to the shchepkinsky institute, i don’t stop anyone, who at first do good to us, and then says: but we want to go to the shchepkinsky school, go, because each person determines his own destiny, and since we have a graft in the akhtangov theater, our theater exists only due to or in spite of the fact that over all these long years our theater, when other theaters doubled and tripled there.

and we preserve this school, we maintain it, we try, in any case, as much as possible, because it is easy to destroy, difficult to create. boris nikolaevich, what would you say? but i would certainly say and say, when it comes, think about it, do you need it, if you are ready, even with great talent, today you will have hamlet, and tomorrow you will have a second gravedigger, are you ready? you are not playing hamlet, the second gravedigger, but if you are ready, then yes, then you can, 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 cinema and so on, if you adore this smell of the scenes, then you can say so, if you are ready. moment, if

life doesn’t work out at all, if i somehow find some kind of second profession within the theater, but i will be anyone, but only in the theater, then it makes sense to do it, and i also want to say that there is no jealousy here towards there to the studiemhat school and the shchukin school, sec will find its way in gits and anywhere, but here we also try to preserve it , so to speak. your traditions, developing them and living this small, but in different ways existing collective, some kind of unity with our own problems and uh, 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 we have this year, 110 years, also a lot , very certainly. and 130 years of boris vasilyevich shchukin,

we have such a double anniversary, so we are also, as it were, on this anniversary, it was not easy for us to survive all these difficult years, but it is possible, and this profession, it, if, as krukchinina said without the guilt of the guilty, as do you think acting is an art or a craft? what it is? it’s so rare that our profession and performances become art, but when this happens, you’re probably ready to give everything for it, because you succeeded. and so, while there, if there are performances, usually you are some kind of transmitter between lermontov and the auditorium, you transfer it there, but suddenly something happens when... the auditorium, as they once said,

when, regardless of class, social status, financial status, 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, it was a podcast life of wonderful people, visiting.. we had two rectors, two wonderful theater people: evgeny oladimirovich knyazev, people's artist of russia, rector of the shchukin theater institute, whom we talked about today, and theater expert boris nikolaevich lyubimov, rector of the higher theater school. named after shchepkin. and we were also interviewed by the rector of the literary institute. yes, we figured out three rectors here. thank you.

hello, dear viewers, as always, you are watching the triggers podcast, with you is its leading psychologist, tatyana krasnovskaya, psychologist and psychotherapist sergei nasibyan, our guests nicole, hello, good evening, please tell us what you came to us with? and you know, i have such a problem, i probably have had it since adolescence, and... since i was 12 years old, in adolescence , i developed such a disease as anorexia, later doctors diagnosed me with this, anorexia nervosa, and the disease either manifests itself or disappears, that is, it does not depend on any...