A: Dear listeners! We are starting another conversation about Tatar literature, culture, language, and history. We have a very lovely married couple as our guests. They are renowned artists of the Karim Tinchurin Tatar Drama and Comedy Theater. Both have been awarded the titles of Honored Artists of the Republic of Tatarstan. Please welcome Irk Galimullovich Khafizov and Gulchachak Askhattovna Khafizova. We express our great gratitude to you for accepting our invitation. I will not tell your biography; I will be brief because your biography is simple. You both graduated from high school at the same time, studied at the studio of the Tinchurin Theater of the Kazan Institute of Culture at the same time. After graduation, you have been working at the theater, achieving all your successes and accomplishments on this stage. I sincerely congratulate you on these successes. And the first question I want to ask is not about you but about the history of the Tatar theater, the role of the Karim Tinchurin Drama and Comedy Theater in this history, the actors who lived and worked there, and the directors. Please provide some information for our listeners.

I: Good day, dear listeners! First of all, I want to say a big thank you for the invitation. Secondly, in response to your question, I will say this: today, our Tinchurin Theater is 90 years old. 90 years – thank God, it's a significant, beautiful number, a solid number. We've been in this historic theater for 30 years, if we count the time of our studies. We serve our people with dignity... It seems like we just joined the theater, but no, 30 years have passed. During these 30 years, we had to bid farewell to many of our elderly colleagues. These are our actors and colleagues who worked with us. It is very sad. May our memories and mentions of them be a prayer for their souls. Well, what can you do? Life changes, the elderly leave, the young come, times change. Different directors come. Working with different directors helps an actor open themselves from different angles; I find it much more interesting. Isn't it so, dear? Maybe you can continue my words? Go ahead, the floor is yours.

G: I agree with you. Since we entered the doors of the theater 30 years ago, we found ourselves in a different, special world, the world of theater. When we took our first step on stage, a significant rehearsal of the play "The Volga River Flows" was taking place. We came into this play as extras. We had many wings behind us, not just two pairs! On stage were Khalil Makhmutov, Islamia Makhmutova (she played the Khan's wife), Zufar Kharisov, Marseil Jabbarov, Zemfira Dasaeva, Khajar Shakurova, Roza Khabibrakhmanova... Let's remember the names too.

I: Baki (unclear here), Rinat Tukhvatullin.

G: Not Tukhvatullin...

I: Akbarov!

N: Yes, Akbarov. We entered such a large and star-studded stage with a sigh of "ah." It was a time of our theater's rise. During this period of rise, we joined as another breath for learning. We played with these great masters on stage in mass scenes and other small roles. For example, in the third year, I played Fanchette in "The Marriage of Figaro." I believe this is a significant and even praiseworthy achievement for a third-year student. At that time, I had several pairs of wings behind me. That's how it was. Theater is such a world; it goes through periods of rise and stagnation. Theater is a living organism; it cannot always be the same. If you take all other theaters in the world, they too experience periods of rise. I notice the same happens in literature, right? There are such eras when many writers and poets appear. And there are times of calm. Our theater also goes through such times. It's just like a living organism.

A: Yes, when I studied in Kazan, the Tinchurin Theater did not have its own building. It was a traveling theater. But you came to the theater when it had its own building.

I: Yes, indeed, we came to the theater when it had its own building. After the Kamal Theater built its building, our building was supposed to be given to the Song and Dance Ensemble, but as Gulchachak already mentioned, our senior actors organized themselves, Aunt Islamia, Uncle Khalil, Uncle Marseil, they all organized and bypassed the local authorities to go to Moscow with their request. Arriving in Moscow, they asked for a building because they were tired of being a traveling theater. A call came from Moscow to give this building to the Tinchurin Theater, and since then, we have had our own building. If I'm not mistaken, it was in 1982 or 1988... Honestly, I could be mistaken.

G: Looking from today, many of these actors have already passed away. Marseil Jabbarov is still alive, thank God. He came to our 90th-anniversary celebration. He went on stage and gave such a beautiful speech; we were so proud to have worked with such a great personality; we listened to Uncle Marseil with bated breath. At this 90th-anniversary celebration, our young director Zulfa... He studied in Moscow, Zulfa Zakirov works with us; he is our colleague, works as an actor. At this 90th-anniversary celebration, or rather at the evening in memory of Islamia khanum, we performed a play about how they obtained this building. There was such a scene, and I still feel like I participated in that event. That's how it was.

A: Who is the chief director of the Tinchurin Theater today? What plays are currently being performed on your theater's stage, and what place do the works of Tatar writers and playwrights occupy in your repertoire? Tell us about this.

I: Today, our chief director is Tufan Rifovich Imametdinov. If I'm not mistaken, he has been with us for two years. Yes, we've been working for two years. In response to your question, today, the most significant Tatar work (I won't be mistaken in saying this) is "Three Arshins of Land" by Ayaz Gilyazov. Playing such roles, in my opinion, is the dream of any actor. Mirvali and Shamsigayan – these are very serious roles for actors; they are roles that reveal you from all sides. I don't want to focus only on this play; of course, our repertoire includes not only classical plays but also works by contemporary authors. Directors who come to us want to reveal themselves from different angles. They don't limit themselves to classical works; they try to attract future generations to the theater, so they create plays for the youth as well. Today, next week, there will be a premiere for the youth based on a work by Ilgiz Zayniev, directed by Tufan Rifovich, called "Flash Drive, Rap, and Love." Today, our repertoire includes Mansur Gilyazov, Ilgiz Zayniev...

G: We also have "Edige."

I: There is the dastan "Edige," works by Karim Tinchurin.

G: The play "Without Sails." It was a beautiful premiere. We have a rotating circle on our stage. It spins, a two-meter wall was built, and the audience sits right inside this circle. In the center is a round table, and the actors are right in front of you. It's so... Irk plays there...

I: In front of my eyes, just as we are sitting opposite each other now, we play there the same way.

G: Irk plays there; I don't, so my attitude towards this play is bright... I left the play with pleasant feelings. I am very proud of our actors. One of our actors, after watching us, said: "I would give them all titles, I would give the title of People's Artist to each of them!" We have very good actors in our theater. What is our theater rich with? Our actors. Our actors... We have actors who play with all their hearts devoted to the Tinchurin Theater. We don't have actors who treat going on stage lightly. Although plays can have different editions. The same director can stage a very good play, and sometimes not so successful. Those that sometimes seem unsuccessful can turn into very successful plays over time thanks to the actors' performance. Our wealth is the actors, and of course, hard work.

I: If you allow, we can now perform an excerpt from the above-mentioned play "Three Arshins of Land" by Ayaz Gilyazov. May we?

A: Of course, it would be wonderful!

G: If it's not needed, you can cut it out.

A: No-no! Let's listen!

G: Your clothes are dirty, covered in flour, and you go and lie down on the bed. I wash the bedspread and change the bed linen every day.

I: And I lie down every day.

G: Do you like it?

I: I like it. Soft, clean. After all, this is my throne, and the throne must be clean... You don't get on the throne in clothes.

G: I don't understand why you went to work at the mill. Dirt, dust, no days off! At a time when working hands are needed everywhere, you are rotting at this mill, I don't understand what you find in it, Mirvali!

I: Have you ever seen a millstone?

G: How many years have I seen this already. You could plant radishes in your ears!

I: It spins and spins, turning everything into flour.

G: It's still early, but our house is already dark. If there was a window facing the street, we wouldn't see the sunset from here.

I: Why do you need the sunset?

G: Only a mole feels good in a dark corner.

I: You are fed, clothed, no worries.

G: Mirvali, I talked to the carpenter across the street. He said he wouldn't charge much, would do it neighborly. Maybe we could make a window on the street side of the house?

I: I don't intend to sit and watch the girls.

G: I would plant birch there, night flowers, violets.

I: Why do you need violets?! To tease the soul? You are driving me crazy! You are dried up, a dried tree, you!

G: Mirvali...

I: If you don't want to hear such words, don't add fuel to the fire!

G: You can't give birth to children in such a life, Mirvali.

I: She doesn't like the life I built, it turns out! How else would you live? Does your house have its own smoke? It does. Does your hearth burn? It burns.

G: It burns.

I: What kind of books are these?

G: Mine. There's a library on the next street.

I: Started reading in Russian?

G: In Russian.

I: Read, read, books are allowed.

G: Mirvali, I decided to get a job.

I: Job? Isn't what I earn enough for you?

G: Besides the stomach, I also have a soul.

I: What kind of work do you consider food for the soul?

G: I'm getting a job in a kindergarten.

I: Pretending to love children. I see, I feel. When I'm not here, you gather the neighbor's children, enjoy their company. As soon as I appear on the horizon, you chase them away. You agreed to look after other people's children because you don't have your own?!

G: Do you see that you are oppressing me? You come home drunk! I don't want the children to feel your drunken state. You don't come to a beloved person drunk every day.

I: When will you stop eating my brain with a teaspoon?

G: Mirvali, if you could listen without being offended. I've been silent for many years, enduring.

I: Endure more, you will endure forever.

G: About this vast world, about people, is it just this? You forget your wife, who lived with you for many years, shared a bed with you, feeling the warmth of your body, shared love. Forgotten. You have forgotten that she is also a person, that she gave you warmth, peace, you have already even forgotten the color of her eyes, remember that you once called her "beloved," you live without hugging, without caressing her!

I: It's enough that I used to cherish her once.

G: What a pity, these conversations of ours. How impoverished our language is. The day begins, the day ends, every time the same: "I'm going, I'll be back later. Make noodle soup. Here's some money. Is it enough or not?" I want just one warm word, just one affectionate word! The kind that melts the ice, breaks the stones, illuminates the dark night, an affectionate word that blackened souls have never known!

I: You don't beg for an affectionate word.

G: And a child? Do you beg for one?

I: You've learned... You even have an excuse—how many books have you brought home.

G: Today I wore a snow-white dress smelling of the sun, tied a round apron, went to the end of the street to meet you. I looked into your eyes yearning, longing to hear just one affectionate word. Oh, Lord! Just one word!

I: Whatever happened today is already past.

G: Exactly twenty years ago, you came home galloping on horseback from the fair. We met at the three wells.

I: From the fair?

G: Yes.

I: Enough!

G: Did I say a hurtful word to you? Did I offend you? Don't be offended, all right?

I: There are no more fairs, they're dissolved, the three wells are dry, no one is left! Days and nights, it's all empty, all under a shadow!

G: Along with the past, you've buried me alive too.

I: Enough!

G: Where are you going at this time of night?

I: I’m leaving.

G: I see.

I: I'll be back late.

G: I know...

I: Noodles... make brown rice.

G: I'll prepare it, I'll prepare it.

I: Here's some money.

G: Put it there.

I: Not enough?

G: Whatever there is, there is.

A: Incredible! Incredible, Irek, Gulchachak! No matter how many times I listen or read, "Three Arshins of Land" by Ayaz Gilyazov always gives me goosebumps. Perhaps not all our listeners know about this work. Why is it called "Three Arshins of Land"? Why are Mirvali and Shamsigayang so harsh with each other? Especially Mirvali, who is so cruel to his wife to forget his past. Please explain this to our listeners in a few sentences.

I: You see, if you think about it, Mirvali never wanted to leave his native land. The relationships he had with his father... He worked like a serf for his father, and after his father's death, the wealth his father accumulated was left to him. He, being a person...

G: It's not quite right to call it his father's property; it was earned through joint labor.

I: Yes, earned through labor, sweat, and blood, yes.

G: Who would want to give up livestock obtained through sweat and blood? No one wants to give it up.

I: No one wants to give it up.

G: It was honest labor that brought that livestock; it is the tragedy of that time.

A: The time of collectivization, right?

I: Yes.

G: Yes, it is the tragedy of the collectivization era. It is the bitter fate of our people. Such a dark period. A dark period. It was the time when our great figures, entrepreneurs, were destroyed. A shameful time. Right? This is what our "Three Arshins of Land" shows. And, of course, Mirvali's fate. What great sin did Mirvali commit? He committed arson.

I: He burned the grain fields.

G: He burned his land, the grain fields. And there's a line: "What right did you have to curse your land like that?" his wife says to him. A very bitter human fate. Why is he, speaking from my role, so cruel to his wife? He neither cherished nor loved her. They didn't even have a child, they didn't experience the joy of parenthood. In my opinion, Mirvali regretted his actions, and he lived with the desire to see his native land at least once more.

I: He craves it.

G: He went to work at the mill to smell the bread. He works at the mill. And he didn't consider himself worthy of that happiness. He left, cursing his land, his native land, cursing the people, offending others, he didn't consider himself worthy of such happiness, and he put himself in a state of unhappiness. And, of course, he put his wife in the same unhappy conditions. Fate.

A: Tell us a bit about the ending of the work. Why "Three Arshins of Land"?

I: Sweetheart? (addressing as mother of his children)

G: Three arshins of land is the final resting place of a person. Three arshins of land... A person doesn't need much in this world. Oh, how insatiable we are!

I: "A person only needs three arshins of land. I can find these three arshins of land for you anywhere. Do you want? Just let's not return!" he told her—"Please, just let's not return to Karachura. Do you want, I can find a spot in this dense forest? Look at these beautiful pines and birches. This place is very special, Shamsigayang, you will never forget it!" he told her—"Please, just not Karachura!"

G: And three arshins of land in a foreign land and three arshins of land in your homeland are not the same. Right?

I: Here’s a question I have… excuse me for interrupting. Why do people crave their homeland so much in old age? I have asked this question to many elderly people. What can we do? Maybe it's the land pulling us. Indeed, maybe these three arshins of land pull our bodies, our souls. Maybe that's why we want to be buried in our native land.

A: Yes, there’s a beautiful word in Tatar for homesickness.

I: Yes.

A: Homesickness, over the years, even if a person doesn’t want it, their blood or their soul starts yearning for their homeland, they want to be buried in their native land. The characters in your play experience such feelings and return to their homeland. Right?

I: Yes.

A: Thank you very much! That was a very beautiful excerpt. And a Tatar man, to not show his sensitive side, behaved harshly, spoke harsh words to his wife, but inside he had tender feelings, this is what this work shows. The dialogue turned out very beautifully. Thank you! Let's now continue with the village theme. You both are from the countryside. Irek from Rybna Sloboda, Gulchachak from Muslyumovo. Very beautiful districts, from very beautiful lands. Do you go on tours with the theater to the villages? Which districts do you visit? How do the villagers receive you? Is there a difference between the village audience and the city audience? Tell us about it.

I: Villagers are very close to us because we ourselves are from the village, as you already mentioned. We grew up in the village. And now we go to the village. The house where I was born still stands, we go there every summer. And we go to Muslyumovo too. Thank God! We go to our beloved viewers even in the villages. I can't say that we go very often now, it has reduced. But we do go to larger districts. Let me explain why. The scale of the scenery today is larger. In a small village, on a small stage, there is no way to fit everything. On the other hand, the population in the villages where we used to go has decreased, so we try to go to larger villages. Or we go to district centers; when we arrive in district centers, people from neighboring villages also come. Even in Kazan, we perform not only on the stage of the Tinchurin Theater; we go to Osinovo, to the Living Quarters, there we perform in the Houses of Culture. When we come there, elderly women tell us, "Thank you very much, we can no longer travel to the theater, so when you come here, it's very pleasant to see you."

G: Our people have a theatrical soul, they love the theater. Whether in the city or in Moscow. The Moscow audience loves the theater very much, the Tatar theater. Many people come. I also want to note, I don't know if you've heard, we have a play outside the theater—it's a play based on Tufan Minnullin's work "The Vow." Have you heard about it?

A: No, no, I haven’t heard.

G: Irek is acting there, I am acting, Rustam Gaizullin, Zulfia Valieva. The four of us created this play. This can't be called an independent project since it was done by all the rules of the stage. We received a grant from the Ministry of Culture and created this play. We invited the Bashkir director Zinnur Suleimanov. Our artists, music, lighting, dances—all done by professionals. This really...

I: This project was helped to realize by our minister Irada Khafizyanovna Ayupova. This play is special in its own way, and its story is unique. The plot and storyline are very special. Since it is "The Vow," and you already know what a vow is.

A: Yes, yes, but tell us about it, maybe our listeners don't know.

I: Well, let's tell. Maybe after this radio conversation, our compatriots from distant countries will say,

"Let's have you come and show this play."

G: We will gather and come.

I: We are ready to gather and come.

A: Very well.

I: Two friends are born on the same day, grow up together, marry on the same day, and go to war on the same day. In the war, being surrounded, in a moment when they didn't know if they would survive or not, my character comes up with an idea: "Let's make a vow." "What vow? We want to stay alive," he says—"Let's make this vow: if we both survive, return healthy, let's exchange wives."

G: For one week.

I: He says: "For one week."

G: This is our tragicomedy. What is a vow? If you don’t fulfill it... you must fulfill it. If you say you will do something, you must do it. And if you don't, your vow holds you. Such words are written: "Your vow holds you." "Do you know what happens if you don't keep a vow?" he says. This is the vow. This is our tragicomedy. It's not a comedy, but a tragicomedy. At one moment you cry there, and at another, you laugh. It keeps the viewer in tension; it’s a play that holds the audience’s attention. And it’s a play we are proud of, it’s a work we are proud of. Our Tufan... Excuse me for interrupting. The grandson and daughter of Tufan Minnullin came to us after the play and said they wanted to take this play to Germany, and to Germany and other neighboring countries, they wanted to take it; it was very joyful news for us. But a few days later, the pandemic began. That's the situation we got into.

I: We couldn't go, but everything is still ahead.

A: I think so too. You are now only in the middle of your creative journey; I believe you will have more new successes and victories. You said tragicomedy, and a question came to my mind. Your theater is a drama and comedy theater. Which is more difficult? What roles are harder to play, dramatic or comedic ones?

G: Neither is difficult. A role is both food and spiritual nourishment for an artist. No matter how difficult the role given to an artist is, I say, an artist is... An intelligent person... This is not an intelligent job... how to say.

I: We joke like that.

G: Yes, we joke like that.

I: Like sadists. The artist himself... If you...

G: Masochism! Masochism!

I: Yes, not sadism, but masochism. If we return to the same "Three Arshins," if you don’t turn yourself inside out, you won’t convey to the audience, you won’t immerse the audience in the events of that time, you won’t make them believe. Therefore, you need to play by turning yourself inside out.

G: The harder the role, the more the artist gets attached to the role. And comedy... Comedy...

I: Comedy is difficult.

G: Yes, it's a difficult thing; you can't just make a person laugh. Of course, it's our joint work; of course, it depends on the director and the actors. Usually, the play consists of scenography. It’s joint work. The ease of the play depends on how you complete the joint work.

I: Today, in the Tinchurin Theater, there is a play by Salavat Yuzeev (the son of Ildar Yuzeev), "The Kidnapping of the Groom." We've already played it 96 times; this Saturday, I’m playing it again, for the 97th time. The theater is full. Can you imagine this? A play performed 96 times, and each time the theater is full. People come to a comedy to laugh, to relax. To forget everything, just to laugh.

G: Our audience is different. One says, "I want to go and relax; give me something to laugh at." Another says, "Give me a play that brings tears; I want to cry." Another says, "In no case give me a sad one; I don't need a play that brings tears; I need one to reflect." That's why our theater works for audiences with different requirements, different desires, different tastes. One more thing. Before I forget, I want to say, our theater recently had an anniversary. The theater orchestra turned 35 years old. We have an orchestra that works vigorously. It’s the pride of our theater. We are so proud, so love our orchestra. Many of our plays are performed with a live orchestra, under a live orchestra. Our conductor is Ilyas Kamal! We love him so, so much. He is an incredibly talented person, a very talented individual, and at the same time, he is so modest, well-mannered, intelligent, and noble. That’s our theater.

A: Incredible. Regarding comedy, I asked you the question that way. In my opinion, tragic, sad roles seem easier to play, but making the audience laugh is sometimes very difficult. When you are not in the mood, when unpleasant things happen in life, how can you go on stage and laugh, how can you work at all?

И: Альфина ханым, вот мы стоим на краю… Вот, вот так стоишь, вот иногда, бывает же, как вы сказали, разное настроение. Но как выйдешь на сцену – все! Ты об этом забываешь. Почему ты должен это забыть? Потому что твой любимый зритель пришёл и заплатил свои честно заработанные деньги, он не пришёл смотреть на твои проблемы.

Г: У тебя права на это нет.

И: У тебя нет права выносить на сцену свои проблемы. Народ пришёл к тебе, будь добр, оставь свои проблемы за кулисами, а зрителю показывай свою постановку.

Г: Это может быть еще и возможность убежать от проблем.

И: Бывало, что я с температурой 40 выступал.

Г: Артисты играют…

А: Настоящие артисты, наверное, играют. И ведь на самом деле, там он не ставит себя на первое место, а ставит перед собой народ, публику, забывает о себе, забывает о своих проблемах и после выхода на сцену может перевоплотиться в совершенно другие роли. Удивительно! Продолжая тему деревни, я хочу задать один такой интересный вопрос. Я тоже деревенский ребенок, я со стороны Сарманово, соседи с вами. Муслюмово мне очень близко, так как это соседний район, Муслюмово, наверное, там начинается. Когда в нашу деревню приезжали концерты, спектакли, конечно, в деревне не было ни постоялых домов, ни отелей. Артистов размещали по домам. К одиноким старушкам, к тем людям, чей дом был больше. Там женщины, хозяева дома, очень старались угостить артистов. Они беспокоились куда их уложить спать. Чем кормить, что им предложить надеть? Не знаю, вот так. Бывает ли такое сейчас?

И: Да, бывает.

А: Когда вы ездите по деревням, районам, вы остаетесь ночевать в домах жителей? Как деревенский народ живет? Как вас принимает?

И: Когда со спектаклем и театром, то нет. Но вот во время съемок кино мне пришлось такое. Мы были на зимних съемках в окрестностях Арска, на родине Мухаммата Магдеева. И его односельчане впустили нас к себе. Топили бани, укладывали на мягкие кровати. К утреннему подъему они уже приготовили вкусную еду, пироги. Она была одинокая бабушка. К нашему подъему утром, она успела подготовить баню, чтобы мы приняли баню. Какими были наши сельчане раньше, таковыми они являются и сегодня. Альхамдуллаха! Слава богу. Оттуда мы уехали в Зеленодольский район, где проходили съемки другого фильма. Точно так же. Летом жить в деревне было негде, а наша группа была довольно большая. Нас распределили по сельчанам. Точно так же. Они с удовольствием принимали нас в гости и говорили: «в деревне был праздник, когда вы тут были, а теперь, когда вы уехали, нам становится скучно". Во. Хочу сказать им огромное спасибо.

А: Как хорошо. Так приятно слышать такую информацию. Значит, татарская деревня все еще живет, все еще бережет свои традиции. Артистов театра и эстрады принимает с почетом. Ведь так? Кормит самой вкусной пищей, как вы говорите, топят бани. Это очень приятая информация. Пусть живет татарская деревня, пусть цветет татарская деревня, желаем мы все.

И: Аминь.

А: Вот, господин Ирек, вы заговорили о телефильмах, и действительно с Казанского телевидения стало транслироваться немало фильмов на татарском языке. И зрители с удовольствием смотрят ваши или, там, фильмы, снятые с участием театра им. Галиаскара, Камала, они сейчас стали очень популярными. Хотелось бы, чтобы вы рассказали о фильмах, в которых вы снимались и о ролях в них.

И: ” Скажу еще, «Сүз башым шүрәле». Большой праздник прошел вчера в нашем Татарстане. Сто лет объединению "Татаркино"! Действительно, в здании филармонии прошло большое праздничное мероприятие. На нем присутствовали все артисты, имеющие отношение к этому кино, а также наши ветераны. Присутствовали наши коллеги из Казахстана, Киргизии, Узбекистана, но и из Белоруссии. Большое спасибо им и за то, что нашли время. Да, слава богу, сегодня татарское кино есть, идет, работаем. Практически каждый год выходят новые проекты. С этими фильмами мы кипим не только в своем котле в Казани. Мы свои фильмы везем после доработки и в столицу. Там в” Дом кино " мы показываем их своим соотечественникам. Также везем туда, где бывают татарские дни. Также и я в прошлом году лично с товарищем ездил в Кыргызстан. Там нас очень ждут наши соотечественники. Мы привезли не один, а четыре фильма. Они (зрители) уже после просмотра общаются с нами, задают свои вопросы, почему так? Плачут, смеются, потому что, мы привезли туда, как я уже сказал, и комедию, и мелодраму, и драму, фильмы разных жанров. И большое спасибо директору объединения” Татаркино " Миляуше Лябибовне Айтугановой. Она хочет донести произведения татарских классиков до наших соотечественников и молодого поколения не только через книги, но и через фильмы. Вот поэтому мы уже сняли фильм “Мы дети 41-го года”, а затем фильм“823 километр”, основанный на трех произведениях Амирхана Еники (“Красота,” Кто пел, “Только на одну минуту”). На сегодняшний день фильм все еще идет в прокате в кинотеатрах. Спектакль “Гора влюбленных” Ильдара Юзеева. Его сын, Салават Юзеев, снимает фильм по его произведению. Александр Далматов снял фильм по произведению Нурихана Фаттаха «В мае 44 года». Вот так каждый год снимаются фильмы. По мотивам произведения Мансура Гилязова “Микулай” был снят фильм, режиссером выступил Ильшат Рахимбай. Ильдар Ягафаров снял фильм по произведению Мансура Гилязова “Здравствуйте”. Нельзя сказать, что работа не идёт. Сын Рабита Батуллы, Байбулат Батулла, также снял фильм в том году «Ядәч! Истә”.

Г: Мы работаем на телеканале «Шаян». Для детей сейчас, если вы слышали, был создан специальный канал «Шаян». На телеканале «Шаян» бы озвучиваем мультфильмы. Вот так же и для телеканала ТНВ мы озвучиваем фильмы. Сейчас и сериалы озвучиваем. С ТНВ тоже начали работать. Вот на «Шаяне» какие только нам образы не приходят»! Там у меня много мальчиков! Это вот наша любимая дополнительная работа. Шаян, шаян, наша жизнь.

А: Значит, я задала вопрос правильно. Так как вы не играете мальчиков на сцене, в рамках озвучивания вы можете и мальчика играть! Я очень рада.

Г: Там и мальчиком бываешь, и старушкой, и девочкой, и драконом. Настолько там хорошо, настолько! Вот те роли, которых мне не хватает в театре, я там отыгрываю по полной!

А: Очень хорошо. Наши внуки тоже… Была такая студия «Татармультфильм». Там снимали очень красивые мультфильмы, по классическим произведениям, по сказке Абдуллы Алиша «Хвостики», по произведениям Габдуллы Тукая. Мы с большой любовью смотрим их. «Татармультфильм» все еще существует?

И: ” Татмультфильм " живет, работает. Они в прошлом году, если не ошибаюсь, выпустили “Альмандар из Альдермеша” по-татарски. Вот один из последних крупномасштабных проектов с таким названием. Работает, работа ведется.

А: Пусть работает. Так как я давно не следила за этим, я считаю, что лучше бы эти проекты не прекращались. Так как очень красиво, очень нужные детям, интересно сделанные, с использованием татарской музыки мультфильмы, особенно для наших татарских внуков, живущих в городе.

Г: Это такой нужный канал! Такую нужную работу там они делают. Вот наш редактор, руководитель, Роза Идиатуллина, Рамиля ханым. Вот они до такой степени… Ой, они душу отдают ради этой работы. Они и днем, и ночью, они этим живут, они посвятили свою жизнь этому, поэтому и такие большие достижения. Они побеждают. Вот мой совет: аудиальное восприятие татарского языка с детства обогащает этот язык и позволяет сохранить язык. Вот почему сегодня у детей речь даже в татарских деревнях открывается на русском? Вот у моей сестры, дочь у родной сестры, дома и мама, и папа разговаривают с ней на татарском. Дочь моей сестры вот. Она начала говорить на русском, ее речь раскрылась на русском. Слава богу, сейчас она знает татарский, говорит на нем. А вот факт: так как она не слушает татарский, а слушает русский. На гаджетах, телефонах, все на русском языке, поэтому речь и раскрывается на русском. А если мы включим ШаянТВ, если включаешь ШаянТВ ребенку, который сидит играет… Пусть он идёт фоном, пусть с детства идет. Вот наш уже испробованный инструмент, как сберечь татарский язык, чтобы речь у наших детей раскрывалась на татарском, чтобы они говорили на татарском. Слава Богу! Все наши дети говорят на татарском, вот даже переписываемся мы в телефоне между собой, в чате нашей семьи, мы общаемся на татарском. И очень правильном татарском… Я каждый раз радуюсь, когда читаю это. Слава богу. А как этого добиться? Как добиться? Ребенок пошёл в детский сад и оттуда он приносит русский язык. Он у тебя спрашивает, по-русски спрашивает, и в тот же момент я перевожу предложение и даю ответ на татарском. Вот это дает возможность сохранить татарский. Если кто-то решит воспитывать ребенка по-татарски, растить его по-татарски, вырастить его татарином и гордиться этим, вот очень полезный инструмент. Не стоит всегда говорить «говори по-татарски, говори по-татарски», а нужно сразу давать перевод. Вот этот метод вот работает.

А: Очень хорошо. Продолжаем нашу беседу. Вот говорили о театрах. По вашему мнению есть ли конкуренция между театром Камала и театром им. Карима Тинчурина? Они соперники? Или же они сотрудничают больше? Помогаете ли вы друг другу? Вот этот статус как у вас идет. Театры Камала и Тинчурина.

Г: У нас, мы… Я говорю как артистка. Наши артисты, да и со всеми театрами: мы друзья не только с театром Камала, но и с Альметьевским, Челнинским, Мензилинским, Атнинским и другими театрами. Мы артисты дружим и общаемся между собой. Артисты ходят смотреть на труд друг друга, очень дружные и живем в согласии. Конечно, если театр работает, тут театр Камала, а тут театр Тинчурина, Альметьевский театр, если они все работают, то как не конкурировать? Конкуренция должна быть. Это же правильно, правильно. Как это так, ты же не думаешь, что давай-ка я хуже этого сделаю. Наш татарский народ очень старательный, себя старается показать. Ведь так? Только в этом случае мы растем, достигаем каких-то успехов. Ты стараешься карабкаться ваше себя, быть лучше себя. Вот, правильно.

И: конечно, есть белая зависть, вот смотришь спектакль, смотришь на своих коллег и думаешь: «Эх! Я тоже хочу сыграть в этом спектакле, с этими артистами вместе в одной связке!». Как это без таких мыслей? Конечно, белая зависть должна иметь место.

Г: К тому же у каждого театра есть свой статус. Театр Камала — это театр на уровне государства, в руках государства академический театр. Конечно, со стороны государства им больше помощи. Другие театры живут более прижимисто. Это сторона тоже есть. Также есть и предпочтения во многих случаях. Так, в некоторых случаях, когда что-то происходит, перед глазами театр Камала. Но существуют разные спектакли. Этот спектакль хорошо только потому, что это спектакль театра Камала, а этот хорош, так как это спектакль театра Тинчурина, вот так сказать нельзя. И в театре им. Тинчурина, и в театре Камала есть настолько хорошие спектакли. Поэтому мы так живем: мы живем на весах, кто-то выше, кто-то ниже. Постоянно на весах, это же искусство. В один день так, а в другой…

А: Искусство – это творческий процесс, ведь так? Поэтому одно произведение может быть успешным, а другое, вот когда совсем не ожидаешь, что оно может быть успешным, неожиданно оказывается большой победой. Вот вы упомянули музыкальный театр, музыкальные произведения, музыкальную пьесу, а как часто в вашем театре ставятся музыкальные произведения? Вы поете? Исполняете ли вы песни на сцене? Вот об этом хочу спросить.

Г: Наш народ – это народ, который любит песни и танцы, ведь так? Вот с момента как мы вошли в стены этого театра, мы прошли через большое количество музыкальных произведений и спектаклей. «Угасшие звезды», «Башмачки» - бурно идущие спектакли. Вот сейчас у нас идет «Привередливый жених» - музыкальный спектакль.

И: «Полиционер».

Г: «Полиционер» - написано, что это тоже наш музыкальный спектакль, но нельзя назвать его прям музыкальным спектаклем, хотя он идёт под сопровождение оркестра.

И: Пьеса Карима Тинчурина «Угасшие звезды».

Г: «Угасшие звезды» идет, да, много музыкальных произведений.

И: Есть даже сказка для детей, она тоже идет с оркестром. Мне сказали: «Вы будете петь под оркестр, Ирек абый». После чего я сказал: «Я?! С окрестром?!». Так как я деревенский ребенок, вырос в деревне…

Г: В музыкальную школу мы не попали.

И: Да, я ни в какую в музыкальную школу я не попал. Я сказал: «Туфан Рифович, вы, наверное, ошибаетесь. Я не смогу петь под оркестр. Или я, или оркестр. Если я спою, оркестр покинет сцену и оставит меня». Вот так мы пошутили. Но, слава Богу, стараясь, получилось сработаться, спели. Народ не сбежал.

Г: Это был спектакль «Дивная птица», сказка. Вы знаете, как она шла? На сцене стоят девять, внизу еще два, десять, одиннадцать батутов. Одиннадцать батутов на сцене. И наша сказка шла на батутах. Все герои появлялись в прыжке.

И: Артисты только и прыгают на батутах.

Г: Наша дивная птица уж так летала. Одновременно она с песнями, только из песен и состояла. Вот это, Ирек вот в первый раз вышел и поет с оркестром. Конечно же, мы не выросли, слушая оркестр. Туфан Рифович: «Ирек абый, а вы почему в ритм не попападете?». Ирек сказал: «Туфан Рифович, я вам сказал! Я попаду, Туфан Рифович, я попаду!». И попал! Его образ такой красивый, он сыграл Ифрита. У него вот такой рог, а на роге лампочки горели, такие красивые костюмы в этом спектакле, такие красивые. Красивый спектакль.

И: Мы ведь и детей должны воспитать, поэтому вот такими красивыми сказками, оркестром, будущее поколение пытаемся притянуть к нашем театру.

А: Когда я готовилась к этой беседе, я решила вчера прочитать народные отзывы о театре. Вот говорят же: «театр начинается с вешалки», там с гардероба начинается. Вот театр Тинчурина начинается не с гардероба, а с входных дверей, с пришедших сюда зрителей, с кафе и т.д. Очень хвалят ваше здание, там работающих сотрудников, даже приготовленные в кафе угощения очень хвалят. На мой взгляд, действительно, вот как Гульчачак ханым сказала, ваш коллектив начинается у порога, с человека, который открывает эту дверь, вот так это воспринимается. Вот вы так хвалили свой коллектив, как вы живете в дружбе и согласии, как творите вместе, вот все это слушать очень приятно. И вот после того, как мы поговорили про музыкальные произведения, музыкальный спектакль, хочу спросить об афише сегодняшних дней. Первое – это «Флешка, рэп и любовь». Позиционируется как рэп-опера. Т.е. впервые в истории татарского театра такой жанр как рэп-опера. Как вы, имею ввиду ваш театральный коллектив, к этому отнеслись? Что есть в этом спектакле? Так как многие наши слушатели живут в Европе, возможно, они интересуются рэпом. Поэтому расскажите кратко об этом спектакле. Вы сказали, что это премьера. Слушаем.

И: Мы ведь еще не видели этот спектакль.

Г: Мы там не играем.

И: Мы там не играем, ни я, ни Гульчачак. Он у нас 19 числа будет поставлен, будет премьера. Наши коллеги к этому спектаклю очень усердно готовятся. Дай Бог, мы тоже эту премьеру увидим. Поэтому, не видя, ничего не могу сказать. Автор, автор произведения, как я уже сказал – Ильгиз Зайниев. На сцену ставит наш главный режиссёр Туфан Рифович Имаметдинов. Они вместе пошли на этот шаг. Почему? Как я уже сказал, чтобы больше притянуть новое поколение в театр. Чтобы был такой спектакль для молодежи.

А: В татарской музыке первыми в жанре рэп работала группа «Иттифак». Как я поняла, это спектакль, связанный с историей группы «Иттифак».

И: Да, там много песен группы «Иттифак», в этом спектакле. Вот сюжет я вам точно рассказать не могу.

А: Нет, мне не нужен сюжет. Т.е. в этом спектакле принимают участие только артисты театра Тинчурина или же сами участники группы «Иттифак» тоже?

И: Нет, только артисты театра Тинчурина принимают участие.

I: Al'fina khanym, we are standing on the edge... Just like you said, sometimes, your mood varies. But once you step on stage, that's it! You forget about it. Why do you have to forget? Because your beloved audience has come and paid their hard-earned money; they didn't come to see your problems.

G: You don't have the right.

I: You don't have the right to bring your problems on stage. The people have come to see you, so be kind enough to leave your problems backstage and show your performance to the audience.

G: It can also be an opportunity to escape from problems.

I: There were times when I performed with a fever of 40 degrees.

G: Actors play...

A: True actors probably do. Indeed, they don't put themselves first; they put the people, the audience, ahead of themselves, forgetting their own problems. Once on stage, they can transform into completely different roles. Amazing! Continuing the village theme, I want to ask an interesting question. I am also a child of the village, from the Sarmanovo side, neighbors with you. Muslyumovo is very close to me, as it's a neighboring district. When concerts and plays came to our village, of course, there were no inns or hotels. Artists were accommodated in homes. With lonely elderly women or people with larger houses. The women, the hosts, did their best to treat the artists well. They worried about where to put them to sleep, what to feed them, what to offer them to wear. I don't know, that's how it was. Does this still happen?

I: Yes, it does.

A: When you go to villages and districts, do you stay overnight in the homes of residents? How do the villagers live? How do they receive you?

I: When with the play and the theater, no. But during film shootings, I had this experience. We were filming in winter in the vicinity of Arsk, the homeland of Mukhammat Magdeev. His fellow villagers welcomed us into their homes. They heated the baths, laid us on soft beds. By the time we woke up, they had prepared delicious food, pies. She was a lonely grandmother. By the time we woke up in the morning, she had prepared the bath for us to take a bath. The way our villagers used to be, they are the same today. Alhamdulillah! Thank God. From there, we went to the Zelenodolsky district, where another film was being shot. It was the same there. In the summer, there was nowhere to live in the village, and our group was quite large. We were distributed among the villagers. Just the same. They were happy to host us and said, "It was a celebration in the village when you were here, and now that you've left, it's become boring." I want to thank them very much.

A: How nice. It's so pleasant to hear such information. So, the Tatar village is still alive, still preserving its traditions. They receive theater and stage artists with honor. Right? They feed them the most delicious food, as you say, heat the baths. This is very pleasant information. May the Tatar village live, may the Tatar village flourish, we all wish.

I: Amen.

A: So, Mr. Irek, you mentioned TV films, and indeed, a lot of films in the Tatar language have started to be broadcast from Kazan television. And viewers watch your films or those made with the participation of the Galiaskar Kamal Theater with great pleasure. They have become very popular now. We would like you to tell us about the films you starred in and your roles in them.

I: I’ll say again, "Süz bashym shürele." A big celebration took place yesterday in our Tatarstan. One hundred years of the "Tatarkino" association! Indeed, a grand festive event was held in the Philharmonic Hall. All the actors related to this cinema, as well as our veterans, were present. Our colleagues from Kazakhstan, Kyrgyzstan, Uzbekistan, and also from Belarus attended. Many thanks to them for finding the time. Yes, thank God, today Tatar cinema exists, it continues, we are working. New projects come out almost every year. We are not only stewing in our own pot in Kazan with these films. After completion, we take our films to the capital. There, in the "House of Cinema," we show them to our compatriots. We also take them to places where Tatar days are held. I personally went to Kyrgyzstan with a friend last year. Our compatriots are eagerly awaiting us there. We brought not one but four films. They (the audience) interact with us after the screening, ask their questions, why is it so? They cry, they laugh because we brought both comedy, melodrama, drama, films of different genres. And many thanks to the director of the "Tatarkino" association, Milyausha Lyabibovna Aituganova. She wants to convey the works of Tatar classics to our compatriots and the younger generation not only through books but also through films. That's why we already filmed "We Are Children of the 41st Year," then the film "823 Kilometers," based on three works by Amirkhan Eniki ("Beauty," "Who Sang," "Just for a Minute"). Today, the film is still in theaters. The play "Mountain of Lovers" by Ildar Yuzeev. His son, Salavat Yuzeev, is making a film based on his work. Alexander Dalmatov made a film based on the work of Nurikhan Fattakh "In May 1944." Thus, films are made every year. Based on the work of Mansur Gilyazov, "Mikulay," a film was made, directed by Ildar Rakhimbay. Ildar Yagafarov made a film based on Mansur Gilyazov's work "Hello." You can't say the work is not ongoing. The son of Rabit Batulla, Baybulat Batulla, also made a film last year "Yadach! Ista."

G: We work on the "Shayan" channel. A special children's channel "Shayan" was created, if you heard. On the "Shayan" channel, we voice cartoons. And for the TNV channel, we voice films. We are now voicing series too. We started working with TNV. The roles we get on "Shayan"! There, I have many boys! This is our favorite additional work. Shayan, shayan, our life.

A: So, I asked the right question. Since you don't play boys on stage, you can play boys while voicing! I'm very happy.

G: There, you can be a boy, an old woman, a girl, and a dragon. It's so good there, so much! The roles I lack in the theater, I fully play out there!

A: Very good. Our grandchildren also... There was such a studio "Tatarmultfilm." They made very beautiful cartoons, based on classic works, based on Abdullah Alish's fairy tale "Tails," based on the works of Gabdulla Tukay. We watch them with great love. Does "Tatarmultfilm" still exist?

I: "Tatarmultfilm" lives, works. They released "Almandar from Aldermesh" in Tatar last year, if I’m not mistaken. This is one of the latest large-scale projects with this name. It works, work is ongoing.

A: Let it work. Since I haven’t followed this for a long time, I believe these projects should not stop. They are very beautiful, very necessary for children, interestingly made, using Tatar music, especially for our Tatar grandchildren living in the city.

G: It’s such a necessary channel! They do such a necessary job there. Our editor, the head, Roza Idiatullina, Ramila khanym. They put their soul into this work. They live with it day and night, they have dedicated their lives to it, which is why there are such great achievements. They win. My advice is: the auditory perception of the Tatar language from childhood enriches this language and helps preserve it. That's why today children, even in Tatar villages, start speaking Russian. My sister's daughter, at home, both mom and dad speak to her in Tatar. My sister's daughter. She started speaking Russian, her speech opened in Russian. Thank God, she now knows Tatar, speaks it. But the fact is, she doesn’t hear Tatar but hears Russian. On gadgets, phones, everything is in Russian, so the speech opens in Russian. If we turn on ShayanTV, if you turn on ShayanTV for a child playing... Let it run in the background, let it run from childhood. This is our tested tool, how to preserve the Tatar language so that our children’s speech opens in Tatar, so they speak Tatar. Thank God! All our children speak Tatar; even when we text each other, in our family chat, we communicate in Tatar. And in very proper Tatar... Every time I read this, I rejoice. Thank God. And how to achieve this? How to achieve? A child goes to kindergarten and brings Russian from there. He asks you in Russian, and at that moment, I translate the sentence and answer in Tatar. This gives an opportunity to preserve Tatar. If someone decides to raise a child in Tatar, to grow them up as a Tatar and be proud of it, this is a very useful tool. It’s not always about saying "speak Tatar, speak Tatar," but giving the translation immediately. This method works.

A: Very

good. Continuing our conversation. You talked about theaters. In your opinion, is there competition between the Kamal Theater and the Karim Tinchurin Theater? Are they rivals? Or do they cooperate more? Do you help each other? How does this status work? Kamal and Tinchurin theaters.

G: We... I speak as an actress. Our actors, and with all theaters: we are friends not only with the Kamal Theater but also with the Almetyevsk, Chelny, Menzelinsk, Atninsk, and other theaters. We actors are friends and communicate with each other. Actors go to watch each other's work; we are very friendly and live in harmony. Of course, if the theater works, there is the Kamal Theater here, and the Tinchurin Theater there, the Almetyevsk Theater, if they all work, how can there be no competition? There must be competition. This is right, right. How is it possible, you don't think, let me do worse. Our Tatar people are very hardworking, trying to show themselves. Right? Only in this case do we grow, achieve some successes. You try to climb above yourself, be better than yourself. This is right.

I: Of course, there is white envy, you watch a play, look at your colleagues and think: "Oh! I also want to play in this play, with these actors together in one bundle!" How can there be no such thoughts? Of course, white envy must take place.

G: Each theater has its status. The Kamal Theater is a state-level theater, in the hands of the state, an academic theater. Of course, they receive more help from the state. Other theaters live more modestly. There is this side too. There are also preferences in many cases. So, in some cases, when something happens, the Kamal Theater comes to mind. But there are different performances. This play is good only because it’s a Kamal Theater play, and this one is good because it's a Tinchurin Theater play; you can’t say that. Both the Tinchurin Theater and the Kamal Theater have very good performances. So we live like this: we live on scales, sometimes higher, sometimes lower. Constantly on scales, this is art. One day like this, another...

A: Art is a creative process, right? So one work can be successful, and another, when you least expect it to be successful, unexpectedly turns out to be a big victory. You mentioned musical theater, musical works, a musical play; how often do you have musical works staged in your theater? Do you sing? Do you perform songs on stage? I want to ask about this.

G: Our people are a people who love songs and dances, right? Since we entered the walls of this theater, we have gone through a lot of musical works and performances. "Extinguished Stars," "Shoes" – successful plays. Now we have "Fussy Groom" - a musical play.

I: "Policeman."

G: "Policeman" - it is written that this is also our musical play, but you can't call it a musical play, although it goes with the accompaniment of the orchestra.

I: Karim Tinchurin's play "Extinguished Stars."

G: "Extinguished Stars" is still running, yes, many musical works.

I: There is even a fairy tale for children, it also goes with the orchestra. I was told: "You will sing with the orchestra, Irek aby." After that, I said: "Me?! With the orchestra?!". Since I am a village child, grew up in the village...

G: We didn't get into music school.

I: Yes, I didn't get into any music school. I said: "Tufan Rifovich, you must be mistaken. I can't sing with the orchestra. Either me or the orchestra. If I sing, the orchestra will leave the stage and leave me." So we joked. But, thank God, trying, we managed to work together, we sang. The audience didn't run away.

G: It was the play "The Wonderful Bird," a fairy tale. Do you know how it went? There are nine on stage, plus two more below, ten, eleven trampolines. Eleven trampolines on stage. And our fairy tale was performed on trampolines. All the characters appeared in jumps.

I: The actors just jump on trampolines.

G: Our wonderful bird flew like that. At the same time, it was with songs, consisting only of songs. This is when Irek performed and sang with the orchestra for the first time. Of course, we didn't grow up listening to the orchestra. Tufan Rifovich: "Irek aby, why don’t you keep the rhythm?". Irek said: "Tufan Rifovich, I told you! I'll keep it, Tufan Rifovich, I'll keep it!". And he kept it! His character was so beautiful; he played Ifrit. He had such a horn, and lights were burning on the horn, such beautiful costumes in this play, such beautiful ones. Beautiful play.

I: We need to educate the children too, so with such beautiful fairy tales, with an orchestra, we try to attract the future generation to our theater.

A: When I was preparing for this conversation, I decided to read people's reviews about the theater yesterday. They say: "the theater starts with the cloakroom," starting with the coat check. The Tinchurin Theater starts not with the coat check, but with the entrance doors, with the audience who come here, with the cafe, etc. Your building, the staff working there, even the treats prepared in the cafe are highly praised. I believe, as Gulsachat khanym said, your team starts at the threshold, with the person who opens the door, that’s how it is perceived. You praised your team so much, how you live in friendship and harmony, how you create together, it’s very pleasant to listen to all this. And after we talked about musical works, a musical play, I want to ask about the current repertoire. The first is "Flash Drive, Rap, and Love." Positioned as a rap opera. That is, for the first time in the history of Tatar theater, a genre like rap opera. How did you, I mean your theater team, react to this? What is in this play? Because many of our listeners live in Europe, maybe they are interested in rap. So, tell us briefly about this play. You said it’s a premiere. We are listening.

I: We haven't seen this play yet.

G: We don't play there.

I: We don't play there, neither I nor Gulsachat. It will be performed on the 19th, the premiere. Our colleagues are very diligently preparing for this play. God willing, we will also see this premiere. So, not seeing it, I can't say anything. The author of the work, as I said, is Ilgiz Zayniev. It is staged by our chief director Tufan Rifovich Imametdinov. They took this step together. Why? As I said, to attract the new generation to the theater. To have a play for the youth.

A: In Tatar music, the first to work in the rap genre was the group "Ittifak." As I understand it, this play is related to the history of the "Ittifak" group.

I: Yes, there are many songs of the "Ittifak" group in this play. But I can't tell you the plot exactly.

A: No, I don't need the plot. So, only Tinchurin Theater actors participate in this play, or do the members of the "Ittifak" group also?

I: No, only Tinchurin Theater actors participate.

A: Very beautiful! Very beautiful. And you are such beautiful people yourselves. Very beautiful people. I really liked the poem. My soul has also melted. Since the moment I met you here, I have been sitting here feeling as if I am at a big celebration. Now it's your turn, Gulsachat khanum.

G: Al'fina khanum, for our compatriots living abroad (they probably already know), our project "Kitap Radiosy" has started working. And we are the announcers there, Irek and I, we read books there. Sometimes we even have to read volume after volume.

I: It's also on YouTube.

G: This news is for our compatriots who don't know. This radio is available on the YouTube channel and Telegram, you can go and listen. We read many classical works, works of our classical writers, and modern writers. This is another of our works that we consider very useful and necessary. Thanks to the leaders who work there, because our Tatar literature, the pearls of Tatar literature, sound on “Kitap Radiosy.” Please listen.

A: Great news because now everyone uses the internet, everyone watches YouTube channels, but maybe many haven't heard of "Kitap Radiosy." This is very important news for our project. Thank you for this news.

G: You can search and find “Kitap Radiosy.”

A: Okay, okay.

G: If needed, you can include this; if not, then no. There are poets whose poems I constantly return to. You read and read, put it aside, forget it for a while, and then return to this poet. When I was coming to meet you, I took Zul'fat with me. Zul'fat is our compatriot. He is a lyrical poet, a very delicate lyrical poet, a very subtle philosophical poet, a very bold poet, a very thoughtful poet. Therefore, his poems are very different. So I think everyone can find a poem that suits them. I chose a lyrical poem for you. It's called "Touch."

In the years given to me by God,
Where did you come from, where were you found? -
Incorrect,
You weren't found, but passing by
Touched with your wings...
And that moment was like a hurricane!
Scattering the days to dust,
Such is your fate,
The wings of the wind joined!
… Great feelings arise, it turns out,
Not always, but just passing by…
It turns out, love is just one touch,
It's the touch of wings!

A: Thank you so much!

G: Should I read more? Do we have time?

A: Yes, we have time. No-no, Gulsachat khanum, this video will remain with us. No matter how much they cut, this will remain as a memory. So read with pleasure. We have two hours.

G: Okay. It's called "Whirlpool."

Why are you afraid of death, man?
Do you know how to hide from it?
God gave you life,
And will also give you death.
Therefore, the death that comes to me
Will not seem like real death,
It will whirl and take away
The swirling bottom of the whirlpool.
Like the trace of a swirling whirlpool,
On the surface of the river of time,
Like circles on the water spinning,
Stopping but not calming completely.
And finally, it will also quiet down.
Time will freeze. The wave will subside.
In the mirror of the river of time
Thousands of God's horrors,
Thousands of terrible ones will stand up,
Only a glance will be visible…
If God gave life,
He won't forget, He will give death...
We seem confused by nature,
Attraction to nature,
Would you say that you will die?
That's the kind of poem he has.

A: Oh, thank you very much, Gulsachat!

G: Should I read more? I can keep reading!

A: I want to express one thought. We Sarmanovtsi, we are very bright people; in our lands, people with dark hair and black mustaches are rare, so Rifkat aby seemed very handsome to me. But if there was a person with black hair and black mustaches, it turned out that his roots were from other lands. But in the neighboring Muslyumovsky district, beautiful dark-haired people live. Beautiful girls with dark eyebrows and dark hair, beautiful, talented personalities. And Gulsachat, the Muslyumov beauty. A very talented personality. I am very happy for you, I am very happy for both of you. Live happily all your lives! Enjoy the happiness of your children. Enjoy your creativity. Your names are written in golden letters in the history of the Karim Tinchurin Theater. May your life be long, may your creative life be long. You have given our people many works. After this conversation, I sincerely... I hope that the Tatar people will not die out, that Tatar culture and art will not disappear, because there are people like you, we will not be Russified, we will not be destroyed. Thank you for coming. Thank you for talking to me, for taking the time, thank you for that. Read as many poems as you want, until they kick us out of the studio.

G: Al'fina khanum, we also have the “Tatar Word” competition. Irek is on the main jury, and we are in the organizational group. Do you know how many applications we get? More than three thousand applications. Three-year-old girls! Three-year-old children. They read in their native language. Our language, our people live.

I: When we watch this competition, we say that our language will not disappear, our language will live if God wills. First of all, thanks to the leaders who came up with this competition. It exists thanks to our President and Marat Gatovich Akhmetov, everything is under his control. Not only from our Tatarstan but also from other regions... Okay, in short.

G: This, thank God, is being done. It exists.

A: Very good. You really put in efforts in many areas. You don't just go on stage, you don't just sing and dance, but you do so many different works. This is all done after stage work. The work done when you are free from the performance in the theater. I believe that you really deserve high praise, high awards, for such enormous work. May Allah be pleased with you!

G: Amen! When you love what you do, it doesn't feel like work.

A: May our nation be grateful to you.

G: Amen! Zul'fat. "I Acknowledge." This line from this poem always rings in my ears. "Was this so-called life?!"

"I Acknowledge"
I acknowledge death, as if I know,
You need to act carefully.
You need to descend into the bottomless darkness,
And here – to the superficial light.
Thinking, where, from where
Why be embarrassed in front of the world?!
I once was somewhere
That's why I go here.
Was this so-called life?
The day passed, the night came,
How do I know, where
I fitted?!
And saw a lot.

I: Maybe that's all?

A: Zul'fat is incredible! Zul'fat is incredible! Thank you very much! Thank you both very much.

I: Thank you! Thank you for the invitation, such a beautiful conversation turned out.

A: Yes, thank God.

I: Let our compatriots receive a big hello from Tatarstan. I hope we will meet. God willing, not only on the Kazan land but also on your side, if God wills.

A: Amen. We are waiting.

I: Big hello to uncle.

A: Thank you. Your uncle Rifkat also sends his regards to you. Thank you for accepting us so close and coming. I express my gratitude to you in a familial way. I love you very much, I loved you very much, we both love you. Let us know if you get to our side. We will be glad, see you. We will keep in touch. Perhaps you will have the opportunity to come with the theater. Stay in touch, my friends!

I: Goodbye!