stepan trofimovich is here, as it were, in the shadows, but the trigger is in the very verkhovensky pyotrnovich, it seems to me that he manifests himself with this trigger, because this dislike and dispute with his father give rise to this number of demons in him, to which he it’s already interesting anton, that is, stepan trofimovich verkhovensky - this is such a liberal of the forties. who is still obsessed with the fact that the government is looking for him, watching him, looking for him, he’s kind of like an oppositionist, in fact , he is an absolutely unsuccessful person who is not even capable of loving his son, treating him like a human being, he is focused on his figure, but his figure is absolutely empty, he cultivates all this and spreads it to the country , already on the people, trying to subjugate them with his own plan and somehow. and this is the thing i want to say is extremely important, you know, there is such a generally accepted formulation for actors, holy, do not play the text, of course, we are taking the bride in order to separate her one braid into two, and now i

of demons to which he is already, how interesting it is, and how new it is, anton, that is , stepan trofimovicheral of the forties, who is still obsessed with the fact that the government is looking for him, watching him, seeking him out, he is like an oppositionist, in fact he is an absolutely unsuccessful person who is not even capable of loving his son or treating him humanly speaking, he is focused on his figure, and his figure is absolutely empty. don’t play the text with dostoevsky’s text, it’s incredible, and how we fought it, and how we fought it, how we searched for this one, there’s no sun behind the houses anymore, it’s very difficult, because it puts pressure on you, i say, it puts pressure on you , and if you don’t curb it, you, as a performer, simply dissolve, because when you start teaching it, and then you start playing it, i’ll say a strange thing now, but to my physiological even, but change places at this moment, uh-huh, and the soul turns inside out, and all your sins hang there, and they wave their legs like this, there is contact, the results of the year with... with vladi

probably, his father, by the way, wants to rule, i suddenly thought, yes, the elder stepan trophy, stepan trofimovich... you know, there is such a generally accepted formulation, for actors, it’s holy, not to play the text, of course, it’s not even entirely clear to a simple viewer, but for actors it’s understandable, in no case is it a grotto, imagine , how it’s difficult to work with dostoevsky’s text , not to play the text, i can say, it’s incredible , and how we fought with it, and how we dealt with it, how we looked for this mono, the suns behind the houses, you know, it’s very difficult, because it it puts pressure on you, it dominates you, and if you don’t curb it, you as a performer simply dissolve, because when you start teaching it, and then you start playing it, i’ll say a strange thing now, but even physiologically, my insides change in some places at this moment, yeah, but the soul turns inside out, and all your sins are hanging there, and waving their legs like this, well, we continue, i... i know that we are talking today about dostoevsky, about the novel demons, my guest today is the

rise to this number of demons in him, to which he already how interesting and how new anton , stepan trofimovichovernment is looking for him, watching him, seeking him out, he is like an oppositionist, in fact, he is an absolutely unsuccessful person who is not even capable of loving son, treat him like a human being, he is focused on his figure, but his figure is absolutely empty, and petru stepanovich cultivates all this and spreads it to the country, already to the people, trying to subjugate ... him to himself with his own plan and what kind of - this is a complex and this is what i want to say, it’s extremely important, you know, there is such a generally accepted formulation for actors: it’s sacred not to play textually, just for the viewer, even this is not entirely clear, but for actors it’s understandable in no case is it a grotto, can you imagine how it’s difficult to work with dostoevsky’s text without playing the text, i can say incredibly and how we struggled with it. how we were looking for this monoloshka behind the houses, it’s very difficult , because he puts pressure, he, i say