adults, you can’t go outside, he writes a whole sheet for him, how he should behave, that he shouldn’t enjoy the benefits of those who do, here he is for his son, he was an amazing person, we continue, this is the podcast life of the wonderful, with you i, its host, writer alexey varlamov, my guest is the rector of the theater institute:

on the side, they say, it was some kind of, well , you can’t tell, and he leads him to another effect of an exploding bomb, the appearance of lenin, when they started filming this film , then they invited him, but they gave such deadlines short. that they were filming around the clock, and

shchukin was also forced to play the repertoire that he had, it was all like that, and responsibility, that’s what we’re talking about, and he writes in these books, and what if it doesn’t work out, let’s see what it turned out, a fragment from the film lenin in october: have you seen lenin, write what he is like, they didn’t bet on copper, they said, here he is... red-haired and with a sideways eye, but we think that he is an independent man, strict, i enormous growth, what can you do, what can you do? it’s written, let’s go to bed, yes, yes, to disappear, in fact, i had a feeling now, when i watched this film, that this was some kind of fig in my pocket, that this was some kind of joke, that lenin looked there, well, so funny, that’s how he is like all these jokes.

he should have been perceived by most of the spectators exactly as the most humane of people, well, before iosifanovich stalin, so to speak, between them.

major actors, but the role of stalin there was not very good, i think that maybe the hero of your, so to speak, book, mikhail ivanovich bulgakov i hadn’t found it yet when i wrote it. with a number from a man with a gun. stalin watched stalin come out. yes, it seems to me that this is very important here, like the question of why he came to this role, after all, from his generation of vaktang members, he, of course,

stood out for the role of yegor boluchev, maybe that’s also why it coincided with him so much, that after all, he was apparently not a very healthy person. and even at the age of 40, as those who saw him say that this topic of death, in general, he also studied quite early in his death, he is already, so to speak, not an old man there ancient, she already lived in him, this feeling, so to speak, of ill health and , moreover, of power, he played in baluchev in such a way that he really defeated the play, which nimirovich danchenko later staged and less successfully than... the vaktangovsky performance theater and he immediately became the first artist of the vaktang theater, then a man with a gun, then these two films and an absolutely untimely, of course, death, i want to say again, at 40 at the peak of glory, absolute,

then, so to speak, it’s even difficult to imagine how he could develop and in general, but in general, this illness of his, it will acquire... it’s just like this, either bring a log to light the stove, or something else, and ishchukin worked during the day, came there at night, and that’s only later, and already , when he no longer had the strength, when he was young, he did not have the strength to return, he began to live in

this studio in some kind of closet, which was unheated, cold, and he was already there, because he had nowhere to go, and he was his own. .. i complained to my comrades that i didn’t feel well, i didn’t feel well, his comrades, they even called him a malingerer, they all the time thought that he was slandering himself in order to do something like that and couldn’t particularly complain, he was always feeling some kind of malaise, he was pinching himself all the time, well, there were no such clinics where to come, you will check all this, that is, the heart has already given itself. and it’s still unknown what will come of it, so the result is that he fell asleep and didn’t wake up, what a short

life did he live? before his death, he read the paradox about the actor in the way it is, it was he who opened this book, the paradox about the actor, he did this, he lived only in the theater, he had no other life. all his correspondence is only about the theater, only empathy that here he is, he walked and thought about how he could play the mayor, because he was preparing it, the premiere was about to take place, he had something going on was not found and something like that was found, he walked around, looked for speech, he looked for a manner of speaking, he invented it for himself, yes, we continue, this is a podcast, the life of the wonderful, i am with you, its leading writer alexey varlamov, my guest is the rector theatrical institute named after shchukin, evgeny vladimirovich knyazev and rector of the higher theater school named after shchepkin boris nikolaevich lyubimov. i would like to take this opportunity,

evgeny vladimirovich, to talk a little about you, about your work, about the vakhtango theater today, you know me, so i understand that you have played a lot of work in cinema, in the theater, probably a separate podcast could be dedicated to this, but still, here’s what... i personally am very interested, i’m very interested in zoyka’s apartment, because zoyka’s apartment - it was bulgakov’s play, which was performed immediately after the success of the turbyan days at the mkhatovsky theater, and was performed at the vakhtangovoikino theater.

of this performance, he’s such a big boris nikolaevich doesn’t think so, but you don’t know, but i’m really imposing my opinion, what will you say, yes, that a great success is beyond any doubt, there ’s no need to even argue here, to the performance, to in the work of evgeniy vladimirovich, i think that this is one of one of the guarantees of this, so to speak, such a one hundred percent fit into the image of the old prince, and i have more to the performances reserved. relationship, to be honest, well, nevertheless, what right do i

have to disagree with the audience, with the opinion of some of the critics, and so on, and i, as a participant in this performance, i cannot talk about the performance itself, but in this performance contains something that forces the audience to become embedded in the fabric of this performance. firstly in tolstoy, then in myself, i myself love to watch my colleagues behind the scenes, how they play, how they change from performance to performance, and the most amazing thing for me is that that the performance ends at 12:00 at night, by this time not a single person, well, maybe someone, no matter how there is such a performance from which people do not leave, does not leave completely for. and until the applause ends, not a single person comes out, and i

understand that this performance made some indelible impression on the viewer, it left a mark for many years, of the three performances that you listed, i am the most i absolutely loved the queen of spades staged by fomenko, even then he was still a pissant, he wrote about this performance, and i would talk about these three look, yes...

where there will be works by pushkin to the music of tchaikovsky, you can read something from anegin or from the queen of spades, that’s what he has a work for, i thought, let me try a chapter from some kind of queen of spades... some piece, they’re great, they recruited liza for singing, german for

dancing, well, in general, they collected all the genres associated with the queen of spades and... and there i tried to read for the first time without playing the queen of spades, and it seemed to me that it was a good idea , what could it be, then i decided to learn, already learn everything work, now i play with great pleasure, and it is in great demand today, oddly enough, it turns out, because now there are also many people who are trying to beat fate, yes... and pushkin wrote a case, a fairy tale, an anecdote, an anecdote about three cards had a strong effect on the imagination, it seems to me that today we remembered boris vasilyevich kyukin very well, we talked about your work, this is completely unnecessary, let’s talk a little more about shchukin or about the school, our school too, maybe

whether potential applicants are looking at us, every person is born with a thirst for creativity. come, we live much easier, today, no one is hungry, no one suffers, well, maybe not everyone there eats some pickles, but there are no hungry people, compared to the same twenties, thirties , when people had to survive , when he was a very rich man, because he had two coats, uh-huh, demo-season

and winter, and they all wore one, so if you don’t have... there were doubles, triples, other theaters, we split in two, got upset, we never did anything in all these long years when our theater was divided, when we tried to stick to one

school, even when a very famous artist came to etush and said that i want to teach you, he said: great, come work for us , but only i would like to change the school, he said: “oh, no, you will work with us according to the school that we used, which we received from the hands of vakhtangov and which was developed by boris evgenievich zakhava. and we keep this school, we keep , we try at least as much as possible, because easy to destroy, difficult to create. boris nikolaevich, what would you say? i would certainly say and say when. "comes, think about it, do you need it, if you are ready, even with great talent, today you will have a hamlet, and tomorrow you will have a second gravedigger, are you ready to play not a hamlet , the second gravedigger, if you are ready, then yes, you can then, so to speak, for the rest of your life, associate yourself with

the scenes, with the theater, with intrigues, with the fact that you will not have for some time... roles for some time there will be less money than your neighbor in the dressing room, roles in cinema and so on, if you adore this smell of the scenes, then so to speak, yes, if you are ready at some point, if life doesn’t work out at all, if you find something a second profession within the theater, but i will be anyone, but only in the theater, then it makes sense to do it, i also want to say that there is no jealousy here and in relation to the studiemkhaty school and the shchukin school, everyone will find their way in gits and anywhere . yes, we also try to preserve, so to say, our traditions, developing them, and to live in these small but differently existing

groups, a kind of unity, with our own problems and, but, but here we stand and hold on, and we have been holding on in our school for more than 200 years , we are in this sense, and this year we have that... 10 years, also a lot, very, of course, of course, and 130 years of boris vasilyevich shchukin, we have such a double anniversary, so we are, as it were, also in this anniversary, it was not easy for us to survive all these difficult years, but but it is possible, and this profession, if, as kruchenina said in guilty without guilt, how do you feel about the acting profession? is it art or craft? what it is? so rarely our profession and performances become art, but when this happens, you are ready

to give everything for this, probably, because you succeeded, and so, while there, if there are performances, usually you are some kind of translator between lermontov and the auditorium, you are there, but suddenly it happens that... this is when the audience, like who i said when - regardless of class, social status, financial situation, nothing, when suddenly the same artists are the same, and you influence them, suddenly they begin to live with the same breath, with the same feelings, then, probably, this is art, thank you very much for this conversation, this would be a podcast life of the remarkable, our guests were two rectors, two wonderful theater people, evgeny vladimirovich knyazev, people's artist of russia, rector

of the shchukin theater institute, which we talked about today, and boris theaters nikolaevich lyubimov, rector of the shchepkin higher theater school. and we were also interviewed by the rector of the literary institute. yes, there are three of us. we figured out the rectors here, thank you, i’m pilot-cosmonaut anton shkaperov, this is a space stories podcast, and today my guest is a wonderful person, a space architect, designer, artist, engineer.

i applied to the architectural institute to enter there, passed the exams, i passed the drawing and drawing exams at this architectural institute, the rest from i had everything, there was a silver medal and other items. i didn’t have to show my skills, i got a four from the drawing, they drew a vase from the drawing, and i

got a c, but as a result i got into the institute, because half of the applicants didn’t pass at all, because they had bad grades, i went to the institute in the first group, there were teachers, at first we had lisenko, lisenko and another teacher. and the first three groups we learned to draw in architectural terms in the first years of the institute, in the third year we were taken teachers, wonderful teachers, yuri nikolaevich shevdyaev and mikhailovich olenev. mikhail veodrovich olenev, it’s true, was a wonderful artist, and yuri nikolaevichyaev was an architect. and he, just, he was a student of the famous architect zheltovsky, in moscow, one of the most famous architects is zheltovsky. here

- just after the death of zheltovsky, yuri nikolaevich taught for another 40 years in his workshop, zheltovsky’s workshop, and yuri nikolaevich at the first lesson of our group, the first group, told us that our task architectural, so to speak, teachers, these are mikhail fetrovich aleneva and yuri nikolaevich shurdyaeva, it was to show us taste, and that was the main thing, they... they didn’t teach us how to do it, how to instill taste, but they simply drew something that they considered talented, they were both talented people, in our fourth year mikhail fetrovich olenev died, and of course, we were very sorry, and yuri nikolaevich taught at zheltovsky’s workshop for another 40 years, since i entered this institute, this

workshop, then ... it was very good attitude towards us, there were five girls in total in the group, the remaining 20 people were men, and of these five girls, only one of them accepted me for a diploma, yuri nikolaevich shverdev accepted for a diploma, i had all a’s in architecture, a small residential building, then from a large flower shop i got an a and i graduated from college, where did you end up, what did you do after college? from the institute i was sent to work in kuibyshev, now samara, then it was kuibozhev, i worked there for 10 months, the task was to deprive buildings that were in kuibyshev, in samara, to deprive them of decorative elements, that’s all i needed, i was engaged in depriving these houses, sculptures and... stucco fashion

has changed, that’s what i was doing and it was such a hobby at that time to deprive houses, sculptures and stucco moldings, quite famous people studied with you at the institute, your classmates, danelia, he turned into this, we have a photograph, this is where you and him are, yes, i was a skier, danelia was also a skier, here we are with him, you’re just a skier on at some competitions? the next year i studied at the architectural institute for 6 years and my friend yuri pavlovich balashov studied for 6 years; he was ill a year later than

me. graduated from the faculty of physics and technology at moscow state university, he studied at this institute, he graduated from this institute the next year and came with me, we were friends when we studied at a ten-year school in dmitrov, and he came to to me, when i worked for 10 months in kuiboshev, he came to me, one might say that he was after me, he and i in general we were friends at school, i came to marry you, yeah, in kuiboshev we signed, became husband and wife, and i asked the head of the hypro aviation industry where i worked then, i asked to return to moscow, to moscow to my husband, to yuri pavlovich balashev, he already worked in the city of korolev, in the space field, head... to moscow, he already

worked at the korolev company, and what he did there, he worked on descent vehicles, he was engaged in calculating the thickness of the descent vehicles, thermal protection, and the result is a thermal protective layer , heat-protective layer, 20 cm, in my opinion, there was a heat-protective layer. here is the descent module of the soyuz spacecraft, here we see a dark outline, just this thickness that saves us astronauts when we return from space to earth, yes, yes, yes, he worked there, and i went to work at hyprotis, i lived in lobnya, every day i went to work in losinka, there

was a hepratist there, but... six months later i was laid off, because from the ministry in moscow, that means they laid off people who needed to be placed somewhere, us from this geprotis was cleaned out. young scientists, architects, i worked there for less than six months, i then found myself in space, i had to look for a job in korolev, in korolev my husband talked at his place, at the enterprise where he worked, he got me a job in this, in the same enterprise where they worked with...

in the city of korolevo there was a city park, which means i worked, already me, yuri pavlovich, so my husband had already agreed that i ended up working in the department of the chief architect at this plant , which, which was at the same time city, this and the city plant were considered to belong to this cosmic city, a cosmic architectural city, and there i... worked for several years, the chief architect was kazansky, the last name was kazansky, he was a good man, but he was not, was not an architect according to by education, he was not, i was the only one who was an architect by education, so with the help of yuri pavlovich i came

to the city of korolev, there near the city we rented a private apartment from a woman, and i worked, there was a department of the chief architect and chief technologist, chief there were also a few key workers, but they were at the plant, they didn’t work on ships, they worked at their place of work, but how did you start working on ships, and that’s how i started working on ships, sergei pavlovich was working on ships then, as the general designer, he was yes as general. the chief instructor was in the department, he had a feaktist, a fiaktist cosmonaut, it was already like inside the enterprise, there was a spacecraft enterprise, where workers worked, well, who designed

they created spacecraft and ships, in the beginning they were vostok, voskhod, and then modern ones, they designed voskhod, it was korolev, korolev had them. people made descent vehicles, ascended into the sky on these descent vehicles, descended to the ground also in descent vehicles, and their descent vehicles were very small, they just rose, the first cosmonauts flew around the earth, again they landed quickly, and korolev thought about what it would be like to fly out alone . it was quite a bit, and that it was enough, then, to rise in the cradle of the descent vehicle, descend in the same cradle of the descent vehicle, and fly around the earth, well, one orbit, two orbits, but

to fly for a long time in space in these descent vehicles in such recumbents, they lay in position, of course, of course, stay for a long time, of course. it’s hard in a very small confined space, and there is no more than three cubic meters for three cosmonauts, and even considering that they are in spacesuits, and they had to fly for a long time in these same ones in the same descent vehicles in which they they rose and fell to the ground, it was impossible to live long, it was necessary to have some kind of auxiliary apparatus, if you already had to fly there for a week, that is, to create something additional.

they made a compartment for the worker’s queen, but not this one, but before this ship, so it came to me to make the left side, the left side, here’s the left side, here’s the starboard side. the left side is a sideboard with instruments and that was later, first there was another descent module, this is the first streamlined compartment for astronauts who flew orbital, orbital, yes, first there was a compartment, you know, this compartment was made by space designers, they made this one, and the apparatus in which the astronauts were. turned into another additional compartment

, this household compartment and an additional one , at first you know what it was, there was just a red box here, on the other side there was also a red box, down there was a hatch that was lowered into the descent vehicle , the descent vehicle in this compartment was at first here the entrance that's where the landing hatch is, that's how it is now, and that's how it is. from this vehicle to the descent vehicle, in this device they were supposed to fly around the earth, several orbits there for several days, but they did as they did two, one hatch down, the other into the hatch out, this hatch is out, yeah, and then just a box, here’s a red box with red handles and on the other hand, here there was also a red box with red. handles, and where did the sideboard and sofa come from? here is the sideboard and the sofa - this is

korolev, he looked at the second descent module, which they made, this is how i tell you, and korolev said: nonsense, he is their scolded and said: “do it here, so that they fly around the earth, in good conditions, in good conditions, in a residential volume, then he entrusted this to feaktistov, who was in charge of the project volume. this project was precisely led by feaktistov, who said that your artist, dyumin, viktor petrovich, will do this section, and viktor petrovich told him, at our institute, in the department of the chief architect, there is only one about one professional architect who graduated from 6 years of architectural institute, it was a seam, she already, it's me. he knew me from now from

the queen, do you know why? because korolev was tsandr’s student, and tsandr died early at the age of 36, in the thirty-third year, in my opinion, he had already died, he was buried in kislovodsk, and korolev loved him very much and was very sorry for him, and he knew that tsandr meant , were buried, but he doesn’t have a monument, then korolev entrusted the artist viktor petrovich dyumin, viktor petrovich dyumin was korolev’s personal artist, he painted furniture there for him , he fixed it, and he painted, you know, the big royal rockets that he designed korolev at the same time, and viktor petrovich painted these rockets with colored, colored devices of some kind. viktor petrovich dyumin advised korolev to take balashova as his

assistant, because dyumin did not know how to do the architectural part of the monument to tsandrok, he was not an architect, they did two, by the way, we can see this monument, but here is the monument to tsandur, and i did the architectural part, that's all, all this was drawn by dayumin, he made a portrait. this tsandar, and i drew the whole, the whole, the whole, the whole system, together, so to speak, the architectural part i drew this monument, because i knew how to do it, it still stands there, then, when dyumin and i made this monument, korolev already turned to me to make from that round monument in which... like this there were red boxes, two,

two boxes, yes, right and left, and he turned to me, make a living space out of these, make a living space out of these two boxes, and i made a living compartment, i made them over the weekend, because i architect, and that was exactly my job, to make it out of some round, and how did you get the idea that there should be a sofa and the actors said what was needed, that there were two drawers here, there was a hatch down there with a hatch on the outside, we needed to make a living space, well, i immediately realized that...

this is a drawer where the handles lay suits, space suits for several years, yes, and on the left there was a sofa, the sofa had fasteners, because the weightlessness of the fasteners was there at first, they were striped like this, it’s not just like that, i drew this on purpose , and there i forgot to paint in half, i forgot to paint, it was first, this was the first skiz. the very first drawing was mine, the next one was more visual, the next one was already, the next one was different more, but the next ones showed these more then, then after that yes, yes, this is then the left one, this is how it is and is still like this and there is, and in the same color scheme, that is , the same upholstery material, i see green,

these are the materials i have , yes, yes, this is the so-called velcro or velcro, yeah, so that objects don’t fly away. sofa, floor, here, this one, yes, yes, then all these, these all took part, there were different ones, there were different ones, versions of these, this compartment and this sofa, and the sofa was like this, sometimes darker, sometimes lighter, it turns out that you are the real first space designer, and for so much nothing much has changed in years, so i flew into space four times, and the first time i flew to... the space station for two days, on my own along with the crew, i also had two flight engineers, we lived for two days, this is what you came up with the idea, back then under the queen, you lived in this household compartment, we also had sleeping rooms bags, we tied them, naturally , the control devices were already in the living compartment itself, but

we also slept, tied the bags right in the area of ​​​​the sofa, although it is always, when a space mission starts... the sofa is filled with various cargo, there is a special mesh there , which holds these loads, everything is attached very rigidly so that it does not dangle during the start, especially the start, naturally, we used the toilet, what you say, water, we drank water, that’s where the sideboard is, that’s where we kept it, to change clothes, we took off spacesuits, dressed flight suits, plus food, although there is still no heater, so we ate cold canned food, and drank regular cold water or barefoot, so yeah. we no longer change clothes, do not take off our spacesuits, but still, if someone needs, for example, to use the toilet or drink water, we go to the household compartment until docking , we use the household compartment, well, you see,

the time has come, just for such a case, you many achievements, and i know that when... the soviet union and the united states of america, you were tasked with developing symbolism. yes, a patch, yes, yes, i made this emblem just like this, sometimes like that, and the last, last option was docked ships, like that. it was signed by the crew members, it was lionov and kubasov, it was signed that the author-artist, by the way, well, this is our artist balashova, in america they signed that this is a completely different artist, that is, you were classified as such that you were not allowed to me , i couldn’t be seen all the time,

even, that is, finally , several decades have passed there, but we can safely say that this is the real one. space an architect, an artist, a designer who made such things, but in addition to this , you also worked on other cosmic symbolism, a lot, a hundred so many - these are badges, and probably wimpela, different 28 different badges with different countries, for me, when there were probably flights via interco, yes, sometimes with france, sometimes with, that is, it’s all you too. all of me, an artist on this topic, was me, korolev was, so to speak, accepting for a very long time and my drawings were signed by korolev, well, except for the union ship, but i mean in everyday life. emit device, you were directly involved in the interior development of space stations, soviet space stations,

mir stations, as i understand it, well, i can say that the russian segment of the iss is practically a copy of what you did for the mir station, world, yes, the world is big, you know, this is the working part, and there was also a living part, yes, well, there are two cabins on the left and right, they are now on the iss, no, this is it now. there is a remote control, a large remote control, this part is shown, this is the living part, there are four people sitting at this remote control, they are sitting in cabins, well yes, we are just now seeing the prototype of the international space station, its russian segment, yeah, that is, everything is the same ilisa, i say that it has undergone changes, we don’t have chairs, experience has shown that we don’t need chairs there, the only thing is, that we are a handrail on the floor. with our feet we hold on to this corruption, being, for example, around the table, that’s where this green box is now, there is a table at which

we eat, do experiments, medical and so on, and i want to say thank you that only in russian cabins, here are two cabins, which is the porthole on the left to right, all these drawings and drawings of yours, i mean on space themes, while we’ll talk about space, ended up in your home, not somewhere in the archives. not somewhere behind seven seals, top secret, but at your house, at my house in general, everything is, how did you manage to do this? but i didn’t do anything, there were all the pennants, i drew them at home, but the drawings of spacecraft, they were not considered drawings, there was no stamp on them, they were like that, as if not unofficially, yes, then she passed it on to these designers , based on these sketches they were already making their design drawings, these were already secret, and these...

and i drew, i liked him, because my father was a man of art, but he had to work after the revolution, and he worked as a forester. olga, what kind of grandmother is there in general, in life, grandma galya, the kindest, did everything for us, spoiled us, took us, there were donuts, which my mother forbade, and so she always, well , in my, actually in my childhood, all my life, she always... that is, her apartment is filled paintings and all visits to her are looking at her paintings, appreciating new ones,

looking at how she remade something that she didn’t like, from all her trips, she always brought paintings, brought them to us for art council, yes, yes, she always listened to our comment, it was important for her that we appreciate it, look at it, she always loved to travel and... and said that in general it was the main pleasure for her to travel, in soviet times she traveled to all sorts of republics, they went to the baltic states all over family, she loved to travel alone in a holiday home, and there she also devoted a lot of time to drawing, then, when the opportunity arose to travel to europe, for example, she very diligently earned money with the help of her drawings for these trips, and went... europe even arranged for my mother and me once we went together, the three of us went, it was the first trip like this.