On the side, they say, it was some kind of, well , you cant 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, thats what were talking about, and he writes in these books, and what if it doesnt work out, lets see what it turned out, a fragment from the film lenin in october have you seen lenin, write what he is like, they didnt bet on copper, they said, here he is. Redhaired 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 . Its written, lets 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, thats 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 hadnt 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 thats 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, its even difficult to imagine how he could develop and in general, but in general, this illness of his, it will acquire. Its 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 thats 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 didnt feel well, i didnt 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 couldnt 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 its still unknown what will come of it, so the result is that he fell asleep and didnt 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, heres what. I personally am very interested, im very interested in zoykas apartment, because zoykas apartment it was bulgakovs 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, hes such a big Boris Nikolaevich doesnt think so, but you dont know, but im 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, thats what he has a work for, i thought, let me try a chapter from some kind of queen of spades. Some piece, theyre 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, lets 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, uhhuh, demoseason and winter, and they all wore one, so if you dont 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 doesnt 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, peoples 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, im pilotcosmonaut 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 didnt 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 didnt 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, its 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, zheltovskys 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 didnt 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 zheltovskys 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 as 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, thats all i needed, i was engaged in depriving these houses, sculptures and. Stucco fashion has changed, thats 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, youre 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 tenyear 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 , heatprotective layer, 20 cm, in my opinion, there was a heatprotective 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 didnt work on ships, they worked at their place of work, but how did you start working on ships, and thats 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