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Understanding 9/11tv Yurii Lyubimov 1TV April 24, 2024 1:00am-2:01am MSK
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go, who did you bury? an angry, nasty journalist. he started with something, as you can, he received a slap in the face, then my brother defiantly left, i followed him, he said, bring the little one back, and this fool should ask for forgiveness, when was the first time you went to the theater? well, this is what... what was your father like, he was lucky, he graduated from a higher commercial school, well, it is clear that before the revolution he was engaged in commerce, but what, how did he live after the revolution, he was arrested several times, but money , money, not politics, and he is there... how long is he
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they didn’t break him, he didn’t become anything, he was deprived, and so was i, and i was a deprived child, so they didn’t take me anywhere, and i had to go to the federal educational institution, i honestly went to the federal educational institution, studied there for 2 years, but worked as a head, and was it some kind of factory or was it at, no, this was a fzu school. i have a piece of paper, i have the work experience of the person sitting in front of you since i was 14 years old, i have been working for mother russia since i was 14 years old, what is behind it all, a whole era, half a century, how many tears, how many sobs, how many characters, something like that, how many words , how much hope. in his office
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him, so to speak, in a press release, he has the school of the second moscow art theater, he has the moscow art theater members , the cult of personality of stanislavsky, and there is the living konstantin sergeevich, who, who said that an artist must retrain every 5 years, for his beloved stanislavsky was not a cult stanislavsky's personality. and this was a man who changed all the time , there is no stanislavsky system, it’s all stupidity, there is a method of work of a great master, that’s all, and you were still an artist, an artist, that is, you didn’t stage anything, nothing, nothing, no, still good it wasn't, that means i'm coming from theater group, zhenya simonov, youth from ruben nikolaevich. son, there
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was a good eatery there on the arbat, where you could quickly have a glass, snacks, so, well, the arts are inclined, and we go there, and the corner house, this one opposite, here is vakhtangov’s, on the corner there was some kind of... then the hospital, and they already knew in moscow that leonid ilyech was dear to him, where? and he looked in, there lived a lady upstairs, either she was a doctor or a sister, it didn’t matter there , so here we were going and a cheerful leonid ilyich came out from there, which means the lady was very like that smiling, satisfied, and that means i couldn’t find anything better than to kick my leg, i wish you good health, comrade brezhnev, he’s great. well done,
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that means he started shaking me like life, i say, okay, that means he got into the car and waved me out of there, that means, as soon as it went away, that means they are, you know, or something, i say, well of course, but evgeniy simonov stood and waited, and saw this whole picture, yes, well, yes, he reported to dad, and in the evening i played something in
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the house, and somehow i didn’t guess the staging, the staging, but i haven't taken the path yet director, the sheep are hardly walking.
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“we are hard-working, we are looking for benefits in art, think about those spirits that walk there, like at night at the vazila, this, back and forth, there, so you remembered stalin, i saw him when i played some sailor there, stalin , you mean, yes, he was sitting in a box, in the left of the vakhtangov theater, if you look, in the levokhtangov theater." went, yes, well, yes, everyone knows this at the vakhtansky theater, how we had a chief administrator there, i remember that, uh, he was a little paralyzed like that, he kept his head on his side, that’s when he speaks there
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his little window, there are no tickets, everything is sold out, you’re reading, reading, suddenly he heard: “wait, dear, well, let me look at you, maybe you’ll find it,” which means he turned around , dumbfounded, stalin was standing with him, he said, and there was a stirring next to him , it means he wanted to jump up, but he’s a little so uncomfortable,
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and then there’s nothing to say, there were still such democratic times that he walked along the arbat, everything was brilliant, spicy, here it was, ginger, crushed with onions, peppers and mustard, about ginger and much more important and interesting for your health in the program live healthy, tomorrow is on the first, once these people determined the trends of rock pop music, but now they have left russia and divided the performers into their own and others, former music producer, and now foreign agent mikhail kozyrov. there are artists who, as we call it, have ziganed, and there are artists
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who consider it suicide to express their anti-war views. mish, well, you probably need to get better, every night i come back to what could have been done differently. i'm doomed for the rest of the day. theirs to live with it, broken, depressed, absolutely devastated man, i’ve never seen him like this, bedinsky is obsessed with roulette and other gambling games, my income is meager, i actually live on what my friends give me, god, how i feel sorry for him on the one hand, on the other hand , what pathetic guys you are, i’m trying to catch some glimmer of hope that ukraine can win on the battlefield and... i don’t see anything, unfortunately, there are no irreplaceable people, goodbye guys, you’re not relevant, van and lexus show, tomorrow on the first one, sometimes in a carriage, sometimes on horseback, some in a wagon, sometimes in a wagon, sometimes in
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carriage, some in a cart, some in a cart, then on foot, del plague will catch me, del frost will kill me. all this plasticity of a kind person from shizuan, it’s basically from a circus school, but
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in general it was the first production of a loved one, but it was already clear what a director is, a director is generally the ability to take from talented people everything he needs, or rather , he takes everything, squeezes out talented people, and then cuts off what he needs. so it turned out to be a good man from sizuan, and you did a good man back in pike, but how on earth as a coursework even, yes, yes, at first i did 45 minutes to convince them, because brecht was somehow treated, someone before you staged brecht in the russian theater, he seemed to be politically correct brecht, yes yes, to him they even gave me a prize, lenin, or something, yes, i don’t know how...
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the water-carrier, then it will be valera zolotukhin, which means he’s praying to the gods to find a good person, the gods won’t find me, because i keep my eyes open, i ran on purpose to where they went, yesterday they passed over my head, i heard footsteps, i suggest you to where yuri petrovich lyubimov seated you, right next to him. something like this happened, yes, you know that, but what, what do you remember? i
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’ll tell you this, i remember when you come here to taganka, you just get out of the cars in the subway, there’s a crowd of people asking for an extra ticket, you cross this threshold, you find yourself in a completely different world, i would even say that this is not, what this is not freedom, the will carried the feeling of this will, it’s great, yours is great... hey, you’re behind, do as i do, that means don’t
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follow me, the track is only mine, choose your own path, choose your own path, but my beloved was energetic, the second, second performance, we failed miserably, we did not have the energy of normal words, we only had a cry. but then, when people from the former mirkhold theater began to appear and in general a lot was said about mirkhold , it was not for nothing that a portrait of merkhold hung, this is how the eclecticism of 10 days that shocked the world appeared, at first, in general, lyubimov was looking for a form.
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meirkhol for the poor, they talked about lyubimov, what is it that we haven’t seen, they said the elders, for whom lyubimov was a handsome man from the vakhtangov theater, a handsome man from cinema, a man who generally neglected the prospects of his beauty and got into this thicket. the resistance of the material, so to speak, yes, everything, and censorship, and party bodies and the kgb, everything, everything was against him, so, so. so, so, so, so, so, turn here, silence, say, who really from the very first, version of the good man from szechwan ended up in the theater, well, this vasiliev, i took them because he played on the guitar, and khmelnitsky played the accordion.
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and people, as soon as he came to drink, people heard about such a performance in which he will close, quickly go watch, otherwise they will close, the dep corps came, ambassadors and friendship to death with the copyist mean a lot, and even... i once asked him a rather tactless question , tell me, this is what dies in the last person, he was already close to 90, it’s strange, i’m still analyzing it, he
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wasn’t even shocked somehow. so he began to think about what dies last, to reason, then he said, you know, yura, probably professional skills, because when i enter my laboratory, i feel calmer, why? i know everything here, i know what to say to whom, i know what task to entrust him with, and i feel calm, but strangely enough, over the probably 15 years of your acquaintance, you both worked under the leadership of the boss, both he and you, yes, you were in the ensemble,
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which was an nkvd ensemble, nominally under the leadership of beria, and he was in the project. sad day, slush, moscow is all in the rain, in puddles, yuri petrovich is taking me in his a lada car, a good lada car, there were no better ones, turning somewhere on kalinin street, on new arbat, i accidentally
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sprayed a pedestrian , venya said to me right away, as a student: i have noticed this duality many times, i am the driver and i pedestrian, i think like a driver, but what an idiot, why is he walking right next to the sidewalk, why did he let himself get sprayed, and i’m a pedestrian, when they sprayed me, i say, what a bastard this driver is, why aren’t they ashamed of not to see a person, this duality, but this was in our relationship, of course with yuri petrovich.
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that red is a rehearsal, until the last metro, that it goes badly, then retribution is right there, therefore, that is, this red - it was a sentence, a sentence...
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i went out on the tray, leaning against the door frame. lyubimov in relation to vysotsky, it was attraction and repulsion. yevtushenko wrote: “taganka actors have a peculiarity of posture, a peculiarity of destiny: to prove to russia and europe that our theater is not slaves, and the actors are not slaves. you.” the tagan breed, rebels and tomboys, it turns out that lyubimov, as a director, was eager for freedom, as vysotsky was breaking the chains on this
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blessed stage of ours, lead me, lead me to him, i want to see this man, i want to see this man, vysotsky’s brilliant role of the flapper in pugachev, it was, it was the whole taganka theater, to be or not to be , that is the question, is it worthy to endure resignation to the shame of fate, or is it necessary to resist, rebel, arm, the victors will perish, die, and keep their distance, how much to open, how much to close, you have closed a lot, but there has always been a myth that with everything. .. is that andropov is coming to you he treated you well, you had some kind of personal contact with him, that’s why it all happened,
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his kids came, after they were ten years old, to enroll in taganka, straight into taganka, yes, they are in love with the theater, and i auditioned them, that’s it, and i say, no, my children are on...
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atakanka i smile very sincerely, but then we talked to him, how does he think, what do i want to be a director? i say, well, to some extent i am, yes, yes, yes, i understand that, but i would like to tell you that you have no desire, i hope, for us to be hanged from street lamps.
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in your performances, to carry people along with you, well, i can see from here, it’s not necessary, you will stage, you will stage solyony, that i will spend a long time explaining to you why it is not necessary, it is played across the hall without any fourth walls, i am telling you reliable things, and not just three, so what’s the scheme, grishin, who couldn’t stand me, it means, writes dobich, demichev to suslov, suslov to dear leonid ilichuv. and he poses the question: should the theater be closed? to deprive him of
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the opportunity to work, it’s me, that means leonid ilych is leading, dear, everyone is saying, they agree, oh so, well, everyone agreed, the three whales agreed, and great, but what did they understand about this, yes, yes, that means, suddenly leanit ilich says, you know, i... i have to go away for a little urgently now, you solve the question, and then i will make a final summary, yes, that means he was gone for half an hour, this is a reliable thing, because his assistant told me everything, dear leonid ilyevich, he went out, took a nap for a little half an hour, came back and said, and
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i in general, i can’t stand going into offices and signing any letters, in general the collective consciousness will come to me, but then i went because of my beloved, and i remember. i called lapin to film lyubimov’s performances that were disappearing, and as lapin shouted at me, he’s anti-soviet, so that i, and slammed the phone down, i called chernenko, and chernenko said on the phone, i don’t deal with these issues, although he probably already understood that he would be in charge, and
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we all went through a very long journey together, but in total i was kicked out three times or even four. kaz it’s all over, i enter the morning in the office, someone is sitting next to me drinking beer, i say, why are you in someone else’s office, and i, uh, that’s it, i’m finished with you, i understand why you’re coming, that’s it, i say, first of all, be kind, get out of here, and what year
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was this? this is when it means, and i’m tartyu, tartyu, i released a bolère, yes, yes, that means now i ’ll run, i say, run, run, now it’s just beer and from here to there, i ran to the district committee, he, i say, run, run, well, but they detained him there, he didn’t come running back. what am i, and i went to rehearse, well, in my face look, we’re surprised, why can’t you sit calmly on your hip, but now it’s hard for me to run out, train you, okay, look, lyubimov was expelled in 83, actually in december, then from january onwards there were worries.
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we had all the secret services, you know, the secret desire to destroy taganka altogether, to deprive our loved one of citizenship, we went towards this. months shy soviet authorities, they needed someone who would head the theater and thereby deprive taganka of the name of its beloved, unfortunately for the great director and for yours friend and for my favorite anatoly vasilyevich efros, he was either forced or persuaded to agree, he asked efros to stage some kind of play instead of him, efras took the cherry orchard. lyubimov, then he took three sisters and gave me masha, and i played ranevskaya in the cherry orchard, that is, the two main roles are so chekhovian, and in masha he
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also made me scream goodbye to vershinin, just like i screamed in ronevskaya, when i was saying goodbye to the theater, these walls, goodbye, goodbye, that is, it hit him. lyubimov in exile in the year eighty-seven, on january 13 , anatoly vasilyevich efrosina passed away and after that, what to do next with taganka, and already, and already gorbachev, it’s already a new time, and kolya gubenko, a wonderful director and actor, unfortunately he...
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for two years with my wife, fortunately with a child, with a little one, but it’s not easy to survive there, i don’t know the collective farm system there, and the country of the soviets too, life there is tough.
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and a few people, because we were afraid of this agitation, but nevertheless there was already a crowd there, italian television, and he sat down into gubenko’s car, he drove off, and we guarded him with cars around him, but in general, he began to restore the good man and sizuan and vysotsky and worked in a very friendly manner. for the theater to work normally, without nerves, essentially, respectfully, there would be a respectful relationship, i have with you, they can only be on one thing: if you don’t agree, show him, he’s such a powerful person, but still, already with age
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, the energy is getting a little low , and these young brutes are like, yes, they just used this, but i’m not even talking about those the actions that they allowed themselves there, you know the artists. there is unbridled, this is natural, yuri petrovich, because this theater was created at your will, and suppose some studio came - a television studio, to make
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a film about it, and the morning rehearsals, we are tired, we play every day, we rehearse every day from 10 to three, and so on , tired actors sit, we seem to lower our eyes. but they say, well, they are filming it, on the screen it turned out to be an energetic director who in the morning says something very interesting, they sit... boring actors, half-asleep, then, it means he also has this manner, so sometimes suddenly some kind of stories begin, that is, he himself seems to be a little dissolute, scatters there, yes, well, in general, they are like pigs, they just sit down, in general, they sat on the neck in the end, you love everything fake and fake, and don’t appreciate the real thing, i’m leaving, leaving,
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most treacherous act of that group, this is a mortal wound, inflicted, but we don’t understand this, it’s such a wound that didn’t survive, hit in the back, so... i was always waiting for a blow, in fact, a person who is accustomed to a blow, but it was quietly in the back, when he opened the third seal, i heard the third animal saying, now if we... are talking about some apocalyptic things, i’m
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just lucky, because this is a man of such caliber, there are simply no such people now, i think that this is the best we have, mr. martynov, a very gifted person, the apocalypse is it 's, well, biblical, it's a brilliant thing, new. he says, now, let ’s do the apocalypse, now , let’s do it now, that means, let’s do it in the karamazovs, i really didn’t want to do it there, but for the sake of the apocalypse, that means, we did the first performance with him, then it went it’s gone, that means there’s a performance every year, and sometimes two performances, yes, but time has passed, and he very... used to have a good sense of the rhythms
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of time, but living abroad and staging performances there, he apparently missed something, something, what happens in russia when i first came to him somewhere in the year ninety-seven, there were these ambassadors there, well, whoever was there, then it all somehow fades away, no, no, no, he doesn’t come, you see in my age to offer yourself... it’s immodest, it’s the same as what a woman over 60 would offer herself, well, it’s somehow inconvenient, she must understand that no one will buy, well, it’s impossible , dear, that we offer everything, why should i offer that they don’t know to me, that well , just if you want something, oh, well, you never know, it’s like volodya’s, but i don’t really care i want to, but why, her legs are different and she lives, so what conditions do you see for
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you to return? i’ll tell you, it’s very difficult to meet those people, just like that, to come and start working, it’s strange, in any case, people should apologize, well, it was such a half-apology, but there are a lot of people there that i just don’t want to meet. they got me a job, otherwise they are afraid that i will be unemployed, all slaves in slavery are equal, complete obedience, complete impersonality, laziness, gossip, denunciation, one or two generations depravity must be unheard of, vile, when a person turns into
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a disgusting, cowardly, cruel, selfish, scum, i look at... yeah, all the familiar faces, as if everyone from there came to the premiere at the vakhtangov theater, well, not alone, not two, just such a massive visit, well then, after all, when the theater was ruined, there are still facts, that... the management closed the taganka, you won’t go anywhere, well , it’s true, but good,
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the end of any theater is transition into a legend; in the history of theater in general, a legend is true. today, so as not to teach you today and return to the question that i asked at the very beginning: what does a person feel who was born before the october revolution, who in a few years will turn 100 years old, and who is full of plans, has every reason
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to continue his creative work ? activity, you yourself are surprised, well, i’m a little surprised that i, first of all... i’m happy that i woke up, it’s already good, it’s already good, then my head seems to be working, i mean, well, great talent is an order from god, that’s why you great talent god gave you a big commission, that’s why he is protecting you, because you probably have an order from him, but this needs to be done, how can i tell you, seriously?
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i owe it all to the lord for my recovery, but we ’ll talk about this in detail, but wait, guys, we won’t torment yuri petrovich any more today, because we’ve been working for 2-2 hours, so i have to say, thank you, i...
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a man who did for his viewers something that few others have achieved, he gave them a very clear and tough sense of the present, real artistry and how it directly interacts with your life.
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hello, dear friends, this is the life of the remarkable podcast, i’m with you, its leading writer alexey varlamov, and in my studio is the rector of the shchukin theater institute evgeny vladimirovich knyazev, people’s artist. and theater historian, rector of the shchepkin higher theater school boris nikolaevich lyubimov. the reason for our meeting was the anniversary of boris vasilyevich shchukin, who turns 130 this year. boris nikolaevich, what can you say about this? a wonderful actor, that’s how he is remembered in the history of russian theater and russian cinema. this is a very difficult question. for many reasons, in general, when you talk about actors, when you give lectures, say, on the history of theater, as opposed to history and
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literature, you know this very well, you can’t take a book off the shelf, no, especially if we talk about theaters, there is no living role that you can show today, for decades there are no people who have ever seen machalov, shchepkin, sadovskys and so on live, here you go, chyukin, whom we can see live, yes, a photograph, but he will not come out of here, this is the most difficult thing, it seems that he died in 1939, it seems that this was just recently, a historically very short period, but the people who saw him live , practically no longer exists, on the other hand, this is a time that seems distant and yet close, this is the time of our grandfathers.
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together with them, at some point, probably starting with the role of yegor bolychev, he simply went up sharply, he was on the first list of those awarded the title of people's artist of the ussr, he received the stalin prize posthumously, he fit everything into these 15-20 years of his creative life, which could be said, judging by what i read and what those who saw him told me about and well.. on the one hand, it combined what was so characteristic of the first generation of vaktang, and not only the first
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generation, this wonderful theatricality inherited from vaktang, grotesque, irony, sarcasm, those roles that, well, starting there, for example, with the role of tortali in princess torandot in this legendary performance, he was busy, but at the same time, very often... the philosophy of turandot is reduced, as it were, to such a skittish stupid playfulness, which was present in it, but behind which stood the powerful philosophical worldview of zavadsky, twenty-second year, the civil war had just ended or was ending, there was no family in which so to speak, there were no killed, wounded, arrested, deported, with whom ties were severed, so... yes, this is irony, a joke, a practical joke, fun that conquers death, devastation, despair, and so on and so forth,
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this is the line , which was and which... is not can play episodic roles, if he is on stage, he should be the first, yegor boluchev, lenin, yes, the main one, he cannot be, secondary to the stage, he seems to overshadow this, maybe there was some kind of jealousy behind this actors of his generation. you suddenly saw how one of them jerked so high and deep, and this combination of a person immersed in almost such an early moscow art theater naturalism, at the same time with amazing playfulness, gaiety, sarcasm, irony and so on, this, it seems to me, is the best what was in oktalkovsky theater in the twenties, thirties, evgeniy
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vladimirovich, that’s what you think, students who, applicants who enter... your institute, who dream of studying there, they know well the person whose name the institute bears, of course, who is boris vasily shukin, they don’t know, little has been written about this man and little is known, except for those photographs that we showed, and probably also a photograph of vladimir ilyevich lenin, which he played, will appear, and that’s all, i began to look for which someday video recordings to find shchukin. except for a tiny fraction of a second when he plays tartaglia, when he says one phrase in yegor baluchev, there is no video footage, nothing at all to show, the name of boris vasilyevich shukin is alive today only due to the fact that after his death he will be a laureate of the stalin prize,
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people's artist of the soviet union, when he untimely... passed away, his name was assigned to our institute, you see, here, here is shukin, shukin, shukin, chukin, now we can name you a huge galaxy of artists, twenties, thirties, which were brilliant in their acting manifestations, which we forgot about when we talk about vakhtangov, for example, vodova nadezhda mikhailovna wondered why the name vakhta... in the sixties, why does it sound so bright, and the answer was found from his grandson, when we opened the monument in 2014, he said, i now understand why the name vakhtangov rings, because it comes from his students, and the name shchukin also rings today from his
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students, from the fact that we study in shchukinsky school. and the rest, those conjectures, there is no one to ask, the books have not been written, nothing has been written, i can say that this actor is of unusually tragic talent, he did not play king lear, he did not even play the mayor, because on the eve of the premiere he died, and was preparing take this role very seriously, the only role that remains in the history of the theater is his...
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remained in history, the man is unusually talented, because he is so frantic and so brilliant to play on the one hand tartaglia, on the other hand buluchev, this must be had talent, such a crazy range, in general shchyukin is a supporter of the moscow art theater, but how did it happen then that he ended up in the vakhtangov theater, he did not get into the theater, the vakhtangov theater did not exist then, but there was only the third studio of the moscow art theater.
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according to the table of ranks, he did not occupy a high social position, he was a big theatergoer, it was he who taught him to go to the theaters, a huge search. kochalov, can you imagine what kochalov was like in the twenties and thirties, that was all, and he went to see kachalov, this boy who wandered around moscow came to work in a koshira,
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and he could not take root there, because it was already cramped for him, because he lacked the cultural environment in which he immersed himself, he missed these theaters, well, what kind of amateur theater is this in kashira, where he also played. people who brought stanislavsky's system to life, when he showed up at vakhtangov's studio, vakhtangov was not at the show, it was the studio members who accepted shchyukin, and vakhtangov treated shchyukin, well, he saw, he saw
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, well, a man came, well, he said, well, show what you are you can, and he sat out, he proved, he has it there hand written that he saw vakhtangov’s talent, he is a detailed person, he is very... when he came somewhere, he wrote everything down, he had a wonderful family, tatyana, he was such a modest person, this is his story falling in love with shukhmina, this is his wife, later shukhmina, shchyukina, when they had, well , a slightly higher social status, and he came, he didn’t even admit his love, she was the one who determined that he was into her in love, it's her. brought him, he was a very modest person, extraordinary, here they are they lived their whole lives like this, they had egor, this wonderful son, and he writes to him that he shouldn’t deceive adults, he shouldn’t
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go out on the street, he writes him a whole sheet of paper, how he should behave, that he shouldn’t enjoy benefits, those who use it, here he is to his son, he was an amazing person, we continue, this is the podcast life of the remarkable, i am with you, its host, writer alexey varlamov, my guest is the rector of the shchukin theater institute evgeniy vladimirovich knyazev, and the rector of the higher theater school named after shchepkin, boris nikolaevich lyubimov. boris nikolaevich, how did it happen that this modest young man, who was even embarrassed to confess his love, became such a superstar of soviet cinema. it was he who was entrusted with playing the role of lenin, it’s not a joke to play lenin, it’s not a joke at all, because in general, well , imagine, this is lenin in october, lenin in 1918, this is the basis.
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