Earnings on high-hype topics, Russian opinion


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    Tatyana

    Brought you a Russian article about theater with blackjack and … transgenders
    by Viktoria Nikiforova
    the source: https://ria.ru/20210705/bogomolov-1739990475.html
    my comments are in asterisks **

    Sobchak’s husband spent government money on a transgender man

    The Moscow Malaya Bronnaya theater chief producer Konstantin Bogomolov said that the role of Ranevskaya in the upcoming play “The Cherry Orchard” will be performed by a transgender. Well, in a simple way this is a man whose genitals have been amputated. His pseudonym is Natasha Maksimova.

    Since last year, everyone began to promote this person, as if by order. Cover photos, articles in glossy magazines, interviews with Bogomolov’s wife Ksenia Sobchak. In the photographs, we see a heavily painted skinny creature in women’s dresses from the most famous fashion designers. This is “Natasha Maksimova” – a middle-aged, almost 50 years old, biological man originally from Kazakhstan.

    He was born in Soviet Alma-Ata sometime in the early 70s. His father was a welder (“the best thing my father did was he died” – Natasha says), mom was a kindergarten teacher. The authors of the sugary magazine publications do not disclose the sources of their hero’s income; do not explain how he earned for women’s outfits from Dior and Balenciaga, for a Parisian apartment, for a sex change operation. We will not delve into this topic either. The hero’s memoirs feature the Alma-Ata “Intourist” with bandits and prostitutes, Parisian gay clubs, God bless them*, disgusting.
    *The meaning of this Russian idiom is: ‘Let it be so, I am surprised and cannot understand and agree, but let it be all right in the end’*

    Another thing is more important. The transgender Natasha Maksimova has never had anything to do with the theater. Director Bogomolov invites him to the main role in Chekhov’s play not for his acting talent. He sticks him into the play like a walking attraction. This is disgusting exploitation, in fact.

    The whole trick of this casting is that the satiated metropolitan bourgeoisie will spend three hours looking at a person from a poor family, from a distant national outskirt, who in the terrible 90s was forced to become … well, what he has become.

    *To clarify the context, I refer you to my comment. It describes the attitude towards LGBT people in my country, and YouTube video shows Russian children of the 90s, who were making sex with pedophiles, to survive.

    Hating Peter Tatchell


    If you are interested in why this was possible in Russia in 90s, then please take a look at this discussion:
    https://www.craigmurray.org.uk/forums/topic/russia-people-from-the-90s-tell-us-what-it-was-like-really
    *

    Wealthy Muscovites, who paid $ 100 for a ticket and $ 100 for a buffet, will get a chance to gawp at pathology, savor the thrill. Circus of freaks, that’s what it is.
    First, a minority representative – never an actor – is put under the spotlights. And then they pretend to “fight for his rights”. Try to prevent this and all the media will immediately go headlines: ‘A show with a transgender person was banned in Russia!’ Homophobic country, give it more sanctions. No, this is not a fight for the rights, no bla-bla please. This is just a cynical use of a living person for political purposes.

    It’s amazing that this whole brothel is being set up with taxpayer money. The Malaya Bronnaya Theater receives government funding. In 2022, our taxes will go to the fee of the transgender performing Ranevskaya.

    Maybe you don’t need to, maybe call the Minister of Culture, write some kind of petition there, explain, summon? But do you know what the minister and all officials in general will tell us? That they have no right to interfere in the creative process of Konstantin Bogomolov. Yes, you got it right. They give him money, but they have no right to call him to account.
    This is recorded in a government decree back in 1999. In black and white: “State authorities do not interfere in the professional and creative activities of the theater, except as otherwise provided by law…” Well, everyone has learned to bypass the legislation – Don’t cry, mom
    *Mom, if something happens to me (which is likely), then do not grieve for me.*

    The Malaya Bronnaya Theater received five hundred and eighteen million government rubles just to renovate its premises. About 400 thousand a month is Bogomolov’s personal salary. But if tomorrow he decides to stage ‘Romeo and Juliet’ about zoophiles, then nothing can be done about it.

    Well, except to dismiss Bogomolov from his post. But you can easily imagine what kind of hubbub will burst out here – ‘freedom of creativity’, ‘satraps’, ‘repression’. The whole theater party will screech. The caste instinct will turn on – ‘ours are beaten’.

    It’s no secret that this get-together for the most part consists of the children of Soviet officials, old-timers in the capital, who put a halter on financial flows 30 years ago. Konstantin Bogomolov is also a boy from a good Moscow family, the son of a famous Soviet film critic.

    “Outstanding” producers in this environment they do not become, but are appointed. As an intelligent person, Bogomolov understands perfectly well that he is not a real “genius”. He was inflated like a bubble by the party. There are dozens of great producers in Moscow who do not need any transgender people for the audience to burst into their performances. Bogomolov’s situation is different. If he does not catch up with the hype on the rise, people simply will not go to his theater. Therefore, he pushes his whole body against the Overton window…

    *the article further argues about what is a revolution in theatrical art; what meanings are actually needed by the modern viewer; other examples of modern reworking of the classics are given.
    Also, Victtoria says theat the globalist bosses impose their agenda, and Russian directors tend to copy well-monetized techniques from their Western colleagues.
    *

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