Unacceptable luxury What I could do and what I didn't do. . .
Dinara Asanova is a large, large and serious Soviet drama director, almost a legend and master of the genre of his time. The era in which she created, it is customary to call and consider stagnant (stagnation it aptly and appropriately christened the last Soviet Secretary General, also widely known in narrow circles as Mineral Secretary Mikhail Gorbachev), but despite this, it is this relatively short and generally not very expressive period gave us the most vivid and memorable cult works of art, primarily in the field of art and cinema in particular. There is no sense and need to list all the figures of this important trend in the life of citizens and the culture of the country as a whole, you can quite limit yourself to a few well-known surnames. But how much does it matter now? . .
According to a rather short and dry article-reference from Wikipedia on the template ' was born, studied, did-created, died' it is difficult to understand and explain the fate of a person, especially a person creative and famous. Only in general terms can we learn something and find out, and even then not everything. But in this case, the only thing that remains is to turn directly to the creative path of this particular person in order to understand and study him, his landmarks and the inner world, if at all possible.
In general, one of the first thoughts that arises when viewing the biographical information of Dinara, the notorious & #39; was born - died' is a biography and the same short life of another famous and early left us film director, Larisa Shepitko. And although (someone) this may seem a mere coincidence, or, on the contrary, something of a kind of mysticism and vicissitudes of fate, but both of these women directors, who died so early, who have not yet had time to say and convey much in their works, even crossed paths in the work on the film & #39;Znoya' Shepitko, one of her first and notable works in the film field. Work on the film, namely the creation of material and shooting took place in the Kyrgyz SSR in 1962-1963, and Asanova, being a young employee of the same young, relatively recently (during the evacuation) created film studio & #39; Kyrgyzfilm', was an assistant and assistant to the newly-made director Shepitko. The difference between the two was only a few years and, as you may know, this work and cooperation with the ambitious, uncontrollable creative element in the body of a young and fragile woman most directly and directly influenced both the fate and further creative path of a young Kyrgyz girl.