some components into atoms, my then... misunderstanding. 1995 dmitry bozin, leading actor of the roman viktyukr who... thinks in a historically interesting way, the magical structure that i saw in the maids in m ​​buttery was desirable to me from within, i was constantly looking for opportunities in gitis to encounter poetic and magical theater. portraits of dmitry bozin today decorate the corridors, staircases and faye of the theater; ladies from eighteen and older eat. strawberries with sparkling wine underneath at all times tuned in to the powerful energy of the upcoming action, some gloatingly called it a highly artistic striptease, others a striptease of human souls, they whispered on the sidelines why did viktyuk choose the father of a large family, dmitry bozin , as his favorite? i was able to dive very deeply into the improvisational flow, and viktyuk was then improvising. i was very interested in him, who at some stage was considered simply totalitarian, from the turn of his head to the movement of his finger, everything was choreographed by him, then suddenly he was our entire team s

administrative whirlwind, well, in about the same way i was offered to become the director... of roman viktyuk’sys for me, and we were like would be friends, would be are quite close, in his theater there was such a situation that it was necessary to replace the director, and i was offered to become the director of roman viktyuk’s theater, but the director is not even an artistic director, and not the main one, well, it was impossible for viktyuk to become an artistic director, in principle this this is absolutely administrative work, there are papers, government procurement, i don’t know what else is there. a person who draws up these contracts himself, that is, you became on the other side of the barricades, did you realize this, no, to be honest, i didn’t realize any minutes, i was just so interested in it, and there was a feeling like, well, i can do it, it’s great, i can’t do it, no big deal, by the way, i had the same thing, i understood perfectly well that i was not a personnel official, and if i didn’t turn out to be a rector , well, it didn’t work out, of course, he wasn’t there before,

in 1996 it became roman's home viktyuk, or rather, his theater. nged jackets all the time, what’s more , he brought a lot to the theater, he had such a quantity of them, they did not fall out of his apartment, there is such a completely real story when viktyuk, without having his own theater , went. in all cities and placed everywhere where only they offered him and where he only knew how to ask for it, he staged many performances at the same time, and he did this, he finished the rehearsal, took off his jacket, hung it up, said: guys, you finish the rehearsal, and i’ll come soon, turned and ran to the station, he flew away or left, and this jacket remained hanging, a week later viktyuk came and said: well, you have rehearsed, let’s continue, the star of the viktyuk theater lyudmila pogorelova in this memorial office is ideal for the role of the viktyuk guide. she met back in 1986, at the ukrainian russian drama theater, where the fashionable moscow director viktyuk came to stage a play, as a result pogorely played in all three of his kiev producti

the last birthday that roman viktyuk celebrated with. with his troupe in his theater, on the occasionthe royal hunt at the theater named after. council margarta borisovna played the bookish tarakanova, her photograph together with the director was included in the recently published album, which anna dedicated to her mother. i thought about this album a long time ago, because we had a lot of photographs of my mother lying in drawers at home, and i wanted my mother’s beautiful face, her face somehow to turn into some beautiful album like this, so that it would be in someone’s house, so that it would be here, i’m happy that i gave this theater, well, roman grigorievich personally couldn’t give it to him, my mother, glory god, she was able to take... in her hands, although, well, she didn’t tell me anything, she doesn’t speak anymore, but from everything in her eyes, i realized that she also thanks me and is happy, at the age of 12, anya she herself became an actress in a television play by roman viktyuk based on the play by mikhail roshchin, girl, where do you live, i already knew grigor

well, in about the same way, i was offered to become the director of roman viktyuk’s theater, because fact that this is like a new role, from the fact that this is a life role, a life role, it’s so funny, well, kind of ridiculous, in my everything actress, if anything you were not easy. it’s okay, by the way, i had the same thing, i understood perfectly well that i was not a personnel official, and if i didn’t turn out to be a rector, well, well, it didn’t work out, of course, he wasn’t there before either as a vice-rector or as a head of the department. , yes, he just became, well , he became, it turned out, it turned out, that is, he you have a similar story, an absolutely similar story, yes, if you are how many, i’ve been working as a director for 11 years, a little older, that’s how i became the director of the roman viktyuk theater, you have your own office there, a secretary, no, i never have secretaries did not have. i have an office at the taganka theater, but it’s absolutely not a secretary, not a secretary, i don’t know how to try very hard, you know, not to turn into a mana

filipenko, zhdanov, yuri vasilyevich, prokofieva, and i shistakovich, and staged it all legendary roman viktyuks, we could whisper, as yuri vasilyevich did, but mikhail sanovich always spoke very loudly, this is his temperament, there is a quality of temperament, so maybe up to... i don’t know how the director didn’t die at that meeting from a broken heart, because everyone is on hand only mikhail sanovich, what a big bastard, he... says, wait, wait, wait, well, don’t be so rabid, maybe the director’s language is also incomprehensible to me, but i see how great they work my young colleagues, masha aronova, seryozha makovetsky, volodya simonov, maxim sukhanov, yulia rudberg, how can i say that this performance should not be in the theater, but... i tell him, mikhail sanich, let’s do it, well how? i say, i’ll make an agreement with the director, i’ll find a director for you, let me, well, seryoga, well, i agreed with the director, mikhail sach, everything is fine, he liked it, do this performance, suddenly he says: how dare i, so many people for... the manager brings out a telegram that he signed

i’m not going to share roman viktyuk’s pie and i don’t think that even one tenth does not belong to me invited me quite persistently and persuaded me to work with lalita, because you understand that such a valita, it’s so easy to do , without this performance for me, let’s say, even some kind of milestone in my life. maybe after lalita i began to undress my artists , olya, que coisa mais linda, mais cheia de graça, ela menina que vem, que passa, num doce balanço o caminho do mar, moça do corpo dourado do sol de panema, seu balançado é mais que um poema. é a coisa mais linda que eu já vi passar, ah por que estou tão sozinho, ah porque tudo é tão triste, ah beleza que existe galisnar? and nudity - these are two different things, if we understand that our body is capable of not being ridiculed, because i undress harmonious people, why should we hide our breasts, why should we hide our neck, thigh? i don’t know, but all the ancient gods were half naked. and that was the beauty. i often turn very much, so to speak, to the legends and myths of ancient greece. i am very happy that i worked wi

people started talking about roman grigoryevich viktyuk in moscow, as the main center of the rich theatricalcateur, much like konstantin bogomolov is now. absolute authorities broadcast their delight about viktyuk. valentina talyzina, leonid markov, margarita terekhova, gennady bortnikov, tatyana doronina, konstantin raikin, irina miroshnichenko, galina volchik, valentin gavt, marina niyolova. in 1991, following the expressively plastic and scandalous... maids, the theater world exploded with cries of sensation, watching roman grigorievich's em butterfly with counter-tenor eric kurmangaliev 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