Ivan Zhvakin: “Marriage will only add paperwork”

Biography

Ivan Zhvakin was born and raised in a family unrelated to art. His mother worked as a veterinarian. His father died tragically when Vanya was still a teenager.

From early childhood, Ivan dreamed of an acting profession and purposefully went towards realizing his dream: he studied at a music school to play the accordion and drums, took vocal lessons, and attended a children's theater school-studio under the direction of Evgeniy Egorov.

After graduating from school, the young man set off to conquer the capital. He later recalled: “In 2009, I came to Moscow and gave myself the idea that if I didn’t get into the theater the first time, I would give up this idea. At the initial stage, my mother was with me. I don't know what I would have done without her support. As a result, I was accepted into four theater institutes: at GITIS - for the course of Zhenovach, at the Shchukin School - for the course of Lyubimtsev, and at VGIK they offered two options - the courses of Grammatikov and Menshov. But I went to study at VTU. Shchepkina on the course of Beilis and Ivanov.

I entered on the very first day, which became a kind of sign for me, and we became the 200th anniversary intake. I settled in a dormitory and, together with other students, went through everything - rehearsals, exams, tests...”

The childhood of Ivan Zhvakin

Since childhood, Vanya Zhvakin’s main dream was acting. For six years, the boy attended Evgeniy Egorov’s theater school, which provided serious training by the standards of his native Chelyabinsk. The subjects included not only traditional plastic and performing arts, but also fencing, martial arts, dancing, and juggling.

Ivan Zhvakin in childhood and now

Unfortunately, in 2008 the theater school, the only one in the city, closed. Even the hunger strike organized by her students did not help. Ivan's graduation was the last. But the actor is still grateful for everything that the school teachers did for him.

The preparation was not in vain. After graduating from high school, Ivan applied to the largest theater universities in Moscow. He was accepted on a budget at GITIS, Shchukinskoe, VGIK, but he settled on VTU named after. Shchepkin, having taken the course of Vladimir Beilis and Vitaly Ivanov.

The actor is not averse to fooling around

Ivan’s mother, veterinarian Elena Rafkatovna, although she was upset that her son was leaving for distant Moscow, supported him. The young man’s father, Maxim Igorevich, did not see his son’s success - he drowned in the river. “He survived his dad’s death very courageously... He really wanted Vanya to succeed in his profession, and went to Moscow to try his luck. So the son carried out his will,” recalled the actor’s mother.

The school days have begun. The aspiring actor lived in a dorm room designed for 4 people, received a tiny stipend and disappeared within the walls of “Sliver” from morning until late evening. At first it was difficult for him to understand what the teachers required of him, but he soon got involved and became one of the best students of the course.

Cinema

The actor made his film debut while a student, starring in a cameo role in Kira Angelina’s film “An Indian’s Kingdom.” Then he played a climber in Mikhail Weinberg’s detective series “Freud’s Method” and took part in Roman Karimov’s comedy “Everything at Once.” In the series “Glaciers” by Oleg Fomin, based on the works of Alexander Zvyagintsev, he played the translator Maxim.

"Molodezhka"

Ivan gained widespread fame with his first leading role as player of the Bears hockey team number 9, Alexander Kostrov, in the popular sitcom Molodezhka. His hero is a winger, an active member of the hockey team, a good friend, and will help in any situation.

The actor spoke about the film: “Molodezhka” became a unique project, because previously no TV series about hockey had been filmed all over the world, only feature films. I have never regretted taking part in Molodezhka.

For five years, Zhvakin worked in the project and literally became close to his hero: “I come from Molodezhka, and I am not against these associations. But I am categorically against cliches and want to be perceived as an actor, and not as a hockey player.”

At the same time, the artist managed to star in Sergei Komarov’s biographical film “These Eyes Opposite” about the life story of the Soviet pop star Valery Obodzinsky and the no less rated project “The Red Queen” by Alena Rainer - a film about the famous fashion model Regina Zbarskaya.

"At a distant outpost"

In 2020, Andrei Khrulev released a series about border guards “At a Far Outpost”, where the actor got one of the leading roles.

The film tells about soldiers serving on the farthest borders of the country. Soldiers, officers and their families live on a small outpost isolated from the outside world. Unusual living conditions give rise to special relationships: everyone here is their own, everything is based on trust and mutual assistance. However, human nature takes its toll...

The plot centers on the story of a border school graduate, young lieutenant Alexander Prokhorov (Ivan Zhvakin).

1985, USSR. Alexander Prokhorov, a former orphanage resident and the son of a deceased officer, serves on the Finnish border. On a business trip to a Komsomol conference in Moscow, Alexander meets journalist Lena Myagkova (Valeria Fedorovich), the daughter of a general. And it's love at first sight.

But Sasha’s classmate, staff officer Anatoly Mishchenkov (Ivan Nikolaev), a typical careerist, also became interested in Lena. He is trying to destroy the relationship between Lena and Sasha.

Lena's father (Alexey Ogurtsov) is also opposed to Prokhorov. He doesn't want his daughter to spend her whole life wandering around garrisons.

To get rid of Prokhorov, General Myagkov sends him to serve at the most remote border post in the country - in the Far Eastern District on the border with China. Lena is going to follow her beloved.

Together with Prokhorov, the general decides to send Mishchenkov to the outpost. He promises the staff officer a brilliant career if Anatoly does not allow Lena to marry Prokhorov and brings her back to Moscow by any means.

"Dancing to Death"

Ivan appeared completely different to the audience in Andrei Volgin’s science-fiction film “Dancing to Death.” His hero Kostya from the 2070s had to take on a serious challenge - to compete in the art of dance for a place in the sun.

The action of the film takes place in Moscow. Nuclear war and cataclysms destroyed civilization. A brutal dance tournament is being held in a high-tech arena in a bunker. The arena is a symbiosis of technology and ancient sacrificial rituals, which pumps out of the losers the energy necessary for the survival of the city.

The artist says about his participation in the project: “Debut in a big movie, a full-length film, a huge experience that I gained on the set. Fantastic action, with computer graphics, cool music and a good cast." A successful duet for Ivan Zhvakin was composed by Lukerya Ilyashenko.

"By magic"

In 2020, the melodrama “At the Command of the Pike” by Pyotr Stepin and Anna Erofeeva was released on the Rossiya TV channel with Ivan Zhvakin and Evgenia Nokhrina in the lead roles.

Plot: Katya, an athlete and a beauty, dreams of joining the national team. But during training, the girl falls and injures her knee. The doctor says that she will walk, but she will have to give up sports if she doesn’t have surgery. But the family does not have money for this.

Instead of Katya, her friend Sveta will participate in the competition. Katya’s boyfriend, Igor, also goes to her. Katya cannot see them together, so she leaves for the village where her grandmother lives. She hopes to recover there for sports and heal her mental wound. But a lot of surprises await Katya in the village...

In total, the actor’s filmography includes about two dozen roles.

Personal life of Ivan Zhvakin

Ivan Zhvakin, like other Molodezhka actors, is not deprived of the attention of fans. It seems that if you put them together, they would not fit in the notorious hockey stadium.

For three years he dated Sliver student Valeria Fedorovich, but, as the actor’s friend recalled, he left her when he realized that she was using him mercilessly.

Ivan Zhvakin and his girlfriend Ksenia Lukyanchikova

In the summer of 2020, it became known about Ivan Zhvakin’s new girlfriend. Ksenia Lukyanchikova, the new lucky girl, his colleague. She could be seen in the TV series “Red Queen”, “Pearls”, “Hornet’s Nest”, “Secrets and Lies”.

Personal life

The artist is single, but dreams of a close-knit family. He has a clear idea of ​​what his other half should be like: “When building relationships, I definitely don’t have any kind of “acting criterion.” I will not date a girl because of status or appearance, and I also do not accept it when I attract a person only based on these indicators.

I need an interesting person with whom I will go through life side by side. A girl should be a friend, support and support, and not with constant show-offs and pretensions. I will do everything that is required of me to build a family, and I, in turn, need a strong rear. I must be sure that in moments of some problems and experiences I will always be understood and supported.”

Actor career

In 2012, Ivan entered his third year, and he had time for castings and auditions. Zhvakin’s film debut was a small role in the TV series “Woman’s Kingdom.” Interview with Ivan Zhvakin The next series with his participation was the Russian analogue of “Sherlock” - “Freud’s Method”. Ivan appeared in the 6th episode in the role of climber Anton Davydov, who becomes the first in a series of mysterious murders, which the brilliant detective in the person of Ivan Okhlobystin had to investigate.

One of the first roles of Ivan Zhvakin (“Freud’s Method”)

In parallel with the beginning of his film career, Ivan Zhvakin also tried himself on the theater stage. At the Moscow Theater of Nations, he was involved in the play “The Triumph of Love” as a guard.

In 2013, Ivan Zhvakin drew a lucky ticket, or rather, number nine. It was this number that appeared on the uniform of his hero, HC “Bears” forward Kostrov from the TV series “Molodezhka”.

“Molodezhka”: Ivan Zhvakin as Alexander Kostrov

There were six months left before graduation from the university, and the young actor had to train hard to stand on skates and wield a stick. The Molodezhka audience is well aware that the guy withstood the pressure brilliantly.

His hero is a very active member of the club, a hockey player from God, and also a good friend, ready to help in any situation. He stands out among his peers for his good manners and modesty. This is a consequence of his upbringing in an intelligent family. Kostrov's parents opposed playing hockey, but sports were vitally important to him.

Still from the TV series “Molodezhka”

With his first fee for Molodezhka, Zhvakin bought his mother an iPad as a gift so that he could regularly talk to her on Skype. And his joint work with Denis Nikiforov, Ksenia Lavrova-Glinka, Alexander Sokolovsky, Vlad Kanopka, Ilya Korobko, Igor Ogurtsov and other stars of the series gave him invaluable experience and true friends.

In parallel with filming, Ivan Zhvakin took part in the third season of the “Polyglot” program on the “Culture” channel. In 16 lessons he had to master French perfectly under the guidance of translator and linguist Dmitry Petrov.

Interview

About the roles

“Of course, I want to play multifaceted roles, delve into them, show myself from different sides. But I’m not some kind of ardent opponent of positive heroes. It’s probably even prestigious to play them.”

The actor believes that the role itself is not so important: “Much more emphasis is placed on Who you work with! And the role can be enriched with anything and any way you want, as long as it’s not a classic and you can’t stray too far from the material. Everyone makes their own character. It may be silent, without text, but you need to understand it.”

“I don’t think I achieved everything I wanted. I always believe that my best role is still being written or is already looking for me.”

About myself and “star fever”

“I am a terrible Samoyed. Sometimes my work on mistakes turns into mania and starts to interfere. But to some extent, this is a psychological blocking of the brain from “star fever.” I saw a huge number of star-struck people, it’s a very scary thing.

Long before people began to recognize me on the street, I began to set myself these blocks. I want to remain human and do what I love. Don’t go over anyone’s heads, don’t cross anyone’s path, just work.”

About life

“Life is a journey. Step over difficulties, overcome! I am increasingly coming to the conclusion that life is here and now. And you can do this better only now, and not someday later. Of course, not to the extreme - to live to the fullest, but simply to enjoy what is happening today, because tomorrow you may not be able to enjoy it.

Of course, there are things for the future; in the majority, men think about such things for the sake of improving their family and loved ones, to create a rear. Promising thoughts are very good, especially since you attract what you think about. But we must try to appreciate every moment.”

Based on materials from Wikipedia and websites: , kino-teatr.ru, hellomagazine.com, 24smi.org, shepkinskoe.ru, citycelebrity.ru.

Movies

A cinematic biography of Ivan Zhvakin started in his early student years. In his 2nd year in 2010, the aspiring artist attended various castings and screen tests. Ivan first appeared on television in an episode of the TV series “Univer,” where he played a guy behind a bar. Two years later, Zhvakin was cast in the role of Igor in the melodrama “Woman’s Kingdom.” Olga Lomonosova starred in the film as a successful businesswoman.

Ivan Zhvakin in the series “Freud’s Method”

The debut of the young blue-eyed actor in the popular series was remembered by many viewers and became a stepping stone to another remarkable role. In “The Freud Method,” where Ivan Okhlobystin starred, Zhvakin played a climber.

This film turned out to be a wonderful school of acting, since Ivan was able to watch live the work of the master of Russian cinema. The employees of the police station where Roman Freidin worked as a consultant were played by actors Natalia Antonova, Elena Nikolaeva, Pavel Priluchny and Alexey Grishin.

Popularity and fame came to the young Chelyabinsk actor after appearing on screen in leading roles. 2013 turned out to be a particularly generous year for Ivan Zhvakin. The artist was seen in several projects at once. In the film “Beautiful to Death,” the artist was lucky enough to work on the same stage with Boris Khvoshnyansky, Alexander Sokolovsky, Ekaterina Malikova, and Lyudmila Chursina.

Alexander Sokolovsky and Ivan Zhvakin in the film “Beautiful to Death”

In the series "Glaciers" Vanya appeared in the image of the translator Maxim. Almost simultaneously, the comedy “Everything and at Once” was broadcast on TV screens, where Zhvakin played a hero who also bore the name Maxim. The film told about the adventures of friends who decide to make a deal with a bandit in order to get a large sum of money. The Russian distribution of the film brought the creators a decent amount of $3.5 million.

Somewhat later, the actor was invited to work in the multi-part project “Memory of the Heart,” where he played the main role of Denis, and for a cameo role in the urban fantasy “The Dark World. Balance" with Evgenia Brik and Alexander Ratnikov in the lead roles.

Ivan Zhvakin’s rapid career rise took place after appearing in a youth series about a hockey team. It was “Molodezhka” that made the Chelyabinsk resident known to the widest circle of viewers. The actor’s physical fitness and external characteristics (height 187 cm and weight 80 kg) helped Ivan get the coveted role. Vanya played the hero Alexander Kostrov, a charming, intelligent guy from a prosperous family who quit studying at an elite university for the sake of sports.

Ivan Zhvakin in the TV series “Molodezhka”

The young man's lover, Yana Samoilova, is played by Anna Mikhailovskaya in this film. Serial rival – Andrey Kislyak (Vlad Kanopka). Love for the hero of the series transformed into great sympathy for the actor. Zhvakin’s army of admirers and admirers increased many times after Molodezhka.

As Ivan shared in one of his interviews, the young man used the first fee received for playing in Molodezhka to buy a tablet for his mother. The son really wanted her and his half-brother Pavel to be able to communicate with Ivan every day and learn the latest news.

In 2014, Ivan Zhvakin continued to star in the next season of the favorite series of millions of television viewers, Molodezhka.

Ivan Zhvakin in the series “At a Far Outpost”

In 2020, Zhvakin’s filmography was replenished with new works. With the participation of the artist, a film about border guards “At a Far Outpost” was completed. In the melodrama, Ivan Zhvakin played the role of military man Alexander Prokhorov, the lover of the general’s daughter Lena Myagkova (Valeria Fedorovich), for whose heart careerist Anatoly Mishchenkov (Ivan Nikolaev) is also fighting. The series was released on the Rossiya-1 TV channel in May 2020.

In the biographical drama about the fate of maestro Valery Obodzinsky “These Eyes Opposite”, which was filmed in 2020 by order of Channel One, the main characters were played by Alexey Barabash, Vyacheslav Chepurchenko and Evgenia Brik. Ivan Zhvakin got the supporting role of Semyon Kandyba in his youth.

In the film novel about the fate of the Soviet fashion model Regina Zbarskaya “The Red Queen”, Ivan reincarnated as the hero Lenchik. In the melodrama “Breaking the Rules,” the actor played the hero Alexander Gordeev, a neighbor of the Pavlovs’ mother and daughter (Evgenia Dmitrieva and Sofya Khilkova).

Ingrid Olerinskaya, Ivan Zhvakin on the set of the film “Breaking the Rules”

Ivan Zhvakin also managed to take part in the television project “Polyglot”, which is broadcast on the “Culture” channel. In the 3rd season of the program, Ivan, under the guidance of linguist Dmitry Petrov, together with other participants, had to thoroughly study a foreign language in 16 lessons.

Filmography: Actor

• At the behest of the pike (2018), mini-series
• Happy Hearts Hotel (2017), mini-series
• Dancing to Death (2016)
• Loneliness (2016), mini-series
• At a distant outpost (2016), TV series
• Breaking the Rules (2015)
• Red Queen (2015), TV series
• Those Eyes Opposite (2015), TV series
• Memory of the Heart (2014)
• Molodezhka (2013-2017), TV series
• Dark World: Balance (2013)
• Glaciers (2013), TV series
• Beautiful to Death (2013)
• Everything at once (2013)
• Freud's Method (2012), TV series
• Indian Kingdom (2012), mini-series

Biography of Ivan Zhvakin

Ivan Mximovich Zhvakin is a Russian actor, star of the TV series “Molodezhka”. After 2013, viewers began to recognize him as Alexander Kostrov, a forward for the Bears hockey team, and in 2017 they saw the young man in the fantasy blockbuster “Dancing to Death.”

Star of “Molodezhka” and “Dancing to Death” Ivan Zhvakin

Television projects[ | ]

Advertisement[ | ]

1. Tuc advertising - 2014

Transfers[ | ]

1. Polyglot (TV show) - third season, French, first broadcast from January 8 to January 31, 2013
2. Molodezhka, Film about the film, December 16 and 17, 2013 on the STS channel
3. Hour X, channel “Smena” - 2014
4. Molodezhka, Film about the film - 2, part 1, STS channel, November 17, 2014
5. Molodezhka Film about the film - 2, part 2, STS channel, January 26, 2015
6. Big kitchen, STS channel, September 6, 2020

Clips[ | ]

1. Alsou - “I didn’t invent you” - November 2010
2. Rene - "Snow" - 2012
3. Lizabeth - “Hold Me Tight” - 2014

Filmography

Actor Ivan Zhvakin: “I want People to remain People in all cases!”

The hero of our today's report is the talented young actor Ivan Zhvakin, beloved by millions of viewers for his role as striker Alexander Kostrov in the cult television series "Molodezhka", the leading actor in one of the most high-profile premieres of the year - the full-length fantasy action film "Dancing to Death". Ivan Zhvakin on Instagram: https://instagram.com/zhvaka74

In an interview with World podium correspondent Yulia Buruleva, Ivan spoke about the development of his acting career, his first steps in the profession, shared biographical facts and interesting stories from filming, as well as thoughts about global fundamental values, moral issues, psychological aspects that concern one or another degrees of each person, regardless of age, geography of residence and any other factors.

Are you originally from Chelyabinsk, did you study at a specialized theater school? At what age did you realize that this was your future profession and not just a hobby?

In parallel with general education, I studied for 6 years at a theater school, where we had 15 subjects. The priority is acting, music, and sports training. When you are in adolescence and have little time left for yourself, collapses periodically occur, because of which you can easily lose your way. There were all sorts of situations when there was a desire to give up everything, because I just wanted a childhood like everyone else. My parents, especially my mother, insisted that even for general development, the task must be completed. But until I entered I didn’t understand whether this would become my profession.

Didn’t your parents convince you to get a more stable profession before connecting your life with the illusory path of acting?

My father spoke more about this, who was a supporter of an official career, where you can gradually work your way up to your position. I understand him perfectly - he wanted reliability for me, confidence in the future. But my mother was in favor of trying to enter the theater school. I objectively listened to both sides, and relied on the will of Chance - how the card would fall. Following my mother’s instructions, I passed the Unified State Exam in the 11th grade, and she and I went to Moscow to enroll in theater universities. Many thanks to her for her support, because it is both physically and mentally difficult to let a boy go so far alone. It so happened that I was accepted into several institutes at once. My choice fell on the Higher Theater School (Institute) named after M. S. Shchepkin.

Why Shchepkinsky School-Institute?

I was pleased with the course that was gaining at this moment, master. And, of course, the courtyard played its role - a magical place in the middle of the Central Department Store and the Maly Theater, concentrated in the center of Moscow, where it has its own lively atmosphere, special energy and soul.

What did you read upon admission? What works?

The poem “Demons” by Pushkin, Gogol - an excerpt “Vakula on the Devil” from the cycle “Evenings on a Farm near Dikanka”, works by Yevtushenko, Shukshin, a fable by Krylov. He sang “Katyusha” and “The Bear’s Lullaby”. I had features with a low vocal voice - “bass profundo”. Now the experience with vocals has faded into the background, but I really want to raise this layer again and continue making music.

Did teachers in Chelyabinsk recommend choosing a program for admission?

We were trained at a theater school by a teacher from Chelyabinsk, a wonderful actress, Valentina Nikolaevna Romanova, she made programs for us.

It’s amazing how comprehensively you were trained at the regional theater school! And what a social aspect - the guys didn’t disappear on the street, but received such development in different directions!

Many thanks to Evgeniy Ivanovich Egorov, director of our theater school. For an absolutely symbolic sum of 2,500 rubles per month, we received colossal, versatile training! Since the 80s, this school has trained a huge number of children, many of whom entered universities in the capital. For example, the popular actor Leonid Telezhinsky, a native of our school, which has educated several generations of graduates!

But, alas, I cannot help but note that the city authorities did not share the aspirations of Egorov and the teachers, and created a huge number of obstacles against the official existence of this school. Since the 80s, officials have organized powerful pressure, cutting off oxygen at all levels. They wanted to reduce the level of the school to the rank of a circle simply because the city did not want to allocate funds from the treasury for rent or for teachers; officials insisted that the school was an amateur activity and instead of 15 subjects, three would be enough. We defended ourselves as best we could, even going on hunger strikes. Litigation was endured, subsided for a while, and then the wave rose with renewed vigor. It was all disgusting. Roughly speaking, I am “The Last of the Mohicans”, these people still achieved their goal - they closed the school. I am glad that fate smiled at me and it was not because of me that our educational institution ceased to exist! I sincerely thank my teachers and tell them everywhere where I come from and who wanted to close this school!

And although Chelyabinsk greets me very warmly and cordially, I purposefully tell the truth about my school and its history. Obviously, I'm not angry at my hometown, I'm angry at the people who did this, but I don't know their names. I hope that the school will resume work and the unprofessionalism of officials will be stopped.

Was it morally very scary to go to Moscow? After all, all friends and relatives knew about the plans, some with good wishes, and some with skepticism - like “To Moscow to dispel the melancholy”?

It wasn’t the whole city that bothered me, but my close people—relatives and friends. All my family supported me. They knew that I had given six years of my life to this. There were, of course, characters from school around who quipped with skepticism: “Who do you think you are?” I hope these people are doing well now.

While preparing for the interview, I learned that part of your life is connected with the picturesque village of Kaga in the Beloretsk region. As a native of Beloretsk, I can’t help but wonder what connects you with these places? How often have you been there?

Kaga is a third of my life, I often dream about this place. My paternal grandfather left an apartment in Chelyabinsk to my parents, and my grandmother and I came to the collective farm, to a village called Kaga - almost like “Prostokvashino”. Before school, I spent most of my time in the village; my grandparents, of course, were happy to babysit their only grandson, and I helped as best I could. They said about me: “I don’t want an assistant without anything!” Many qualities were instilled in me in the village, which is especially important with the current generation; this is probably what is called hard work. When my school years began, I came to Kaga for the summer holidays, for all three months. I learned all the delights of the village: mosquitoes, mowing, various features and nuances. The Urals are beautiful, wonderful, fresh, but they have such long, harsh winters, the land is infertile, people work very hard to grow something on it. Bashkortostan itself is an interesting place, the village foundations are original and open! I even managed to catch the echoes of collapsing collective farms - working fields, equipment. The guys on horses kept order, in a simple village there were factories, elevators, warehouses, the whole village had work! What happened later, when all this was gone, is, of course, sad...

Did you ride horses? Have you rafted down the Belaya (river name)?

Yes, of course, a horse, a river, swimming, picking berries, rafting on inflatable boats. There is a horse in the village, her name is Grunya, tall, stately, she recently gave birth to a foal - Hector. This place occupies a huge space in my life, and I am very grateful to it; I always want to return there. For example, my grandfather taught me to drive a car; he and I drove across the field in a Zhiguli. I don’t have a license yet (I plan to soon), but I received all the experience of a motorist from my grandfather.

You became a resident of the capital quite a long time ago. How much has Moscow changed you as a person?

It forced me to cover myself with some kind of protective crust. I learned a very big difference between the people where I lived and where I came. For me, cities are associated not with architectural, historical or any other aspects, but with the differences of people! It is people who shape the city, the atmosphere, the mood, the way of life, the whole life. I especially began to understand and appreciate these things when I arrived in Moscow, where I saw other colors of people that I had not noticed in such numbers before. I was upset about a lot of things, but not about the profession, but about people - this contrast made me think about a lot of things. At the institute they called me childish spontaneity - sincerity, openness, simplicity. And it’s so easy to offend when you know how to use it. What is especially painful is the lack of understanding: why does a person do this, is it conscious? Everything is relative. In Chelyabinsk there was a certain kind of people who suited me, they were open to their extent, and dangerous to their extent. In my small homeland, people are simpler, but I generally keep quiet about village life. These beautiful grandmothers who sing such songs make you want to live and continue singing! I had to cover myself with some kind of protective film that would not allow me to penetrate into the depths of my soul so easily.

We all know that hundreds of students graduate from theater universities every year, and only a few remain in the profession. Remember the first castings, the excitement associated with it.

If you don’t know any casting directors, it’s difficult to get an audition; this is the job of the agent I got in my 2nd year. I remember well the sensations from the first tests - childish fear and excitement, turning into a kind of ambition - like I can do anything and am not afraid of anything! I still didn’t understand many things, but I didn’t worry if something didn’t work out. This is just the beginning. The equator is called half of the training. I believe that 4 years is a long time to train an actor. In an ideal situation, a course of 8-9 people, two years of intensive work with a professional teacher and good material, and you will be prepared. But for now there is a different system in place - the average acting course is 30 people, and the training period lasts 4 years. In senior years, you have free time that needs to be used somewhere. During this period, I decided to listen to those who said that I had the right type for the modeling industry, and sent out my profiles to several agencies. Out of 10, 7 responded, there was even an offer to go to China - a contract for a year and a half, it was required to demonstrate various things, I immediately refused this.

Gradually, the first film roles began to appear. There was a period of testing, as a result of which I was accepted into several projects at once, and simultaneously starred in three. The samples gradually moved from quantity to quality. The youth put a special emphasis on themselves!

Every actor undoubtedly dreams of a project like Molodezhka! You can easily be called heroes of your time, as were, for example, the Musketeers and Midshipmen. Tell us how you came to the casting. Did you immediately audition for Sasha Kostrova? Or were you considered for other characters?

I auditioned straight away for Sasha Kostrov. At the end of the audition there was excitement, suddenly something went wrong, the director uttered the phrase: “We’ll see, maybe we’ll call you to audition for the role of Ponomarev.” But they didn’t call him, but assigned him to Kostrov. As time passes, I clearly understand that it’s good that things turned out the way they did. Kostrov is very close to me. We were selected based on temperaments that matched the characters, so we have a lot in common, but of course not everything. I am more multifaceted than Kostrov; I realized a lot of what he is gradually learning a long time ago.

How did you feel about hockey before Molodezhka? Did you watch, cheer, play or were you indifferent? How was filming hockey?

Before Molodezhka, I had absolutely no interest in hockey. I didn’t develop any passion for the entire sports industry at all; I didn’t particularly root for any of the sports. Accordingly, I was not prepared for hockey, I only skated forward on rental skates in the park. The amount of preparation is three months before the start of the season, three months of ice block. The ice block is removed in the summer, since only at this time of year the ice palaces are free from competitions. If you multiply 5 months by 5 years, in that time even a lazy person will master some techniques. You, of course, did not become a hockey player - the reaction, speed, and handling of the puck are not the same, so in the general plans we are replaced by doubles - the speeds are visible, they cannot be hidden. But you can pretend! Ours is medium and close-up, we do the same combinations as the doubles.

It is impossible to avoid conflicts on the site, but it is logical to assume that the organizers of the process are doing everything to ensure that the atmosphere on the site is friendly and the moral and psychological climate is comfortable. When you’re not filming, do you often meet with the guys? Are you close friends with someone?

We have joint trips to cities and events at different intervals. Sometimes, during auditions or on the set of other projects, contact occurs, but not as often as we would like. Now each of us is focused on career development. Life goes on in full swing, but everyone lives according to their own circumstances!

Night shooting is not at all uncommon in cinema; there are even night projects, which for a number of reasons are filmed primarily at night. Is it possible to get used to it?

I didn’t have such daily practice day-night-day. Some manage to film during the day in one project and at night in another. You can get used to everything. The main thing is to eat normally and really get enough sleep, two resources that a person needs, and I always feel so sorry for wasting time on this. If there was a possibility, I would rule it out, but, alas, people are designed in such a way that we spend a third of our lives sleeping.

After Molodezhka, you can say you woke up famous! Didn’t the ground move from under your feet from the surging glory?

I don't think I achieved everything I wanted. I always believe that my best role is still being written or is already looking for me. I was born into an average family; there were no actors in my family. I looked at village, city, and media life. I’m interested in philosophizing on these topics - what happens to the brain, how it tries to adapt in the right direction, interact with society so that it doesn’t get offended by you simply because you don’t have enough strength for someone. How to deal with this? I searched, and, strangely, I did not find a single scientific paper on this topic. There are treatises on “Star sickness”, but this is different. You seem to be not a timid person at all, charismatic, not afraid to be in the center of attention, but when every third person finds out, it is logical that sometimes you want to hide. At such moments, you realize that thoughts and opinions when someone “stars” are also twofold. On the one hand, if a person just wanted fame, and on the other hand, if he is trying in every possible way to protect himself from this excitement, since this is not why he is engaged in a profession.

Like any medal, part of this downside is the limitation of free space; it is difficult to travel unnoticed on the subway, sit in a cafe, or walk in a crowded place. And while attention is certainly nice, asking for autographs and photos is part of the profession, but sometimes it can be annoying. And people do not always behave civilly; their mood varies. How do you react?

Communication with the public is one of the aspects of the profession. I don’t have a car, my priority is saving for housing, and driving through traffic jams is problematic; I travel by subway, using a cap, glasses, and other elements of “disguise.” What helps is that people are focused on their phones and don’t look around. Because of my outlook on life, I want to be courteous and polite, but people are different. The sad thing is not the question of recognition, but the question of tact and culture. Of course, I'm not talking about everyone. There are those who, without any greed, from the heart, warmly and sincerely. But sometimes a residue remains and you are energetically exhausted. Some, if they find out, like an X-ray, they read the information - what are you wearing, what kind of person are you, what do you look like? The metro is a separate topic, a closed space where sometimes you immediately recognize a lot of people - you look at the contingent, age, once it was a whole class... In general, the topic is interesting: the moment of photography as an element of respect among peers? This is a kind of thirst and race. Sometimes people don’t even know my name, calling me by the name of the character. Of course you think: I don’t want to be evil, I’ll do whatever they want, but this is not always possible.

A year ago I went to Kaga to visit my grandparents and recklessly, on the first day of my vacation, posted a photo with my location. I didn't think there would be such a stir! The foundations of village life imply certain specifics - openness, simplicity. And throughout the week there were delegations in whole classes, everyone, of course, needs to be given attention. I don’t feel sorry for it, it’s great, it’s nice, but this, of course, undermined the very feeling of relaxation! People don’t know that there were many people before them, and perhaps they will come after them - I don’t want to offend anyone, but I’m alone. It's always a dilemma. And that’s where it sometimes happens that actors close down... Not because they “starred.”

The organization of events, unfortunately, also varies. Inappropriate elements of society sometimes come across, if there is little security, in isolated cases a crush may occur and people may get hurt.

I would like for People to remain People in all cases, then no one will be afraid of anyone, everyone will just want to communicate with each other.

Let’s remember the legendary “Moscow doesn’t believe in tears” and the phrase about nothing but television. Now the same can be said about the Internet. How do you personally feel about the dynamics of modern times? To the fact that sometimes the virtual world displaces the real one?

You need to understand why this was even invented? As you begin to understand, awareness will come, you will begin to make choices. I try to use the gadget as a moment of constant information flow, a portal for quick access to information - I like to watch articles, scientific publications, movies. We are what we eat, we are what we hear! Unconsciously, all the information we receive transports something. Unfortunately, for young people, virtual reality is often built as a location where they can feel like someone important. There are many who put themselves on the pedestal of the great “troller”, people scold each other, this is a trend, it is considered cool, although it is very sad. After all, an almost “endangered” species is the reading schoolchild! This phenomenon occurs once every two years!

And another downside of the profession is attending various kinds of social awards and parties. How do you feel about social life?

The Internet space is systematized so that everyone positions themselves and receives approval and attention from society. 70% of people measure their well-being in the material world and feel comfortable. It doesn’t attract me, just like clubs, for example. I don’t want to go to extremes and talk about all bohemia, I understand perfectly well and objectively admit that everything has the right to exist. But I approach this exclusively from a working point of view - to get acquainted and communicate with some director, producer, and meet with colleagues. I want to be valued not for gossip columns and PR campaigns, but for my creative successes!

Let's talk about the new project - the fantasy film "Dancing to Death." Events take place in the future. How interesting was it to teleport forward in time?

A debut in a big movie, a full-length feature, a huge experience that I gained on the set. Fantastic action, with computer graphics, cool music and a good cast. I will say that there is no shame! I especially want to point out that the guys did not delay the timing in creating the film, this concept is observed quite often. Here I did not notice this, which pleased me on the part of the filmmakers. Then everything depends on the assessment of the viewers themselves. I'm a little nervous before the premiere, but I hope everything will be fine! I will present the film at the premiere in Moscow, Novosibirsk. I hope that they will also send me to Chelyabinsk if there is a presentation of the film there. When the “Molodezhka” tour took place, I could not come to Chelyabinsk, since I was in Minsk at that time. And the guys said that the whole stadium shouted: “Zhvakin! Zhvakin! The attention and love of the residents of your hometown is, of course, especially nice!

What was the atmosphere like during filming? And what was the most difficult from a technical and emotional point of view? How long did the shooting last?

Filming lasted for a month and a half. Films in this genre are always technically difficult, both on-set work and computer graphics. I never tire of talking about the most difficult scene of the interrogation - when I was hung upside down from the ceiling on a chain. Filming is a slow process, several shots and plans. In one of the shots they hung a camera on me - a Steadicam vest. The feeling is not pleasant - you hang upside down for a long time, the cable on the vest, passed through the leg, rubbed your leg, the vest with the camera adds additional stress. It was very difficult from the point of view of blood circulation. I also remember the scenes when we, suspended on a cable, flew up to the ceiling in a hangar about five meters high, and then flew sharply down in free fall. At the last moment we caught the rope, we stopped a millimeter from the floor.

We did all these scenes ourselves. There were understudies only in the dance elements. I am a “populist”, and those genres that were used in cinema must be comprehended gradually, this cannot be done at once. Some were done by me, some by doubles, high-quality work by editors and a final picture that looks like one whole.

How do you like to spend your free time and vacation?

I would like to return to active recreation - skiing, learning to snowboard. I haven’t been to many places yet, I haven’t seen much of the world. On vacation we went to Samui - sun, motorcycle, shrimp, fresh fruit. I love water very much - just a warm bath, hammam and, of course, the sea!

Do you have time for fiction?

Mainly Dovlatov. At the moment I am more interested in scientific history, I understand that I am robbing myself of reading, but I know for sure that with age I will definitely come to fiction and poetry.

How is your relationship with the theater?

I don’t want to join a repertory theater troupe. I am waiting for proposals for enterprise performances - one or two enterprises will fit perfectly into my schedule. I would love to participate! It will be especially wonderful if an interesting team comes together.

What was the most memorable thing for the audience in the theaters?

In general, I can’t call myself a big fan of going to the theater and I don’t do it often. I was impressed by the production of “War and Peace” at the Fomenko Theater - the performance lasted four hours, three acts in one breath! I never became distracted or wanted to “change” the channel.

Are there any names or vectors in the profession that you want to emulate? Of course, I'm not talking about idols, but simply about those whom you admire and respect?

Keanu Reeves! I’m not even discussing his acting abilities, it’s an amazing level. I admire him as a person, the way he gives interviews, the way he looks. I looked at several entries - his thoughts intersect with mine, in his look and behavior he is close to me. Also Robert Downey Jr., Jack Nicholson, Will Smith, Jude Law.

From our compatriots?

When I entered, my favorite was the St. Petersburg Trinity - Trukhin, Porechenkov, Khabensky. I love Chursin, I like the work of Timofey Tribuntsev.

Your mother is a veterinarian by profession, which means that your childhood was largely connected with our smaller brothers. Do you currently have a pet?

I am renting an apartment until I have prepared the owner for this resident. I really want a cat, I spent my entire childhood with animals - we bred Don Sphynxes, we had one cat, 7 kittens, two more dogs - a Staffordshire terrier and a Rottweiler. There is a real shortage of animals right now. The cat is a difficult person, he has his own ambitions and pride, but you can find a common language with him. An animal is a reflection of its owner. I will have a strict, clearly developed system of relations with him, based on respect, honor and love. If an animal, like a person, has not had a negative experience in life, it will not know what it is. You must initially build a correct, non-hostile relationship with a cat, and not only with a cat, but with any living creature, even with a person!

I recently visited the Cat Cafe and overall I liked it. But the critical point is the contingent of people who come there. There was one girl with me who really wanted to capture the cat’s attention, but he didn’t care about her. She tried so hard to attract attention that she hit him in the face and eyes with a stick... It’s sad that the staff didn’t react in any way, because each animal has its own character, they get tired, start to get nervous, pour out negativity on each other, which is where clashes and fights occur . Everything comes from the family! The girl’s mother didn’t explain to her that this is not the right way to treat an animal! And after such an experience of communicating with people, an animal will develop a corresponding stereotype - it will not be able to fully trust.

We must not forget that “we are responsible for those we have tamed”, about the sense of mercy, justice...

I am always outraged by people who think only about themselves, I feel the vital force in myself to try to somehow re-educate them, to morally explain that this is wrong. This is not the goal of life, but you can’t just observe, you have to change all this somehow! It’s wrong to push each other on the subway, be rude, insult! Many, if they do not have a worthy opponent in sight who can object and fight back, behave disgustingly, assert themselves, humiliating and offending others, showing their importance. I would like to respond with a coin, morally “punch through” this case and make sure that the person gets it.

It’s always very painful when you see or feel injustice and realize that due to some circumstances, you cannot change it, but you don’t want to accept it, becoming just an outside observer.

First of all, you need to understand - why was everything created? Some fundamental things, and illusory ones - a pyramid of values, from material to spiritual. Then the choice is yours: live this life calmly, understanding everything and keeping silent, or quietly change something. If, for example, you have information that can help many, it is logical that you want to share it, the main thing is for the good, and not for someone who uses it for selfish purposes. It all starts with the sandbox and ends with the state.

“We all come from childhood” and personality is also formed from an early age.

When a person falls victim to the consumer system from an early age, he thinks that this is how he gains attention, but, meanwhile, his personality is already destroyed from the inside. I believe that showing individuality in this case is going the wrong way. A person promotes this system so that others envy and try to be like him, this is globally thought out, marketing. Brands are a material world, and PR can be anything, not just a person, even a teapot can be brought to an unrealistic cult! And the choice arises: is it worth explaining all this to people who will never understand it? Or maybe not even try? I have a lot of interest in the Venus program of scientist Jacques Fresco. Its essence is that automation and technology will be intelligently integrated into all public spheres with the goal of improving living standards, and not making profits, unlike the modern system. Those who did not fall under this influence or were able to break out of the system develop critical thinking - as an objective perception of everything, and not just what was invested in you at school or institute. This is just one of the programs and settings that you have to carry out, like in The Matrix. You can delve into the topic of cyber space, parallel worlds, and virtual reality for a long time. And this is interesting, important and necessary for me!

It's great that you care about these topics! That there are still people who care what happens to the world as a whole, and not just locally to their lives.

No one will ever tell me this for sure, but I really want to be committed to this information. As soon as your own horizons expand a little compared to what they were before (you can, of course, expand indefinitely), the problems that worried you decrease at lightning speed. And you immediately begin to appreciate the things that are really missing in life.

On the other hand, it is often difficult to abstract from stereotypes. Many people think primitively and materially, this is a fact.

Very difficult! And it’s even more difficult when you play things that you yourself understood a long time ago, and your character is still comprehending these truths! There are a lot of primitive situations, but you have to play how you will get out of this situation?

Can you name your dream role? At the cinema?

I don’t give a specific answer to this question, because I think that this is not the most important thing. Much more emphasis on Who you are working with! And the role can be enriched with anything and any way you want, as long as it’s not a classic and you can’t stray too far from the material. Everyone makes their own character. It may be silent, without text, but you need to understand it.

How do you feel more comfortable working with directors? When does the director specifically set a task and demand unquestioning execution? Or when he leaves a moment for improvisation, does he conduct a dialogue?

It all depends on the circumstances, on the team. The profession requires costs, analysis, analysis. When you are full of energy, have had enough sleep, and are in a good mood, yes, of course, you want to improvise. But if you had 8 shifts in a row without days off before, you don’t have the enthusiasm to do deeply creative things. The magic of cinema is a small deception, an illusion. It’s cool and nice when the director doesn’t care what’s happening in the frame. But, alas, the role of the director in the modern world is often leveled, the function of the producer comes to the fore, which did not exist before in the Soviet Union.

How is this possible? After all, it used to be that the director was always considered the captain?

The attitude has changed radically. In modern cinema, the director becomes a kind of hired employee, turning into a mechanism that has professional knowledge, concepts of how to build a scene and frame, but at the same time it remains a function in order to film. And if the script is bad, the director also remains a “scapegoat”, because, as a rule, the audience holds him responsible for the final result. Of course, there are directors who are passionate about their work, try to edit, rewrite, and come up with something right on the set. I want to work with someone like this for as long as possible and gain valuable experience. But this is such a rare occurrence now. There are very few Directors with a capital D in Russia, and even fewer screenwriters, and they are often unknown.

There’s always an element of believe it or not. It is difficult to convince some of the audience, but there are people who are easily deceived.

There is such a thing as prime time, which airs the most successful projects, from the channel’s point of view. A huge number of people watch TV at other times. Unfortunately, much of what is shown on screens is “philistinism.” Again, what to watch and what not is the viewer’s choice. I don't judge anyone. But still, addressing the audience, I urge you to come to your senses, think about it before it’s too late!

Of the recent films you watched, what particularly caught your attention?

The film "Interstellar", and from the cartoons - "Inside Out". “Interstellar” is not just science fiction, the director really wanted to convey his thoughts! This is cinema with a capital C! I tried to show people who watch little, it’s hard for them - the brain can’t process such information right away, it’s hard to concentrate. But this is not what is needed, but simply Necessary! First of all, for the person himself!

Would you like to try yourself in directing someday? Or are there no such thoughts yet?

I believe that I will acquire some experience that, over a certain period of time, will be systematized in my head with previous knowledge, which will give me a platform for comparison, giving rise to a new idea or view. If all this seems so interesting to me that I can’t keep quiet about it, then I’ll go into directing. But only if there really is something to tell! And not just the function of a “cog” in a huge mechanism.

Do you believe in fate, in the power of destiny? It is clear that we cannot go with the flow, but not everything depends on us.

In my inner world, I put these topics under huge question; they are in my “swing” archive. At one age there were certain views that I did not believe in fate, but in destiny, because fate is a plastic substance, it can bend, and it can be consciously changed. I was convinced that no matter how much you want to change something, if it is destined, it is irreversible. And now I have begun to give greater preference to the perfection of the human soul, its individuality, and abilities for development. The possibilities of human consciousness are very interesting to me. Why? How? For what? A huge number of questions to which there are no answers. There are my points of view, taking into account everything I have seen and read, but there are no categorical conclusions. I really want to meet as many people as possible with whom I can talk about this topic. I draw the lack of this resource from the “gadget” portal, but I just want a human assessment.

Now I believe in some ramifications of this or that situation. As in the first option, that fate is plastic, so is the fact that a person, like a resonator and a radio receiver, transforms energy, which he can use in any direction. And most people use it on a negative wave, thereby attracting negativity, unconsciously, do not understand why this happens? Maybe because they don’t want to waste their energy on others, that they are too lazy to resonate in a positive direction? Even Leonov said that it is difficult to be good, it takes a lot of resources and effort, it is difficult, unlike someone who is constantly angry. People with a positive “receiver” attitude expend more energy.

At this stage of life, I think that we are some kind of resonators, passing through ourselves the energy and choice already on our consciousness, as on the individual personality of the soul - to do it in a positive or negative way, to think only about ourselves or about others.

Do you agree with the statement that “success is a journey, not a destination”?

Absolutely! And life is a journey! Step over difficulties, overcome! This question is raised beautifully in the film “What Men Talk About,” when you think that life will begin somewhere out there, but it’s illusory. Each of us has our own problems, they differ in size and in our attitude to this world. If we perceive reality exclusively materially, then the problems are concentrated on the fact that some objects have been dropped, broken, broken. Of course, I want to sympathize with such people. For myself, I realized that I don’t want to be dependent on these things and add negative emotions! I am increasingly coming to the conclusion that life is here and now! And you can do this better only now, and not someday later. Of course, not to the extreme - to live to the fullest, but simply to enjoy what is happening today, because tomorrow you may not be able to enjoy it. Of course, there are things for the future; in the majority, men think about such things for the sake of improving their family and loved ones, to create a rear. Promising thoughts are very good, especially since you attract what you think about. But we must try to appreciate every moment!

We thank Ivan for the sincere interview and for the powerful platform of values, depth of soul and intellect that he manages to preserve in this dynamic world, where many are absorbed in the illusory virtual and material reality. Many skeptics love to talk about the lost generation, about lost principles, and scold modern actors... But thanks to Personalities like Ivan Zhvakin, who retain their individuality in any coordinate system, are not afraid to be themselves, openly share their feelings, thoughts, questions, doubts, worries, the hope remains and lives on that the “Romantics of long and difficult roads” have not yet disappeared (quoting the legendary Eduard Asadov)! Good luck to you, Ivan, inspiration and interesting people around you like yourself!

Excerpt characterizing Zhvakin, Ivan Maksimovich

“To Mr. Baron Asch from General Chief Prince Bolkonsky,” he proclaimed so solemnly and significantly that the official turned to him and took his letter. A few minutes later, the governor received Alpatych and hastily told him: “Report to the prince and princess that I didn’t know anything: I acted according to the highest orders - so... He gave the paper to Alpatych.” - However, since the prince is unwell, my advice to them is to go to Moscow. I'm on my way now. Report... - But the governor didn’t finish: a dusty and sweaty officer ran through the door and began to say something in French. The governor's face showed horror. “Go,” he said, nodding his head to Alpatych, and began asking the officer something. Greedy, frightened, helpless glances turned to Alpatych as he left the governor’s office. Unwittingly now listening to the nearby and increasingly intensifying shots, Alpatych hurried to the inn. The paper that the governor gave to Alpatych was as follows: “I assure you that the city of Smolensk does not yet face the slightest danger, and it is incredible that it will be threatened with it. I am on one side, and Prince Bagration on the other side, we are going to unite in front of Smolensk, which will take place on the 22nd, and both armies with their combined forces will defend their compatriots in the province entrusted to you, until their efforts remove the enemies of the fatherland from them or until they are exterminated in their brave ranks to the last warrior. You see from this that you have every right to reassure the inhabitants of Smolensk, for whoever is protected by two such brave troops can be confident of their victory.” (Instruction from Barclay de Tolly to the Smolensk civil governor, Baron Asch, 1812.) People scurried restlessly through the streets. Carts loaded with household utensils, chairs, and cabinets continually drove out of the gates of houses and drove through the streets. In the neighboring house of Ferapontov there were carts and, saying goodbye, the women howled and said sentences. The mongrel dog was barking and spinning around in front of the stalled horses. Alpatych, with a more hasty step than he usually walked, entered the yard and went straight under the barn to his horses and cart. The coachman was sleeping; he woke him up, ordered him to lay him to bed and entered the hallway. In the master's room one could hear the crying of a child, the wracking sobs of a woman, and the angry, hoarse cry of Ferapontov. The cook, like a frightened chicken, fluttered in the hallway as soon as Alpatych entered. - He killed her to death - he beat the owner!.. He beat her like that, she dragged her like that!.. - For what? – asked Alpatych. - I asked to go. It's a woman's business! Take me away, he says, don’t destroy me and my little children; the people, he says, have all left, what, he says, are we? How he started beating. He hit me like that, he dragged me like that! Alpatych seemed to nod his head approvingly at these words and, not wanting to know anything more, went to the opposite door - the master's door of the room in which his purchases remained. “You are a villain, a destroyer,” shouted at that time a thin, pale woman with a child in her arms and a scarf torn from her head, bursting out of the door and running down the stairs to the courtyard. Ferapontov followed her and, seeing Alpatych, straightened his vest and hair, yawned and entered the room behind Alpatych. - Do you really want to go? - he asked. Without answering the question and without looking back at the owner, looking through his purchases, Alpatych asked how long the owner was supposed to stay. - We'll count! Well, did the governor have one? – Ferapontov asked. – What was the solution? Alpatych replied that the governor did not tell him anything decisive. - Are we going to leave on our business? - said Ferapontov. - Give me seven rubles per cart to Dorogobuzh. And I say: there is no cross on them! - he said. “Selivanov, he got in on Thursday and sold flour to the army for nine rubles a sack.” Well, will you drink tea? - he added. While the horses were being pawned, Alpatych and Ferapontov drank tea and talked about the price of grain, the harvest and favorable weather for harvesting. “However, it began to calm down,” said Ferapontov, drinking three cups of tea and getting up, “ours must have taken over.” They said they won't let me in. This means strength... And after all, they said, Matvey Ivanovich Platov drove them into the Marina River, drowned eighteen thousand, or something, in one day. Alpatych collected his purchases, handed them over to the coachman who came in, and settled accounts with the owner. At the gate there was the sound of wheels, hooves and bells of a car leaving. It was already well after noon; half the street was in the shade, the other was brightly lit by the sun. Alpatych looked out the window and went to the door. Suddenly a strange sound of a distant whistle and blow was heard, and after that there was a merging roar of cannon fire, which made the windows tremble. Alpatych went out into the street; two people ran down the street towards the bridge. From different sides we heard whistles, impacts of cannonballs and the bursting of grenades falling in the city. But these sounds were almost inaudible and did not attract the attention of residents in comparison with the sounds of gunfire heard outside the city. It was a bombardment, which at five o'clock Napoleon ordered to open on the city, from one hundred and thirty guns. At first the people did not understand the significance of this bombing. The sounds of falling grenades and cannonballs aroused at first only curiosity. Ferapontov’s wife, who had never stopped howling under the barn, fell silent and, with the child in her arms, went out to the gate, silently looking at the people and listening to the sounds.