is a separate book edited by ludmila ogneva, the alagor soul of the ukrainian sixties, and i worked in... of literature in sofia, there is a lot of it, there again these letters o

, anatoly petrytskyi, and portraits of petrytskyi, by horska, and the works of prymachenko, the worksna sobachko shostok, and the works of the boychukists, oleksandr seyenko, and serhiy kolos, because it is true that when you you are reading correspondence from opan. "zalevahoya, you understand, here is a person who is being persecuted all the time here, yes, another person is serving a sentence in mordovia, and they are talking about art, about the fact that the new ukrainian art is, this is already a fact, reality, yes, and they feel called to carry this burden and, well, actually, not a burden, apparently, but this is a mission, that is, they, for them this is a mission , new ukrainian art, as a combination of two such important things, boychukism, or the legacy of the avant-garde of the 20s and folk art, and where, where you read these letters, they are published by mr. zalevakh of alagorska, yes, yes, yes, they are published, this is a separate book edited by lyudmila ogneva, the alagor soul of the ukrainian sixties, and i worked in the archive of literature in sofia, there are a

anatoly petrytskyi and the portraits of petrytskyi by gorska and the works of primachenko by anna sobachko shostok and the works of baichukists oleksandr seyenko and serhiy kolos, because it is true when you read the correspondence with opanas zalevakha to my father, you understand , here are the people... who are persecuted all the time here, yes, another person is serving a sentence in mordovia, and they talk about art, about the fact that new ukrainian art is a fact of reality, yes, and they feel called to bear this burden , and actually it’s not a burden, i guess, but it’s a mission, that is, for them it’s a mission, new ukrainian art, a combination of two such important things: boychukism, or the legacy of the avant-garde of the 20s and folk art, and where, where are you reading these letters, they are issued by mr. zalevakh alagorsk, yes, yes, yes, they are published, this is a separate book edited by lyudmila ogniva, the allegorical soul of the ukrainian sixties. and i worked in the literary archive in sofia, there are a lot of them, again these letters of hers are presented there,

theater, because in these works she turns to tradition. the avant-garde of the 20s, to the work of petrytskyiwho inspires her a lot, and these are absolutely bold, very interesting decisions, scenographic, absolutely innovative, and again, all this remained only in the form of sketches that we present, and separately, definitely , we will talk about gorska's circle, about her... thinkers about the choice of identity itself, about the choice, the choice of ukrainianness, about the discovery of ukrainian culture by her, already at a sufficiently mature age, we have about it remember that she was already around 30 when she switches to ukrainian, when she learns the language from abedka, because she didn't teach it at school, and in general, she is a person who, well, let's say, did not exist. there were no homes for this , because she grew up in such a nomenclature soviet family, her father, he was a high -level official, soviet, he headed the yalton film studio, then leningrad, then kyiv, and she too had an absolutely cloudless childhood, studying at an art school , then studies at the institut

, this is artistic kharkiv, where, in which the film is reproduced and the works of kurbas, and petrytskyid meitus, we created a whole, alo on the wave of 477, published biographies of our writers, who laid the basis of work on, well, work on our characters, we recreated a lot of props, eras, fates, and everything that was in kharkiv in this crazy cauldron of art that brewed in the 20s 30s, and therefore i think that the audience will find it incredibly interesting. thank you, this is taras tomenko, the director of the film house of the word, but i have to remind you that the cost... of the film was more than uah 60 million, half of which was received for the film from state cinema, so support the film, go to the cinemas on may 9, i already saw him on to one of the festivals and i recommend it and i am sure that no one will be disappointed, anya, i give you my word. thank you, colleague, for your work, thank you for the information, it was dmytro didora, the espresso correspondent, who told us all the details of the presentation of the house of word film. and i remind you that our collecti

logs led this and the works of petrytsky anatoly petrytskyi and portraits of petrytsky authorship ofska and the work of primachenko, the works of anna sobachko shostok, and the works of the baychukists, oleksandr seyenko and serhiy kolos, because it is true, when you read the father's correspondence with opanas zalevakha, you understand a person who... er is being chased here all the time, and another person is leaving punishment in mordovia, and they talk about art, about the fact that new ukrainian art is a fact of reality , and they also feel called to bear this burden, and well, it's not actually a burden, i guess, but it's a mission, that is, they are for them this is a mission, a new ukrainian art, as a connection. two such important things are boychukism or the legacy of the avant-garde of the 20s and folk art, and where, where you read these letters, they are published by zalevakh alagorska, yes, yes, yes, they are published, this is a separate book, edited by lyudmila ognyava, alagorska soul of the ukrainian sixties and... i worked in the literary archive in sofia, there are

because she addresses herself in these works. to the avant-garde tradition of the 20s, to the work of petrytskyiery inspiring, and these are absolutely bold, very interesting decisions, scenographic, absolutely innovative, and again, all this remained only in the form of sketches that we present, and separately, we will definitely talk about the mountain range. about her like-minded people, about the choice of identity itself, about the choice, the choice of ukrainianness, about the discovery of ukrainian culture by her, already at a sufficiently mature age, we must remember that she was already in her 30s when she switched to ukrainian, when she learned the language from abedka, because she did not study it at school, and in general she is a person who, let's say... there were no prerequisites for this, because she grew up in such a nomenclature soviet family, her father, he is a high-level soviet official, he headed the yalta film studio, then leningrad, then kyiv, and she too had an absolutely cloudless childhood, studying at an art school, then studying. the institute is the beginning of a v