Confirmed, yes to you they said a musician. You want, well, there from above, you want to be a musician, youre like, yes, yes, i want, you get it, that means, like this, here, and if this is not there, then, that is, this is most likely the purpose, thats it still, over houses, wires and hopes, there is no time for talking, under. Sham, everything is between us will remain the same, the number is dialed, the call cannot be pressed, true love is not bound by vows, thats why, in my little boys dream, everything hangs on the roof of the rebuilt, factorymade ones. Rain and bromson, its true that the nights will be silent today, ill melt the clouds, be it someone who hits me with heat , sadness, now its hot , strong sadness that hit me, so that somewhere in the nights, on the outskirts of factories, i didnt hide in my heart under clothes, the rain lingered at night. And the stars that i promised you are still burning in my uncurtained window, but tonight they will be silent since you call in the morning trams, bottles who rashly dropped me with sadness, thats who rashly, the cage dropped me now with sadness, found somewhere in the night, factory outskirts. So its an agreement that we are at the same time with the passing freight trains, we are of the same blood, the acceptance of sordid cities, voices of window openings, inhale, inhale, i am not alone, then the fields are sparrows, maybe you can hear me, maybe you can hear me, true, today the nights will be silent, then they will bloom with their faces, as if someone in the heat of the moment has dropped me with sadness, as if someone in the heat of the moment, as now with early sadness obtained somewhere in the beginning factory. Krain, as if someone in the heat of the moment, against the rules, saddened me, dropped me, once obtained somewhere in the beginning, factory outskirts, forgotten by us in the beginning, factory outskirts, obtained somewhere in the nights of the factory outskirts, do not call me to the lights for moscow, this is a conversation not about me, i wouldnt trade my native soviet street for anything in life. This is a podcast 20 years later, i am the host konstantin mikhailov, my guest is alexey podubnik, the leader of the django group. About what . You dreamed 20 years ago, which has now come true, but i have to say, that ive never gotten so ahead of myself, yeah. I always had some pressing problems in my life that needed to be solved, then forget about them and move on somewhere else, so i wrote the first album, i wanted to put together a group, because it was actually a studio album, an arrangement album, there there were a lot of invited musicians, and good ones, there were very, very many different instruments, its just that if the stage was pulled out, there wouldnt be enough space here, just to have it all, double bass players there, some colorists, why didnt you have an arranger in you, yes i yes in me , well, you basically caught me on this thing, that im really talking about this all the time, your band is like this, but its sophisticated, at the same time it powerful and electronic and music, at the same time it is so with a normal , such a good gypsy drive, what you play, you know, this is a little gogololo, such a little bit of kusturica it turns out, yes there are such songs, there are others, just if it was a whole concert, then it was possible to show theres some song called snow, most likely its britpop, like that, i love a lot of different styles of music, well, answering the questions, did i dream, did i not dream, it seems to me that i got more from life, what he was even worthy of, good, good, lesh, this cube makes our wish come true, do nt be shy, formulate the main thing, try to wish something for yourself 20 years later, that is , for yourself in 20 years, what do you want, honestly, here based on. Whats happening to me, what im involved in and what i believe, i want to live in a very strong place in 20 years. Russia, and i want my children to work, serve their homeland and be proud of it, and then i will be happy and everything will come true, i add my wishes, my dreams to yours about this, thank you, 20 years later i am the presenter konstantin mikhailov, it was a pleasure to talk with a wonderful person, with alexey poddubny, the leader of the django group. You can see all episodes of the podcast 20 years later on the website of the First Channel 1tv. Ru. Hello friends, this is the podcast life of the wonderful with you, i, its host, writer alexey varlamov, are visiting me wonderful director, Evgeny Borisovich kamenkovich. Hello, evgeniy borisovich, hello, professor, thank you for taking the time to come to our studio, i would like us to remember a little about the man whose name is given to the theater that you head, the workshop of pyotr fomenko, thats what kind of man fomenko was, why does. He has a theater, and not just the workshop of pyotr fomenko, tell us a little about it . Its very easy to talk about pyotr naumovich, because if you somehow try to parse him into component to classify, then for me its a very big question, what comes first, he as an artist, a great one, or as a person, very often, when you meet people who knew fomenko personally, they first remember some meetings with him in life, and then they remember his performance, it happens, of course, the other way around, what about you . Everything is mixed up for me, and in general it seems to me that this is that happy occasion when the way a person lived, he created the same way. With pyotr naumovich, it seems to me that a priori it could not be boring, it was simply excluded, but he had long, difficult rehearsals at. When he rehearsed for years, but it was always very interesting, everything he did, and this is where, as it seems to me, the profession of a director begins, he was always tormented by what he was doing, now, if he suddenly didnt understand, well, some period or some part of the performance , he could simply get sick, disappear there for 2 weeks, but when he came, but this is probably a common place in theater circles, but everyone knows what if. Some notsobest student asked him to help to analyze the play, then pyotr naumovich opened the list of characters and asked the student a question well, who loves whom . In my understanding, in general, firemen and love are some kind of synonyms, and love, well, not like, say, romantic or some kind of mundane, but some kind of love in full, so. And how is it to explain, very often goes to the theater, i think that young people dont always go to the theater, because for young people, the tempo of the theater is so leisurely, he always brought the detail of existence to some unimaginable limits, he could rehearse some kind of exit, like all his great predecessors, that is, the detail of human behavior, it was understood down to the micron. Can we say that this is how the system was . Was this the fomenko system . I wont undertake this, although im sure that it was, because i came up with my own definition about pyotr naumovich, so it seems to me that fomenko is such, well , today, such the last poet in the directing profession, but i dont know a person who it would be better if he read poetry, the solution is very simple, it seems to me that famenka had only one god, pushkin, so he knew evgeny negin by. Simply, simply, simply by chance he could read any chapter there, i have a feeling that if he had called his theater, not fomenkos workshop, but the pushkin theater, well, there is simply a pushkin theater in moscow, then it would have been so, at the first opportunity he made pushkin, and i dont know if all tv viewers know, but here we are recently celebrated the ninetieth birthday of pyotr naumich and zhenya tsyganov made, it seems to me, the theater audience, so this is a gift for me personally. That he took and staged Boris Godunov, and there is such a prehistory, it means that the last work , which was supposed to be pyotr naumcha, he rehearsed Boris Godunov for a year, and, as always, all pushkins widows visited us, it was he who staged it for the third or fourth time , yes, there was such a big sheet hanging in the theater, and all the smallest roles were noted there, since we still have 60 artists , and there are more mentions of boris gadanov, which means all the costumers, all the makeup artists were busy, then pyotr dach for some reason a job stopped, maybe because he felt bad, but i suspect something was wrong with something , most importantly with the time, the current one didnt agree with him, it was 2012, i dont know the reason, suddenly, when he turns ninety, and zhenya tsyganov assembled a team and made an amazing performance, in my opinion, firstly, he did everything to ensure that it was a comedy, and most importantly, there was an hour and a half recording on the screen. How fomenko rehearsed. And pyotr naumovich takes part in this performance from the screen. Maybe im the only one who loves this performance well, because i wasnt at the rehearsals, i very often like to drop in and watch. Here he makes a remark, and current artists, young ones, who have not worked with him. Do they do it or not . This is some kind of amazing new genre, it seems to me that thanks to tsyganov our theater invented it. So it seems to me that its very cool that this exists, we often have. What do we say, were either hiding behind fomenkos shadow or something, it doesnt bother me at all, because our literary part after the departure of pyotr naumovich , means brought it to me, i cant call it a spiritual testament, she brought me a list of works that he was thinking about, well, i think my life and this generation will not be enough, firstly there, which is very cool, there is some name there there, and the lady with the camellias is written in parentheses about who should play it, that is, it is clear there what he thought about each actor, so i periodically look at that list once a week, sometimes it turns out to put something from this list, here pyotr naumovich loved to stage prose, he loved it, im not there anymore im talking about war and peace and family happiness, but in my opinion, the main theatrical statement in the theater is absolutely one thing. Happy village, a play that has been running for more than 20 years, and the actors who play me and the guys in it all the time, well, maybe we have already grown old, i say, no, you will never grow old, since the play is performed on the old stage, in our very small hall , there are 78 spectators in total, we could play it much more often, but we play it there specifically once a month, well, because its already going on very for a long time, but every time i watch it there once every 2 years. My eyes are wet, it seems to me that petruch didnt care what he staged, what drama, what prose, so, but he never prose led to a play, but made it as prose , these are some kind of technological things, but it seems to me that this is very important, but in general, when a director chooses a play for a future performance, chooses a performance, lets talk about you, thats what you are guided by , these are your ideas of feeling, what you want is generally yours statements. It seems to me that to make it clear why im doing this, lets talk about your ulysses, for example , theres some kind of madness there, yes, this complex, huge novel, stream of consciousness, it. It was just to show it to everyone you can also put how the Telephone Directory mir holt wanted to put it or what no, no, no, no, but its just obvious that the circumstances in my life were so that this twentyfourhour journey of the main character of a stranger in this state and the irish, it obviously lay down on what that the events that happened for me personally, well then at lis its like. Some kind of bottomless barrel, everything is there, all genres on earth are there, in my opinion, all languages, all movements in art, there is everything, but this is what happened, i usually read any book there in the evening, i fought with ulysses for a week, i mean, i thought, i pretended that i wrote a dramatization, assembled our entire then not very large theater without pyotr naumovich, this was 200, 1998, appeared in what year . The theater arose in 1993, then we were without premises, without anything, and i read, that means it lasted about 9 hours, we broke there for lunch, dinner, staging, yes , what a staging, it was some kind of selection of material, everyone looked at me like that and said, evgevich, maybe you ll work some more, very much, theyre like they treat me delicately, im older, it died down for 10 years, then when in 2008 they built a theater for us. Which is very nice, suddenly in the morning pyotr naumovich called, he liked to call at 7 oclock, and he says one word, its time, and i realized that its time, so i brought the performance to mind, well, further, further was one complete pleasure, there were a lot of problems, but since the whole gang that worked with me were also, well, very determined to do this. Well, we succeeded in something, then 10 years went by, but for some reason it seemed to me then that this was about us, there was some kind of click, we made doctor zhivaga 2 years ago, well, doctor, also by the way , a terribly interesting story, doctor zhivaga is actually some kind of song, because i had such wonderful coauthors, and above all vanya vakulenko, who played doctor live and olya badrova, for whom this is life in ours. I have a feeling that if i had gotten sick, nothing would have changed, they would have carried it through, they are both superprofessionals, they feel very keenly that it was necessary to make a play about how a person, despite all the circumstances around , he did not change himself, he remained himself, he remained an excellent doctor, he remained a citizen of the country, and after he left, it turned out that he was also an amazing poet, well, somehow, after ulysses, we have a lot. Very made prose somehow, well, not that it was easy, but, but it was clear when we, where we were striving, there was one big problem, it was a pandemic, at times there were 15 people who were playing this play in my rehearsal there were four of us , we didnt have money for the scenery then, and we somehow built it ourselves, but the viewer, thank you , god, doesnt notice, we had money for costumes, we made the costumes, so, but nevertheless, i i dont want theaters. To be deprived of funding, but it seems to me that if people are involved in theater, they will build a theater where anything and from anything, lopad vega has such an aphorism , theater is three boards, two people, one feeling, well, this seems to me to be such a formula, thats why it seems to me that if the topic of our podcast lab really is, it means theater and prose, it seems to me that for a long time now. In modern theater, it is not necessary to stage a play, although i personally really love plays, because you dont waste time on adaptation, on translating prose into language in the theater, this cuts rehearsal time in half and it somehow frees your head halfway, it just seems to me what about modern playwrights, i think its very difficult for them, because heres all the wonderful modern russian , modern. Liturgy, which i follow very closely, i dont know, im a fan of colida, very big, because i dont i understand how a man of 30 years can stand one theater , while still managing to produce amazing playwrights every 4 years, the only thing i have, well, not exactly a complaint, i have a question about modern drama, its all so cool, its about pain and so on, but for some reason its almost all in the basements, here this doesnt seem very right to me, im still waiting for it to be released on the main platforms of the country, in general its interesting that partly the same can be said about modern prose, its also about pain, about trauma, and also in what sense it remains in the basements , although there are some very large, bright events, of course, come on, i dont know whether you were bragging about it or not, so i saw a performance based on your prose in a youth theater, and i, frankly, was amazed at the huge number of people, and i it seemed that the auditorium was actively breathing, there were a lot of young people looking at this that evening, no, for me, of course , this is also one of the most joyful events in my life, happy when you wrote. Novels, you come to the theater, and it so happened that i did not take part in the preparation of this performance, the staging was done by the wonderful young playwright polina babushkina, and i was only invited to this performance for dads and moms, that is, already some kind of general runthrough, and it was an absolute miracle, to see my heroes stage, what they are like, how they play, i am very im glad that the play is on, its a success, it s really all very cool, this is a podcast about the lives of wonderful people. Im with you, its leading writer alexey varlamov, my guest is director Evgeny Borisovich komenkovich. I would like to return to the classics, the performance that i saw with you and remember very well , this is already such a world classic, this is king lear, here is shakespeare, thats interesting, yes, times pass, centuries, some names appear and drown, some remain, thats what shakespeare did, if he existed, yes, thats what it is. They continue to stage it all over the world, trying to understand its mystery, but you know, there are several plays by shakespeare that you always want to stage in any condition, it seems to me that every director is different, so i have four of them plays, with buryai i went to college , although there was a miracle explication for this, well, buri is not so popular after all, but this is his spiritual testament, lets say, and since there is one line there that is not in any translation. And my destiny is despair, thats what to do with it, thats how did the great bart end with this, this is prospers last monologue, but it doesnt matter, but king lear, heres a historical fact, i definitely suggested this to my teacher, andrei sanovich goncharo, he is on me only the theater, the maykovsky theater, well, of course, andrei sanovich, because andrei sanovich loved to scream, in my understanding he was very similar to king lear. He laughed at me and didnt talk to me, then i started pestering fomenko, i didnt know how to get rid of me, i think he got his way there i dont know, hes seventy years old, he finally said, i wont learn the whole text, but you wanted his character, of course, because he, well, he, damn it, i dont know who is better than the ganchers or fomenko, but since we have, thank you lord, the design was brilliant. Barovsky jr. , they managed to set such a form, correct, that then it somehow rolled off, and since our people are all talented, now this is without any humor, i say, they were very prepared, there were people of different generations, then we somehow succeeded, i must say that when there was pandemic, there in turn, two people were sick, two dukes, and i. Twice , partly from memory, partly, that means, with the text in my hands i replaced them, how good it felt for me in this design by alexander borovsky, and here also, the theater, it seems to me, is very cozy and you can hear it from any place, and i never wanted to be an artist, although i graduated from the acting department, i got some pleasure there, there is also a very interesting question with translation, yes, after all, there are several translations of the king, and so you chose, like me i