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Troiker 042010 Eng 1
[EDITORIAL] Dear Troikers, In this issue of The Troiker we tried to look into the future, but we quickly decided not to get carried away, however tempting this may be. The future is ever-changing, dependant upon the roads we take today and the decisions we make right now. Behrad Khamesee, inventor of microscopic robots, spends his days doing his work, hardly preoccupied with the thought that ten years from now these robots will perform surgery at the cellular level. His life is here and now, enraptured with his invention and giving it his all. Ukranian inventor Igor Pasternak is busy working on a hybrid airplane and blimp. He may have the occasional reverie that his ‘flying mansion’ will one day become the most popular mode of transport, but he spends most of his time making this wonder a reality. Behind every new discovery stands a person enraptured by their idea taking pleasure in realizing it. This issue of our magazine isn’t just about the future, but the people who create it. The key interviews in this issue cover Troika’s strategy and development prospects. The ‘Profession’ column reveals the myths and reality of the work of compliance officers. The ‘Team’ section is about the magicians in the IT Department. Read, dare, create! Best regards, The Troiker Editorial Photo: Ivan Kurennoy Photo: Ivan №8 Founder Inspired by Custom Publishing Independent Media Sanoma Magazines Editorial adress Prepress The Closed Joint-Stock Gor Nakhapetian Director Custom Publishing Photo Editors 3 Polkovaya ul., bldg.1 ArtLion Company “Investment Inna Miloserdova Galina Ustinova Evgenia Starkova Moscow, Russia, 127018 Printhouse company “Troika Project Managers Project Manager Olga Razgovorova Tel.: +7 495 232 32 00 Graffiti Dialog” Ekaterina Semenova Olga Kumakhova www.gopublishing.ru Tel.: (495) 725-09-09 4 Romanov pereulok Marina Liubanskaya Art Director In the issue were used photos from www.graffiti.ru Moscow Russia 125009 Internal Communications Mariana Modyrka the fotobank of Troika Dialog. -
Cinemahungaro.Pdf
Ministério da Cultura apresenta Banco do Brasil apresenta e patrocina Produção Geração Praça Moscou: O Cinema Húngaro Contemporâneo O Ministério da Cultura e o Banco do Brasil apresentam Geração Praça Moscou: O Cinema Húngaro Contemporâneo. A mostra contempla um debate e dezesseis filmes produzidos nos anos 2000, que traçam um panorama da nova produção cinematográfica da Hungria. As películas, em sua maioria inéditas no Brasil, integraram diversos festivais internacionais e exibem um olhar sobre a geração pós-comunista do Leste Europeu. O filme Praça Moscou, que intitula a seleção, é um dos precursores desta expressão da nova realidade cinematográfica da Hungria. Ao realizar este projeto, o Centro Cultural Banco do Brasil reafirma sua proposta de promover programação que estimule reflexão por meio de temas importantes e polêmicos, além de apresentar ao público uma filmografia internacional pouco divulgada no país. Centro Cultural Banco do Brasil ISBN 978-85-85688-55-4 “Talvez seja a ironia que nos liga. Em nossos filmes, não há brincadeira e gargalhada. O humor é fruto do encarar o mundo.” György Pálfi, diretor, referindo-se aos cineastas de sua geração 1989 O ano de 1989 foi decisivo para o sistema socialista no Leste Europeu: em janeiro, Károly Grósz, o primeiro ministro da Hungria, anuncia que em algumas semanas começará o recuo das tropas soviéticas do país. O 41º presidente dos EUA assume oficialmente seu cargo; é George H. W. Bush, que viria a advogar pela necessidade do pluripartidarismo em uma posterior visita oficial à Alemanha Ocidental – a das eleições livres e da queda do Muro de Berlim. -
Pirelli: Präsentation Des Kalenders 2017 Von Peter Lindbergh in Paris
PRESSEMITTEILUNG PIRELLI: PRÄSENTATION DES KALENDERS 2017 VON PETER LINDBERGH IN PARIS www.pirellicalendar.com zeigt exklusiv Wissenswertes zur neuesten Ausgabe von „The Cal“™ Paris, 29. November 2016 – In Paris wurde heute der Pirelli Kalender 2017 von Peter Lindbergh präsentiert, einem der international renommiertesten Fotografen. Mit der Ausgabe von 2017, die auf die aktuelle Edition von Annie Leibovitz folgt, ist der deutsche Künstler der einzige Fotograf, der den Pirelli Kalender drei Mal gestaltet hat. 1996 machte er die Aufnahmen in der Wüste El Mirage in Kalifornien, 2002 ging es in die Studios der Paramount Pictures in Los Angeles. Im Jahr 2014 machte er zusammen mit Patrick Demarchelier außerdem die Aufnahmen anlässlich des 50jährigen Jubiläums des Kalenders, der dieses Jahr, da es einige Unterbrechungen in der Veröffentlichung gab, zum vierundvierzigsten Mal herausgegeben wird. Der Fotograf erklärt seinen Ansatz, der sich wie ein roter Faden durch den Pirelli Kalender 2017 zieht: „In einer Zeit, in der die Frauen in den Medien und allgemein als Abbild von Perfektion und Schönheit gelten, war es für mich wichtig, daran zu erinnern, dass es noch eine andere, wirklichere und authentischere Art der Schönheit gibt, die nicht von der Werbung oder anderem manipuliert wird. Eine Schönheit, die Individualität und den Mut, man selbst zu sein sowie Empfindsamkeit zum Ausdruck bringt.“ Der von Lindbergh gewählte Titel „Emotional“ unterstreicht seine Absicht, mit den Aufnahmen „keinen Kalender der perfekten Körper zu schaffen, sondern vielmehr einen Kalender der Empfindsamkeit und der Gefühle, der die Seelen der abgelichteten Personen freilegt und sie dadurch nackter darstellt als in Nacktaufnahmen.“ Um seine Vorstellung von natürlicher Schönheit und Feminität zu realisieren, hat Lindbergh vierzehn bekannte Schauspielerinnen abgelichtet: Jessica Chastain, Penelope Cruz, Nicole Kidman, Rooney Mara, Helen Mirren, Julianne Moore, Lupita Nyong'o, Charlotte Rampling, Lea Seydoux, Uma Thurman, Alicia Vikander, Kate Winslet, Robin Wright, Zhang Ziyi. -
Stilyagi (Crnnrrn) Review - ESCAPE from HOLLYWOOD I the International Cinema Addict's Definitive Resource 814ILL 4:T2 PM
Stilyagi (Crnnrrn) Review - ESCAPE from HOLLYWOOD I the international cinema addict's definitive resource 814ILL 4:T2 PM Stilyagi (Crnilntlt) Review Published May 151h,2009 in Europe & Russia and Reviews. 4 Comments Musical comedy is hardly a genre most people would associate with modern Russian cinema. Traditionally known and respected for such somber and inquisitive works as Nikita Mikhalkov's Burnt by the Sun (1994), Andrei Zvyagintsev's The Return (2001), and Aleksei Balabanov's Cargo 200 (2OO7), post-Soviet Russian directors had generally focused on negative aspects of the Russian experience until the early 2000s, when waves of cash flowing from the country's oil and gas-fueled economic boom finally reached the film industry, resulting in the production of commercially-oriented blockbusters such as Night Watch (2OO4) and The 9th Company (2OO5). Continuing this trend and taking it in a new direction is Valeriy Todorovskiy's new frlm Stilyagi (Hipsters). Featuring an all-star cast, dynamic script and slick cinematography, Stilyagi takes the viewer on an epic joy ride through 1955 Moscow, two years after Stalin's death. At the height of the Cold War in the Soviet Union, the titular stilyagi were a bunch of Western-oriented hipsters who loved jazz, exhibited questionable morals and enjoyed dressing with style. Mels (Anton Shagin), a seemingly brainwashed member of the Communist youth group Komsomol, falls in love with Polza (Oksana Akinshina) while raiding an illegal underground nightclub . Polza invites Mels to join her and her friends on the "Broadway" and Mels is dumbfounded when he shows up to the party dressed plainly and looking apologetic. -
Russian Cinema Now, an 11-Film Showcase of Contemporary Films, May 31— Jun 13
BAMcinématek presents the 30th anniversary of Andrei Tarkovsky’s Nostalghia for two weeks in a new 35mm print, alongside Russian Cinema Now, an 11-film showcase of contemporary films, May 31— Jun 13 In association with TransCultural Express: American and Russian Arts Today, a partnership with the Mikhail Prokhorov Fund to promote cultural exchange between American and Russian artists and audiences Three North American premieres, three US premieres, and special guests including legendary Fugees producer John Forté and friends and acclaimed directors Sergei Loznitsa and Andrey Gryazev The Wall Street Journal is the title sponsor for BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/May 10, 2013—From Friday, May 31 through Thursday, June 13, BAMcinématek presents a two-week run of Russian master Andrei Tarkovsky’s Nostalghia in a new 35mm print for its 30th anniversary, alongside Russian Cinema Now, a series showcasing contemporary films with special guests and Q&As. Both programs are part of TransCultural Express: American and Russian Arts Today, a collaborative venture to promote cultural exchange and the Mikhail Prokhorov Fund’s inaugural artistic alliance with a US performing arts institution. For more information on TransCultural Express, download the program press release. A metaphysical exploration of spiritual isolation and Russian identity, Tarkovsky’s (Solaris, Stalker) penultimate film Nostalghia (1983) follows Russian expat and misanthropic poet Andrei (Oleg Yankovsky, The Mirror) as he travels to Italy to conduct research on an 18th-century composer. In the course of his study, he is overcome by melancholy and a longing for his home country—a sentiment reflective of the exiled Tarkovsky’s own struggle with displacement, this being his first film made outside of the USSR (the film’s Italian title translates as “homesickness”). -
Tarkovsky Is for Me the Greatest, the One Who Invented a New Language, True to the Nature of Film As It Captures Life As a Reflection, Life As a Dream.”
stop press stop press stop press stop press stop press stop press stop press stop press stop press stop press stop press stop press Curzon Mayfair 38 Curzon Street 7 – 13 DECEMBER London W1J Features £10/£8 Curzon Members; www.curzoncinemas.com Documentaries £6.50 Box Office: 0871 7033 989 TARKOVSKY FESTIVAL – A RETROSPECTIVE As part of the celebration of the 75th Anniversary of one of the undisputed masters of world cinema, Andrei Tarkovsky (1932 – 1986), Curzon Cinemas and Artificial Eye present screenings of his feature films, documentaries about him, and the reading of a stage play related to his work. Most screenings will be introduced by an actor or member of the crew, followed by a Q&A. Related activities will take place across the capital. “Tarkovsky is for me the greatest, the one who invented a new language, true to the nature of film as it captures life as a reflection, life as a dream.” Ingmar Bergman FRI 7 DECEMBER 7PM OPENING GALA PLUS Q&A: THE SACRIFICE (PG) – NEW PRINT Director: Andrei Tarkovsky / Starring: Erland Josephson, Susan Fleetwood, Gudrun Gisladottir / Russia 1986 / 148 mins / Russian with English subtitles Tarkovsky's final film unfolds in the hours before a nuclear holocaust. Alexander is celebrating his birthday when a crackly TV announcement warns of imminent nuclear catastrophe. Alexander makes a promise to God that he will sacrifice all he holds dear, if the disaster can be averted. The next day dawns and everything is restored to normality, but Alexander must now keep his vow. We hope to welcome on stage lead actress Gudrun Gisladottir, and Layla Alexander-Garrett, the interpreter on THE SACRIFICE. -
Marina Davydova: Some Thoughts on Russian Theatre at the Turn of the Century
rtlb.ru russian theatre life in brief Marina DavyDova: Some ThoughTS on RuSSian Theatre aT The TuRn of The CenTuRy January 2008 White Dresses. “ouR pRoduCTionS aRe abSoluTely Safe.” The Russian theatre of the past decade has Throughout the nineties the Russian theatre been largely drawn into the orbit of the theatre existed in a distinctive kind of ghetto, making of Europe. Or it is rather the other way around – no attempts to digest aesthetically the rapidly European drama has turned out of the blue to changing reality: we are here all by ourselves, occupy the Russian theatre space to the effect all dressed in white, while the reality stinks of considerably changing the local theatrical and has nothing to do with us. Paradoxical as landscape. In terms of major theatrical forums it may sound, in the post-perestroika period Moscow has lately left far behind all the capi- we could claim to have Europe’s most asocial tals and mega cities of the world: the Chekhov public and theatre. In the Soviet times theatre Festival, the Territory, the NET, the Stanislavsky managed to substitute, no matter how clum- Season to mention just a few. In the context sily, for the civil society. But it clearly failed to of the current guest tour hullabaloo even the become an integral component of this spring- Golden Mask that is by definition (“national the- ing up new society that was offering a wider atre award and festival”) prescribed to cultivate range of freedoms. predominantly the national stage has scaled up The social and political affectation somehow to acquire the European dimension by bringing ran dry as the long-standing rules of play- along the productions of overseas dignitaries. -
The Affirmative Aphasia of Tarkovsky's Mirror
„ Я [не] могу говорить”: The affirmative aphasia of Tarkovsky’s Mirror Emma Zofia Zachurski Mine is not a pleasant story, it does not possess the gentle harmony of invented tales; like the lives of all men who have given up trying to deceive themselves, it is a mixture of nonsense, madness and dreams… Taken from the opening of Hermann Hesse’s novel Demian: The Story of Emil Sinclair’s Youth (1919), Andrei Tarkovsky encounters this passage in 19821 and retroactively calls it the epigraph to his 1975 film Зеркало (Mirror). Hesse’s ‘mixture’ is only too relevant to the content of Mirror. Tarkovsky’s own return to the past refuses ‘gentle harmony’ as it unfolds in a non-linear assemblage of dreamlike mise-en- scène, stark historical documentary footage, lyrical readings of poetry by the filmmaker’s father Arseny Tarkovsky and a disorienting casting of actors and the filmmaker’s family members in multiple roles. However, neither the Hesse passage nor the Tarkovsky film are only interested in content. They both also share a sensitivity to form, to their language– the nonsense through which they make sense. In text this may be the nonsense of written language standing in for the sensations of the tactile, the aural and the visual that define the events of the past. Offering no more than paper and pen for these sensory experiences, text becomes ‘non-sense’ indeed. Tarkovsky, however, is not limited to text. He has access to the senses, his camera can directly record sound and vision. If Tarkovsky has access to the senses, though, does he also have access to sense? Tarkovsky offers a response: “In general, I view words as noise made by man”2. -
Star in 'Tsar'
MOSCOW OCTOBER 2009 www.passportmagazine.ru Ballets Russes in Moscow Playground of the People – VDNKh Update on Russian Wines Peter Mamonov and Oleg Yankovsky star in ‘Tsar’ Contents 4 What’s On In October 7 October Holidays 8 Previews 11 Theater 11 12 Ballet Ballets Russes in Moscow 14 Film Peter Mamonov as Ivan the Terrible in Tsar 16 Art Moscow Biennale 14 20 Architecture VDNKh 22 Media The English Language Press 24 Travel Yakutia 24 28 Restaurant Review Osteria Montiroli 30 Wine Tasting Russian Wine Country Update 32 Book Review The Quest for Radovan Karadzic 30 33 Out & About 36 Real Estate Prospekt Mira 40 Community Football: From Journalist to Footballist 40 42 Columns Real Estate Relocation Financial Overview 45 Viewpoint Michael Romanov’s Diary Flintstone 45 48 Distribution List October 2009 3 Letter from the Publisher Beauty Center in Baltschug Kempinski Reopens The beauty salon: Beauty Center Baltschug has reopened. The center guarantees the highest standard of service, English-speaking staff and sensible pricing. This is exactly what business people who need the best possible service need! We provide excellent cosmetology (Kanebo- Sensai Sothys), medicinal spa-routines for hair (La Biosthetique), and an original massage routine – these are only a few of the services that we offer our clients. Happy hours means 20% off during weekdays from 11:00 to 13:00. Clients holding the Privilege Card Baltschug Kempin- ski card enjoy discounts on a continuous basis. Trafalgar Ball The 10th Trafalgar Ball will be held on Saturday October 24 in the ballroom of the Marriott Grand Hotel. -
Production Program
tHE Directed by Granada Artist-in-Residence Katya Kamotskaiaseagull This performance lasts two hours and 15 minutes, including one 15 minute intermission. Please be advised that this production contains brief loud noise and employs the use of synthetic fog and smoke. Before the performance begins, please note the exit closest to your seat. Kindly silence your cell phone, pager, and other electronic devices. Video, photographic or audio recording of this production is strictly prohibited by law. Food and drink are not permitted in the theatre. Thank you for your cooperation. Main Theatre March 10-14, 2010 ABOUT THE PLAY 101 years after The Seagull was first published in English, one may ask why direc- tors still choose to stage it and audiences to watch it! For me, the writing of Chekhov himself will never get old because its focus is on human beings and their complex and often contradictory nature. Detractors of the writer often criticize his work because ‘nothing happens,’ but it is this lack of exter- nal events and politics that for me makes it more or less timeless. Of course it has a specific location and period which bring their own set of rules and challenges, but fundamentally, the human characters are as relevant today as they were at the end of the 19th century. They are alive, with all the happiness and struggle, hope and pain that this entails. The play, The Seagull, tackles two core aspects of our humanity – those of creativity and love. It was written historically at a meeting of two generations of actors and writers in Russia – between the late 19th century theatre “of stereotypes and received ideas,” and the early 20th with its employment of psychological understanding in perfor- mance. -
Präsentation Des Kalenders 2020 “Looking for Juliet” Von Paolo Roversi in Verona
PRESSEMITTEILUNG PIRELLI: PRÄSENTATION DES KALENDERS 2020 “LOOKING FOR JULIET” VON PAOLO ROVERSI IN VERONA In Kombination mit einem Kurzfilm sucht Paolo Roversi nach dem Wesen der Julia Verona, 3. Dezember 2019 — “Looking for Juliet”, der von Paolo Roversi realisierte Pirelli Kalender für das Jahr 2020, wurde heute im Opernhaus von Verona präsentiert. Paolo Roversi hat sich dabei von William Shakespeares zeitlosem Drama inspirieren lassen. In der 47. Ausgabe des The Cal™ spricht er mit Claire Foy, Mia Goth, Chris Lee, Indya Moore, Rosalía, Stella Roversi, Yara Shahidi, Kristen Stewart und Emma Watson als Protagonistinnen die „Julia, die in jeder Frau lebt“ an. In diesem Jahr verschmilzt der Kalender erstmals Fotografie und Film, da er von einem Kurzfilm begleitet wird. In dem 18-minütigen Kurzfilm spielt Paolo Roversi sich selbst als Filmregisseur und interviewt Kandidatinnen für die Rolle der Julia. Nacheinander treten sie vor die Kamera des Regisseurs, um die facettenreiche Julia durch ein breites Spektrum an Emotionen und Ausdrucksformen darzustellen. Die Story gliedert sich in zwei Abschnitte. Im ersten Abschnitt werden die Darstellerinnen ohne Schminke und ohne Kostüme abgelichtet, während sie das Set betreten. Sie werden aufgenommen, während sie mit Roversi über das Projekt reden, in der Hoffnung, dafür ausgewählt zu werden. Sie sprechen über ihre eigenen Erfahrungen und ihre Vorstellung von Julia. Die Darstellerinnen öffnen sich einer intimen und ganz vertrauten Erzählung. Im zweiten Abschnitt tragen sie die Kostüme der Darstellerinnen in Shakespeares Tragödie. Der Effekt, der erzeugt wird, ist eine Story, in der Wirklichkeit und Fiktion ineinander übergehen, und die Grenzen, wie auf einigen Bildern, verschwimmen. „Ich war auf der Suche nach einer reinen Seele, geprägt von Unschuld, Willensstärke, Schönheit, Zärtlichkeit und Mut. -
A Man from Boulevard Des Capucines (1987) 6.30Pm Cine Alla Surikova
Melodia! Discovering Musicals From Russia and the Caucasus 22 January 2020 A Man from Boulevard des Capucines (1987) 6.30pm Cine Alla Surikova A Man from the Boulevard des Capucines (Russian: Chelovek s became one of the very few female directors of the comedy bulvara Kaputsinov) alludes directly to the Lumière brothers and genre to have a prominent voice in the Soviet film industry. their first cinema screening, famously projected onto the walls of a building in the Boulevard des Capucines in Paris in 1895. It The film itself stands on the crossroads of genre. On the one might be a surprising (and long) choice of title but this is a film side, it is an ‘eastern’ or ‘red western’ – a specifically cold war of surprises. After all, this 1987 Soviet musical is both a loving genre presenting films set in America's Wild West, but shot in homage to the birth of cinema and also one final ray of light the Asian part of the Soviet Union, or films presenting these from a golden age of Soviet musical comedy. parts of the Soviet Union through the aesthetics of a western. On the other hand, the film draws from the already established The connection to the Lumières comes about through the tradition of Soviet comedies, especially fantasy musical speech of protagonist Mr. John First (Johnny) played by the comedies, such as Ordinary Miracle (1978, also starring Andrei Soviet theatre and film star Andrei Mironov. Mironov, one of the Mironov) or Charodei (1982; which shares the female lead great Soviet stars, died the same year, making this his Aleksandra Yakovleva); and a broader tradition of allegorical penultimate film role.