2 ñêàçêè Àëëa Ïóãà÷åâa ISBN 978-1-9252786-6-8

2 ñêàçêè Àëëa Ïóãà÷åâa ISBN 978-1-9252786-6-8 / http://proza.ru/2025/07/15/709 / 2 ñêàçêè Àëëa Ïóãà÷åâa ISBN 978-1-9252786-6-8 / 2 ñêàçêè Àëëa Ïóãà÷åâa ISBN 978-1-9252786-6-8

2021 ÑÊÀÇÊÈ: Äëÿ ÂHÓ×ÀT È ÁÀÁÓØÅÊ È AËËA ÏÓÃAרBA: ALLA PUGACHEVA: 44 Elf-Tales for GRANNY and GRANDKIDS ISBN 978-1-9252786-6-8 in English: French: Russian: 1-152


             Cultural Identity Iouri Runtu Uri Ryuntyu Yuri Runtu RU

Cultural Identity: Þðè Ðþíòþ: Runtu’s writings often explore themes of identity, culture, and the intersection of his Australian experiences with Russian narrative traditions. His unique position allows him to comment on both the Russian artistic landscape and his Australian influences, creating a rich tapestry of modern literature / http://proza.ru/diary/yuri2008/2025-07-24 / 2025.

Uri Runtu, also known as Þðè Ðþíòþ: Iouri Runtu: Yuri Ryuntyu, is an Australian writer, journalist, and cultural advocate. He has published works in various genres, including literature, poetry, ballet, theatre, and public activism, and his writings are available in multiple languages such as English, Russian, French, and German.

Runtu is also recognized for his contributions to literary and educational criticism, having authored over 100 books, including notable titles like "Australia: 2030: 2020: 2010: 2000: 1990: 1980" and "The Apostolic Silver Age of Russian Culture: 1840-2040".

These books are written in Russian and often include themes of kindness, imagination, and family. They’re published in Canberra and are part of a broader effort to share Russian diaspora literature with children and families.

Additionally, he is the founder of the Neo-transcendental theatre in Australia.

Þðè Ðþíòþ : In his Neo-Transcendental Theatre, Runtu goes even further, using surrealism and layered symbolism to critique the disconnect between institutional power and individual truth. His 10 plays blur the line between reality and metaphor, inviting audiences to question what’s real and who holds control…

Þðè Ðþíòþ : Uri Runtu is an Australian writer known for his literary contributions, including works that intersect with the artistic themes surrounding Russian showbiz superstar Ôèëèïï Êèðêîðîâ : Philipp Kirkorov.

ðåöåíçèè íà Àëëa Ïóãà÷åâa ISBN 978-1-9252785-0-7 - ëèòåðàòóðà äëÿ äåòåé
2 ñêàçêè Àëëa Ïóãà÷åâa ISBN 978-1-9252785-0-7 - ñêàçêè
2 ñêàçêè Àëëa Ïóãà÷åâa ISBN 978-1-9252786-6-8 - ñêàçêè
ðåöåíçèè íà Àëëa Ïóãà÷åâa ISBN 978-1-9252786-6-8 - ëèòåðàòóðà äëÿ äåòåé
2 ñêàçêè Ìàêñèì Ãàëêèí ISBN 978-1-9252781-8-7 - ñêàçêè
ðåöåíçèè íà Ìàêñèì Ãàëêèí ISBN 978-1-9252781-8-7 - ëèòåðàòóðà äëÿ äåòåé
2 ñêàçêè Ìàêñèì Ãàëêèí ISBN 978-1-9252781-7-0 - ñêàçêè
ðåöåíçèè íà Ìàêñèì Ãàëêèí ISBN 978-1-9252781-7-0

Èçäàíî 2021 - 2022 Êíèãè àâòîðà ÞÐÈ ÐÞÍÒÞ äëÿ Ðóññêî-ãîâîðÿùèõ Äåòåé è Ðîäèòåëåé â Àíãëî-ÿçû÷íîé Àâñòðàëèè : Uri Runtu: English / Canberra ACT Media TV Radio Celebrities Russia / Iouri Runtu: French / Þðè Ðþíòþ : Russian / Uri Runtu: English / Canberra ACT 2021 - 2022.

ÇÄÅÑÜ ÄËß ÒÅÕ, ÊÒÎ ËÞÁÈÒ ÄÅÒÅÉ È ÈÕ ÌÈÐ ÈÇ ÏÐÈÊËÞ×ÅÍÈÉ, ÑÒÐÀÍÍÛÕ ÏÐÎÈÑØÅÑÒÂÈÉ È ÓÄÈÂÈÒÅËÜÍÛÕ ÑÎÁÛÒÈÉ. ÇÄÅÑÜ ÍÀØÀ ÆÈÇÍÜ ÄÅÍÜ ÇÀ ÄÍ¨Ì Ñ ÐÀÄÎÑÒßÌÈ, ÎÃÎÐ×ÅÍÈßÌÈ È ÍÎÂÛÌÈ ÇÍÀÍÈßÌÈ. ÓÐÎÊÈ ÌÈËÎÑÅÐÄÈß, ÑÎÑÒÐÀÄÀÍÈß È ËÞÁÂÈ - ÑÒÀËÈ ÓÐÎÊÀÌÈ ÆÈÇÍÈ. ÈÍÎÃÄÀ ÂÇÐÎÑËÛÅ ÍÅ ÇÀÌÅ×ÀÞÒ ÑÀÌÎÃÎ ÃËÀÂÍÎÃÎ ÂÎÊÐÓÃ. ÈÑÒÈÍÀ ÆÅ Î×ÅÍÜ È Î×ÅÍÜ ÏÐÎÑÒÀ. ËÅÃÊÎ ÆÈÒÜ ÍÀ ÑÂÅÒÅ Ñ ÎÒÊÐÛÒÛÌ È ÄÎÁÐÛÌ ÑÅÐÄÖÅÌ. ÝÒÎ ÑÅÊÐÅÒ Ñ×ÀÑÒËÈÂÛÕ ËÞÄÅÉ. ÇÄÅÑÜ ÏÐÈÃËÀØÅÍÈÅ ÄËß ÌÀËÅÍÜÊÈÕ, ÁÎËÜØÈÕ, ÑÀÌÛÕ ÁÎËÜØÈÕ È ÈÕ ÐÎÄÈÒÅËÅÉ Â ÑÊÀÇÊÓ, ÃÄÅ ÂѨ ÏÐÎÈÑÕÎÄÈÒ ÑÀÌÎ ÏÎ ÑÅÁÅ ÁÅÇ ÂÎËØÅÁÍÈÊÎÂ È ÌÀÃÈ

Uri Runtu is an influential Australian writer and ballet critic known for his extensive contributions to literature and the arts, particularly in the realm of ballet.

Background
Uri Matthew Runtu, also known as Yuri Ryuntyu, was born in Russia in 1949 and moved to Australia in 1980. He has established himself as a significant figure in the arts, contributing to various literary and cultural discussions through his writings and critiques.
Ïðîçà.ðó

Contributions to Ballet Criticism
Runtu has authored numerous works that explore significant figures in Russian ballet, including notable dancers like Rudolf Nureyev and Galina Ulanova. His writings often reflect a deep engagement with both historical and contemporary cultural narratives, making him a prominent voice in ballet criticism.

Ïðîçà.ðó

Notable Works

Some of Runtu's notable works include critical essays and plays that address various aspects of ballet and its cultural significance. He has published over 60 books on literary and cultural criticism, which encompass a wide range of topics, including ballet, poetry, and literature. His critical essays often highlight the artistic contributions of ballet dancers and the evolution of ballet as an art form.

Ñòèõè.ðó
Personal Connection to Ballet

Runtu's personal experiences in the ballet world are also noteworthy. He served as a personal secretary to Rudolf Nureyev, one of the most celebrated ballet dancers of the 20th century. This role provided him with unique insights into the life and artistry of Nureyev, further enriching his critiques and writings on ballet
.
Ïðîçà.ðó

In summary, Uri Runtu's work as a ballet critic is characterized by his extensive literary contributions, personal experiences within the ballet community, and a profound understanding of the cultural significance of ballet in both Russian and Australian contexts. His critiques continue to influence the artistic landscape, making him a significant figure in contemporary ballet criticism.

If you are curious about Yuri Ryuntyu's writings ? / http://proza.ru/2024/03/17/1291 / SUL : Stanford University : Library / http://searchworks.stanford.edu/view/8597478 / Stanford, USA 2024

23 - ÑÊÀÇÊÀ ÞÐÈ ÌÝÒÒÜÞ ÐÞÍÒÞ :  ÊÎÒÅÍÎÊ Ñ ÀÍÎÌÀËÈÅÉ ÑÅÐÄÖÀ


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À ÐÀÇÂÅ ÊÒÎ-ÒÎ ÇÀÁÛË Î ÊÎÒÅÍÊÅ Ñ ÀÍÎÌÀËÈÅÉ ÑÅÐÄÖÀ?

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ÄÎÁÐÎÉ ÍÎ×È, ÌÀËÛØ.

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ÁÓÄÜ Ñ×ÀÑÒËÈÂ, ÌÀËÛØ.
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ß ÏÐÎØÓ ÒÅÁß ÑÄÅËÀÒÜ ÝÒÎ ÄËß ÌÅÍß,
ÒÂÎÅÃÎ ÏÅÐÑÎÍÀËÜÍÎÃÎ ÑÊÀÇÎ×ÍÈÊÀ.

ÂÎÇÌÎÆÍÎ, ÌÀËÛØ, ÒÛ ÓÑËÛØÈØÜ,
ÊÀÊ ÅÃÎ ÑÅÐÄÖÅ ÐÀÄÎ ÂÑÒÐÅ×Å.

ÅÃÎ ÑÅÐÄÖÅ ÁÜÅÒÑß ÐÀÄÈ ÒÅÁß È ÒÂÎÅÃÎ Ñ×ÀÑÒÜß.

ÒÂÎÉ ÊÎÒÅÍÎÊ ÀÁÑÎËÞÒÍÎ ÇÄÎÐÎÂ.

ÒÂÎÉ ÊÎÒÅÍÎÊ Ñ ÑÅÐÄÖÅÌ,
ÊÎÒÎÐÎÅ ÏÎÄÀÐÈË ÍÀÂÑÅÃÄÀ.

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24 - ÑÊÀÇÊÀ ÞÐÈ ÌÝÒÒÜÞ ÐÞÍÒÞ :  ÄÎÁÐßÊ È ÇËÎÄÅÉ Ñ ÁÎËÜØÈÌÈ ÓØÀÌÈ

×ÀÑÒÎ ÑÊÀÇÊÈ ÍÀ×ÈÍÀÞÒÑß: «ÊÎÃÄÀ-ÒÎ Î×ÅÍÜ ÄÀÂÍÎ…» ÈËÈ «ÆÈËÈ-ÁÛËÈ…»
À, ÏÎ-ÌÎÅÌÓ, ÂÑÅ ÑÎÂÑÅÌ ÍÅ ÒÀÊ, È ÑÎÂÑÅÌ ÍÅ Ê ÌÅÑÒÓ!
À ÍÀ×ÈÍÀÒÜ ÑÊÀÇÊÈ ÍÀÄÎ ÑÎÂÑÅÌ ÍÀÎÁÎÐÎÒ.

                À ÏÎÝÒÎÌÓ ÍÀ×ÍÅÌ ÒÀÊ:

ÑÅÃÎÄÍß, Â×ÅÐÀ È ÂÑÅÃÄÀ ÂÑÒÐÅ×ÀËÈÑÜ ÄÎÁÐßÊÈ È ÇËÎÄÅÈ ÍÀ ÇÅÌËÅ È Â ÊÎÑÌÎÑÅ.

À ÂÑÅ ÏÎÒÎÌÓ,
×ÒÎ ÈÇ ÃÎÐÄÛÕ ÐÎÄÈÒÅËÅÉ ÐÎÌÀØÅÊ ÂÛÐÀÑÒÀÞÒ ËÅÃÊÎÌÛÑËÅÍÍÛÅ ÄÅÒÈ ÐÎÌÀØÊÈ.

À ÂÑÅ ÏÎÒÎÌÓ,
×ÒÎ ÈÇ ÂÅÒÐÅÍÛÕ ËÅÒÍÈÕ ÎÄÓÂÀÍ×ÈÊΠ×ÅÐÅÇ ÇÈÌÓ
ÏÎßÂËßÞÒÑß ÒßÆÅËÛÅ ÆÅËÒÛÅ È ÂÅÑÅÍÍÈÅ ÎÄÓÂÀÍ×ÈÊÈ.

ÒÎËÜÊÎ ÈÇ ÍÅÂÇÐÀ×ÍÛÕ ÖÂÅÒΠÂÈÍÎÃÐÀÄÀ –
ÍÀËÈÂÀÞÒÑß ÐÎÑÊÎØÍÛÅ ÃÐÎÇÄÜß,
ÄÀÐÓÞÙÈÅ ÆÈÇÍÜ ÄËß ÄÐÀÃÎÖÅÍÍÛÕ ÂÈÍ ÍÀ ÑÒÎËÅÒÈß.

ÂÑÅ ÇÍÀÞÒ,
ÊÀÊÈÌ ÎÑÎÁÛÌ ÁÛÂÀÅÒ ËÅÒÎ,
È ÒÎËÜÊÎ ËÈØÜ ÁÛÂÀÅÒ ËÅÒÎ.

×ÀÑÒÎ ÎÑÅÍÜÞ ÑÁÛÒÜÑß ÍÅ ÌÎÆÅÒ,
×ÒÎ ÑÁÛÂÀÅÒÑß ÒÎËÜÊÎ ÂÅÑÍÎÉ.

ÅÑÒÜ ÏÎÄÎÇÐÅÍÈÅ, ÂÑßÊÈÉ ÕÎÐÎÂÎÄ ÓÄÀ× È ÏÐÎÈÑØÅÑÒÂÈÉ ÈÄÅÒ Â ÑÒÐÎÃÎÉ ÏÎÑËÅÄÎÂÀÒÅËÜÍÎÑÒÈ, ÊÀÊ Â ÆÈÇÍÈ ×ÅËÎÂÅÊÀ, ÒÀÊ È ÏÐÈÐÎÄÛ. ÌÍÎÃÎ ÒÎÌÓ ÏÎÄÒÂÅÐÆÄÅÍÈÉ Â ËÅÒÎÏÈÑßÕ, ÓÖÅËÅÂØÈÕ ÎÒ ÂÀÐÂÀÐÎÂ È ÄÈÊÒÀÒÎÐÎÂ.

ÒÀÊÎÂÀ ÈÑÒÎÐÈÈ ÑÒÐÀÍ È ÍÀÐÎÄÎÂ ÌÈÐÀ.

ÎÄÍÀÊÎ, ÊÀÊ ÖÂÅÒÛ ÇËÀ – ÎÑÒÀÂËßÞÒ ÑÅÌÅÍÀ ÇËÀ, ÒÀÊ È ÖÂÅÒÛ ÄÎÁÐÀ –
ÙÅÄÐÎ ÐÀÑÑÛÏÀÞÒ ÑÅÌÅÍÀ ÄÎÁÐÛÕ ÄÅË È ÄÎÁÐÛÕ ÏËÎÄÎÍÎØÅÍÈÉ.

ÓÐÎÆÀÉÍÛÅ ÃÎÄÛ ÌÅÍßÞÒ ÕÎÄ ÈÑÒÎÐÈÈ ×ÅËÎÂÅ×ÅÑÒÂÀ.

ÐÀÇÌÅÐÅÍÍÎ ÒÅÊÓÒ ÂÅÊÀ, ÑÌÅÍßß ÍÅÂÈÄÈÌÛÅ ÄËß ×ÅËÎÂÅ×ÅÑÊÎÉ ÆÈÇÍÈ ÒÛÑß×ÅËÅÒÈß.

ÑÒÓ×ÀÒ ÊÎËÅÑÈÊÈ ËÅÒ - ÃÎÄ ÇÀ ÃÎÄÎÌ È ÄÅÍÜ ÇÀ ÄÍÅÌ.

ÏÅÐÅÇÂÀÍÈÂÀÞÒÑß ÂÎ ÂÑÅÂÎÇÌÎÆÍÛÕ ×ÀÑÀÕ ÌÈÍÓÒÛ, ÄÎÃÎÍßß ÑÅÊÓÍÄÛ.

È ÝÒÀ ×ÅÐÍÎ-ÁÅËÀß ÊÐÓÃÎÂÅÐÒÜ ÍÅ ÑÁÀÂËßÅÒ ÍÀÏÎÐÈÑÒÛÕ È ÈÇÂÅ×ÍÛÕ ÎÁÎÐÎÒΠÍÀ ÇÅÌËÅ.

ÊÀÆÄÛÉ ÀÍÃÅË-ÕÐÀÍÈÒÅËÜ ÆÈÇÍÈ ÂÎÄÈÒ ÎÁßÇÀÒÅËÜÍÓÞ È ÍÀÑÒÎÐÎÆÅÍÍÓÞ ÄÐÓÆÁÓ Ñ ÀÍÒÈÏÎÄÎÌ, ÐÀÑÊËÀÍÈÂÀßÑÜ ÏÐÈ ÂÑÒÐÅ×Å Ñ ÀÍÃÅËÎÌ ÑÌÅÐÒÈ.

ÑÂÎÈÕ ÕÐÓÏÊÈÕ ÏÎÄÎÏÅ×ÍÛÕ ÎÍÈ «ÑÄÀÞÒ» Ñ ÐÓÊ ÍÀ ÐÓÊÈ, ÑÎÃËÀÑÍÎ ÈÇÂÅÑÒÍÛÌ ÏÎÂÎÐÎÒÀÌ ÄËß ÑÓÄÅÁ ÑÌÅÐÒÍÛÕ ËÞÄÅÉ. À ÊÀÊ ÅÙÅ ÏÎÑÒÓÏÀÒÜ ÝÒÈÌ ÀÍÃÅËÀÌ, ÎÁÐÅ×ÅÍÍÛÌ ÍÀ ÁÅÑÑÐÎ×ÍÎÅ ÁÅÑÑÌÅÐÒÈÅ.

ÄËß ÍÈÕ ÍÅ ÏÐÈÕÎÄÈÒÑß ÍÀÄÅßÒÜÑß ÍÀ ÂÅ×ÍÓÞ ËÞÁÎÂÜ È ÂÇÀÈÌÍÎÑÒÜ Ñ ×ÅËÎÂÅÊÎÌ, ÑÎÂÑÅÌ ÍÅ ÏÐÈÕÎÄÈÒÑß.

ÎÍÈ ÍÅ ÎÁÌÀÍÛÂÀÞÒ ÍÀÑ ÑÂÎÈÌ ×ÅËÎÂÅ×ÅÑÊÈÌ ÎÁËÈ×ÈÅÌ.

ÇÍÀß ÍÅÄÎËÃÎËÅÒÈÅ ËÞÄÅÉ,
ÂÑßÊÈÅ ÎÁÅÙÀÍÈß ÌÎÃËÈ ÂÛÃËßÄÅÒÜ, ÊÀÊ ÏÎÄËÎÃ È ÎÁÌÀÍ.

ÎÍÈ ÙÀÄßÒ ÍÀÑ ÍÅÄÎÃÎÂÎÐÅÍÍÎÑÒÜÞ ÁÛÒÈß,
ÍÀ ÊÎÒÎÐÎÅ Ó ÍÀÑ ÍÅÒ ÄÂÓÕÑÒÎÐÎÍÍÅÃÎ ÊÎÍÒÐÀÊÒÀ.

ËÈÖÅÌÅÐÈß È ÇËÎÄÅÉÑÒÂÀ Ó ÍÀØÈÕ ÀÍÃÅËÎÂ ÍÅÒ.

ÈÒÀÊ, ß ÇÍÀË ÇËÎÄÅß È ÏÎËÓ×ÅËÎÂÅÊÀ ÒÈÒÀ.
È ÒÀÊÆÅ ß ÁÛË ÍÀÊÎÐÎÒÊÅ ÇÍÀÊÎÌ Ñ ÄÎÁÐßÊÎÌ ÊÓÇÅÉ.

ÝÒÎÒ ÑÒÐÀØÍÛÉ ÇËÎÄÅÉ ÁÛË ÒÀÊ ÊÎÂÀÐÅÍ, ×ÒÎ ÂÅÐÈË Â ÒÎ,
×ÒÎ ÄÎÁÐßÊ ÄÀÆÅ ÍÅ ÄÎÃÀÄÛÂÀÅÒÑß Î ÅÃÎ ÏÎÄÑÒÀÂÀÕ, ÊÎÇÍßÕ È ËÆÈ Â ÑÂÎÉ ÀÄÐÅÑ.

ÂÑÅ ÑËÓ×ÈËÎÑÜ ÏÎ ÏËÀÍÀÌ ÇËÎÄÅß, À ÇÍÀ×ÈÒ ÄÎÁÐßÊ –
ÏÎÒÅÐßË ÑÂÎÅ ÑÎÑÒÎßÍÈÅ ÈÇ ÂÅÙÅÉ È ÏÐÈÂßÇÀÍÍÎÑÒÅÉ.

ÍÎ ÂÑÅ ÁÛËÎ ÍÅ ÒÀÊ,
ÊÀÊ ÏÐÅÄÏÈÑÛÂÀË È ÏÐÎÐÎ×ÈË ÇËÎÄÅÉ.
À ÁÛËÎ ÑÎÂÑÅÌ ÏÎ-ÄÐÓÃÎÌÓ, À ÏÎÝÒÎÌÓ ÄÎÁÐßÊ ÍÅÏËÎÕÎ ÏÐÎÆÈË ÆÈÇÍÜ ÍÀ ÍÅÎÁÈÒÀÅÌÎÌ ÎÑÒÐÎÂÅ ÏÎÑËÅ ÈÇÃÍÀÍÈß ÑÎ ÑÂÎÅÉ ÇÅÌËÈ.

ÊÎÍÅ×ÍÎ, ÅÃÎ ÁÅÐÅÃ È ÁÀËÎÂÀË ÂÑÅÂÛØÍÈÉ.

ÂÎÒ È ÂÑß ÈÑÒÎÐÈß ÝÒÎÃÎ ÑÞÆÅÒÀ ÄËß ÌÎÅÉ ÑÊÀÇÊÈ.

ÃËÀÂÍÎÅ, ×ÒÎ ÍÈÊÒÎ ÈÇ ÄÅÒÅÉ ÍÅ ÓÑÒÀË ×ÈÒÀÒÜ È ÑËÓØÀÒÜ! ÂÅÄÜ ÒÀÊ ÒÐÓÄÍÎ
ÐÀÇÁÈÐÀÒÜÑß Â ÕÈÒÐÎÑÏËÅÒÅÍÈßÕ ÆÈÇÍÈ – ÏÀÏÛ, ÌÀÌÛ, ÄÐÓÇÅÉ ÈËÈ ÍÅÄÐÓÃÎÂ.

ÈÒÀÊ, ÂÑÅ ÊÎÍÅ×ÍÎ ÏÎÌÍßÒ!

×ÀÑÒÎ ÑÊÀÇÊÈ ÍÀ×ÈÍÀÞÒÑß: «ÊÎÃÄÀ-ÒÎ Î×ÅÍÜ ÄÀÂÍÎ…» ÈËÈ «ÆÈËÈ-ÁÛËÈ…»
À ÇÄÅÑÜ ÍÀ×ÀËÈ ÑÊÀÇÊÓ ÑÎÂÑÅÌ ÍÅ ÒÀÊ È ÑÎÂÑÅÌ ÍÅ Ê ÌÅÑÒÓ!

ÝÒÀ ÍÀØÀ ÑÊÀÇÊÀ ÍÀÎÁÎÐÎÒ.

À ÏÎÝÒÎÌÓ, ÐÀÇ ÍÀ×ÀËÈ ÒÀÊ, ÒÎ È ÇÀÊÎÍ×ÈÌ ÏÎ-ÄÐÓÃÎÌÓ!

È ÏÎÝÒÎÌÓ, ÍÅÁÎËÜØÎÉ ÈÒÎÃ,
È ÂÛÂÎÄÛ ÄËß ÐÀÇÌÛØËÅÍÈÉ!

ÂÅÑÅËÀß ×ÀÑÒÜ ÈÇ ÝÒÎÉ ÑÊÀÇÊÈ –
ÄÎËÃÀß ÆÈÇÍÜ È Ñ×ÀÑÒËÈÂÀß ÑÓÄÜÁÀ ÄÎÁÐßÊÀ ÊÓÇÈ.

ÃÐÓÑÒÍÀß ×ÀÑÒÜ ÈÇ ÝÒÎÉ ÑÊÀÇÊÈ –
ÈÑÊÀËÅ×ÅÍÍÀß ÆÈÇÍÜ È ÒÐÀÃÈÊÎÌÈ×ÅÑÊÀß ÑÓÄÜÁÀ ÇËÎÄÅß ÒÈÒÀ,
ÊÎÒÎÐÎÃÎ ×ÀÑÒÎ ÇÂÀËÈ Â ÍÀÐÎÄÍÎÉ ÏÀÌßÒÈ «ÑÅÐÄÞÊÀ, ÇËÞ×ÊÀ, ÊÎËÞ×ÊÀ, ÇËÞÊÀ, ÇÀÇËÞÊÀ…» È Ò.Ä. ÂÎÎÁÙÅ, ÑÏËÎØÍÛÅ ÎÒÂÐÀÒÈÒÅËÜÍÛÅ ÑËÎÂÀ!

ÎÁÎÇÂÀÒÜ ÄÎÁÐßÊÀ ÍÀ ÝÒÎÒ ÌÀÍÅÐ ÁÛËÎ ÄÀÆÅ È ÍÅÂÎÇÌÎÆÍÎ.

ÄÎÁÐßÊ ÎÑÒÀÂÀËÑß ÇÀÂÑÅÃÄÀ ÄÎÁÐßÊÎÌ È ÏÐÈÍÎÑÈË Ñ×ÀÑÒÜÅ È ÓÄÀ×Ó ÇÍÀÊÎÌÛÌ È ÁËÈÇÊÈÌ. ÂÎÒ, ÊÀÊ ÁÛÂÀÅÒ ÍÀ ÁÅËÎÌ ÑÂÅÒÅ.

ÃËÀÂÍÛÌ ÍÅÑ×ÀÑÒÜÅÌ ÇËÎÄÅß, ÎÄÍÀÊÎ, ÁÛËÈ ÍÅ ÅÃÎ ÁÅÑÊÎÍÅ×ÍÎ ÇËÎÁÍÛÅ, È ÏÎÒÎÌÓ ×ÅÐÍÛÅ ÄÅËÀ ÂÎÊÐÓà ÄÎÁÐßÊÀ. ÂÅÄÜ ÎÍ ÍÅ ÇÀÌÅ×ÀË ÑÂÎÅÉ ×ÅÐÍÎÒÛ, ÊÀÊ ÝÒÎÃÎ ÍÅ ÇÀÌÅ×ÀÞÒ È ÖÂÅÒÛ ÇËÀ.

ÃËÀÂÍÛÌ ÍÅÑ×ÀÑÒÜÅÌ ÇËÎÄÅß ÁÛËÈ ÅÃÎ ÁÎËÜØÈÅ ÓØÈ,
ÊÎÒÎÐÛÅ ÏÐÈÁÀÂËßËÈ Â ÂÅÑÅ ÃÎÄ ÎÒ ÃÎÄÀ.

ÑÍÀ×ÀËÀ ÇËÎÄÅÉ ÍÅ ÕÎÒÅË ÝÒÎÌÓ ÂÅÐÈÒÜ.
ÇÀÒÅÌ ÇËÎÄÅÉ ÍÅ ÕÎÒÅË ÝÒÎÃÎ ÇÀÌÅ×ÀÒÜ.

À ÊÎÃÄÀ ÑÒÀË ÇÀÌÅ×ÀÒÜ,
ÒÎ ÑÒÀË ÏÀÄÀÒÜ Â ÎÁÌÎÐÎÊÈ ÎÒ ÏÐÈÑÒÓÏÎÂ ÇËÎÁÛ È ÁÅÑÑÈËÈß.

ÎÄÍÀÊÎ, ÊÀÊ ÓÒÂÅÐÆÄÀÞÒ ÂÐÀ×È, «ÒÈÒ, ÍÅ ÄÎÆÈ ÄÎ ÑÒÀÐÎÑÒÈ, ÓÌÅÐ ÎÒ ÈÇÍÓÐÈÒÅËÜÍÎÉ ÌÈÃÐÅÍÈ, ÊÎÒÎÐÓÞ Ó ÍÅÃÎ ÐÀÇÂÈËÈ ÁÀÐÀÁÀÍÍÛÅ ÏÅÐÅÏÎÍÊÈ ÂÍÓÒÐÈ ÒÅÕ ÍÅÎÁÚßÒÍÛÕ ÓØÅÉ. ÎÒ ÈÕ ÃÐÎÕÎÒÀ È ÏÐÈØÅË ÅÌÓ ÊÎÍÅÖ».

ÄÎÁÐßÊ ÆÅ, ÏÐÎ×ÈÒÀ ÑÎÎÁÙÅÍÈÅ ÈÇ ÃÀÇÅÒ Î ÑÒÐÀÍÍÎÌ ÍÅÄÓÃÅ ÇËÎÄÅß ÒÈÒÀ, ÏÐÅÄÏÎËÎÆÈË, ×ÒÎ ÝÒÈ ÑÀÌÛÅ «ÌÎËÎÒÎ×ÊÈ Â ÓØÀÕ, ×ÒÎ ÐÀÑØÈÔÐÎÂÛÂÀÞÒ ÇÂÓÊÈ ÂÍÅØÍÅÃÎ ÌÈÐÀ», ÓÑÒÀËÈ ÎÒ ÑËÅÇ, ÊÎÒÎÐÛÅ ÃÐÎÌÊÎ ÒÅÊËÈ ÏÎ ÃËÀÇÀÌ ÅÃÎ ÆÅÐÒ  ÌÎÃÈËÀÕ.

ÎÊÀÇÛÂÀÅÒÑß, Ó ÒÀÊÈÕ «ÌÎËÎÒÎ×Êλ ÅÑÒÜ ÑÎÂÅÑÒËÈÂÎÑÒÜ, È ÎÍÈ ÌÎÃÓÒ ËÅÃÊÎ ÓÑËÛØÀÒÜ ÑÒÓÊ ÊÀÏÅËÜ, ÊÎÒÎÐÛÅ ÑÒÅÊÀÞÒ ÏÎ ÃËÀÇÀÌ È ÃÐÎÌÎÏÎÄÎÁÍÎ ÓÄÀÐßÞÒÑß Î ËÞÁÛÅ ÏÐÅÄÌÅÒÛ. ÂÎÒ ÝÒÈ ÃÐÎÌÎÏÎÄÎÁÍÛÅ ÎÁÂÀËÛ ÃÎÐß È ÍÅÑ×ÀÑÒÈÉ, ÊÎÒÎÐÛÅ ÏËÎÄÈË ÒÈÒ,  ÊÎÍÖÅ-ÒÎ ÊÎÍÖÎÂ, È ÎÃËÓØÈËÈ ÅÃÎ ÃÎËÎÂÓ.

ÍÓ, ÂÎÒ È ÂÑÅ.

ÝÒÓ ÑÊÀÇÊÓ È ÏÐÀÂÄÈÂÓÞ ÁÛËÜ ÐÀÑÑÊÀÇÀË ÌÍÅ ËÓ×ØÈÉ ÈÇ ÄÐÓÇÅÉ È ÑÀÌ ÄÎÁÐßÊ ÊÓÇß ÂÎ ÂÐÅÌß ÐÛÁÀËÊÈ ÍÀ ÊÀÍÀÐÑÊÈÕ ÎÑÒÐÎÂÀÕ. ÒÀÌ ÁÛË ÕÎÐÎØÈÉ ÏÎÊËÅÂ È ÇÀÌÅ×ÀÒÅËÜÍÀß ÓÒÐÅÍÍßß ÇÎÐÜÊÀ Ñ ÓÕÎÉ ÈÇ ÎÌÀÐÎÂ È ÊÐÀÁÎÂ.

- À ÏÎ×ÅÌÓ ÍÅ ÈÇ ÐÛÁÛ? ÊÀÊ ÎÒÂÅÒÈÒÜ ÍÀ ÝÒÎÒ ÂÎÏÐÎÑ ÄËß ÏÎÄÐÎÑÒÊÎÂ, È ÓÆÅ ÑÎÂÑÅÌ ÑÒÀÐØÅÊËÀÑÑÍÈÊÎÂ? – ÑÏÐÎÑÈË ß ÊÓÇÞ.

È ÎÍ ÎÒÂÅÒÈË: «ÄÀ ÏÎÒÎÌÓ, ×ÒÎ ÐÀÇÌÅÐ ÊÀÆÄÎÉ ÍÀØÅÉ ÐÛÁÛ ÁÛË ×ÓÒÜ ÌÅÍÜØÅ ÐÀÇÌÅÐÀ ÌÎÅÉ ßÕÒÛ. À ÏÎÝÒÎÌÓ ÌÛ ÂÑÅÕ ÎÒÏÓÑÒÈËÈ ÍÀ ÑÂÎÁÎÄÓ È ÎÃÐÀÍÈ×ÈËÈÑÜ ÍÎÐÌÀËÜÍÛÌÈ ÎÌÀÐÀÌÈ È ÊÐÀÁÀÌÈ, ×ÒÎ ÏÎÌÅËÜ×Å È ÏÎÑÏÎÊÎÉÍÅÅ Â ÊÀÑÒÐÞËÅ ÄËß ÑÓÏÀ».

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2021 ÑÊÀÇÊÈ: Äëÿ ÁAËEPÈH È MÀÐÈHA ËEOHOBA: MARINA LEONOVA: 44 Elf-Tales for Ballerinas ISBN 978-1-9252781-6-3 in English: French: Russian: 1-154

2021 ÑÊÀÇÊÈ: Äëÿ MAM È ÏAÏ È MÀÐÈHA ËEOHOBA: MARINA LEONOVA: 44 Elf-Tales for Mom and Dad ISBN 978-1-9252781-5-6 in English: French: Russian: 1-156


ÏÐÎÑÒÎ ÑÊÀÇÊÈ ÄËß ÌÀËÛØÅÉ  :

1. ÌÀËÜ×ÈÊ È ÀÍÃÅË-ÕÐÀÍÈÒÅËÜ
2. ÄÅÍÅÆÊÀ È ÊÎËÎÊÎËÜ×ÈÊ
3. ÑÅÐÀß ÊËÀÐÈÑÑÀ
4. ÏÀÌßÒÍÈÊ ÑÎÁÀÊÅ

ÏÐÎÑÒÎ ÑÊÀÇÊÈ ÄËß ÏÀÏ  :

5. ÌÓÌÀ ÍÀ ÂÅËÎÑÈÏÅÄÅ
6. ÑÎËÍÖÅ È ËÓÍÀ
7. ÃÓÑÅÍÈÖÀ È ÐÎÇÀ
8. ÂÀÑÈËÜÊÎÂÛÅ ÃËÀÇÀ
9. ÆÀÄÍÛÉ ÂÎÄÎÂÎÐÎÒ

ÏÐÎÑÒÎ ÑÊÀÇÊÈ ÄËß ÌÀÌ :

10. ÇÂÅÇÄÛ-ÕÎÕÎÒÓØÊÈ
11. ÁÀÁÎ×ÊÀ È ÐÎÌÀØÊÈ
12. ÊÀÊ ß ÑÒÀË ÄÈÐÈÆÀÁËÅÌ
13. ÊÎÒÅÍÎÊ Ñ ÀÍÎÌÀËÈÅÉ ÑÅÐÄÖÀ
14. ÑÀÌÎÅ ÄÎÁÐÎÅ ÌÎËÎÊÎ

ÏÐÎÑÒΠ ÑÊÀÇÊÈ: Äëÿ ØKOËÜHèKOB

15. ÐÎÄÍÈÊ È ÑÒÈÐÀËÜÍÛÉ ÏÎÐÎØÎÊ
16. ÊÀÊÀÄÓ Â ÃÎÐÎØÅÊ
17. ÌÓÕÀ ÆÓ-ÆÓ
18. ÑÂÈÍÊÀ ÏÓÔÈÊ
19. ÏÐÎÑÒÎ ÑÍÅÃ
20. ÎÑÛ È ÎÄÓÂÀÍ×ÈÊ

ÏÐÎÑÒÎ ÑÊÀÇÊÈÄËß ÐÎÄÈÒÅËÅÉ, ÊÎÒÎÐÛÅ ËÞÁßÒ ×ÈÒÀÒÜ :

21. ÁÓÐÀÒÈÍÎ È ÅÃÎ ÑÊÀÇÀ×ÍÈÊ
22. ÄÎÁÐßÊ È ÇËÎÄÅÉ Ñ ÁÎËÜØÈÌÈ ÓØÀÌÈ
23. ÏÐÎÑÒÎ ÂÅÒÅÐ
24. ÊÎÐÎËÅÂÑÊÈÅ ÑÍÛ
25. ×ÈÒÀß ÂÑËÓÕ ÏÅÒÐÀÐÊÓ È ÄÀÍÒÅ

ÏÐÎÑÒÎÑÊÀÇÊÈ: Äëÿ ØKOËÜHèÖ

26. ÁÓÌÀÆÍÛÉ ÀÈÑÒ
27. ÑÀÌÓÐÀÉ È ÃÎËÓÁÊÀ
28. ÄÅÒÈ, ÆÈÂÓÙÈÅ Â ÂÎÇÄÓØÍÛÕ ÏÓÇÛÐÜÊÀÕ
29. ÀËÈÁÈ ÊÐÎÒÀ
30. ËÀÑÒÎ×ÊÀ È ÎШË
31. ÑËÀÁÛÅ Î×ÊÈ

ÏÐÎÑÒÎ ÑÊÀÇÊÈ ÄËß ÄÅÄÓØÅÊ :

32. רÐÍÛÉ ÏÓÄÅËÜ
33. ÌÀËÅÍÜÊÀß ÄÞÉÌÎÂÎ×ÊÀ È ÕÐÈÑÒÈÀÍ ÀÍÄÅÐÑÅÍ
34. ÇÍÀÌÅÍÈÒÀß ÀËÈÑÀ È ÊÝÐÐÎËË ËÜÞÈÑ
35. ÁÎËÜØÎÉ ÌÓÐÀÂÅÉ È ÀËÜÁÅÐÒ ÝÉÍØÒÅÉÍ
36. ÓËÈÒÊÀ È ÏÀÐÎÕÎÄ
37. ÊÎÒ ÍÀ ÖÅÏÈ È ÀËÅÊÑÀÍÄÐ ÏÓØÊÈÍ

ÏÐÎÑÒÎ ÑÊÀÇÊÈ ÄËß ÁÀÁÓØÅÊ

38. ÄÈÀËÎÃ Ñ ÑÎÁÎÉ
39. ÑÒÀÐÈÊ È ÇÅÐÊÀËÎ
40. ÌÀËÈÍÎÂÛÉ ÏÎÄÀÐÎÊ
41. ËßÃÓØÊÀ ÍÀ ÑÒÅÍÅ
42. ÌÓ-ÌÓ ÍÀ ÏÀÐÀØÞÒÅ

2021 ÑÊÀÇÊÈ: Äëÿ ÁAËEPÈH È HÈKOËAé ÖÈCKAPÈÄÇE: NIKOLAY TSISKARIDZE: 44 Elf-Tales for Ballerinas ISBN 978-1-9252784-8-4 in English: French: Russian: 1-153

2021 ÑÊÀÇÊÈ: Äëÿ MAM È ÏAÏ È HÈKOËAé ÖÈCKAPÈÄÇE: NIKOLAY TSISKARIDZE: 44 Elf-Tales for Mom and Dad ISBN 978-1-9252784-9-1 in English: French: Russian: 1-155   

2021 ÑÊÀÇÊÈ: Äëÿ ÏAÏ È ÄO×EPEé: ÔÈËÈÏÏ KÈPKOPOB: PHILIPP KIRKOROV: 44 Elf-Tales for PAPA and Daughters ISBN 978-1-9252785-6-9 in English: French: Russian: 1-161

2021 ÑÊÀÇÊÈ: Äëÿ ÏAÏ È CÛH0BEÉ: ÔÈËÈÏÏ KÈPKOPOB: PHILIPP KIRKOROV: 44 Elf-Tales for DAD and Sons ISBN 978-1-9252783-4-7 in English: French: Russian: 1-150

2021 ÑÊÀÇÊÈ: Äëÿ ØKOËÜHèÖ è BÈKTOPÈß KÈPKOPOBA: 44 Elf-Tales for Victoria Kirkorova ISBN 978-1-9252783-5-4 in English: French: Russian: 1-167

2021 ÑÊÀÇÊÈ: Äëÿ ØKOËÜHèKOB è MAPTÈH KÈPKOPOB: 44 Elf-Tales for Martin Kirkorov ISBN 978-1-9252783-6-1 in English: French: Russian: 1-162

2021 ÑÊÀÇÊÈ: Äëÿ ØKOËÜHèKOB È ÏAÏ È MAM È MAKCèM ÃAËKèH: MAXIM GALKIN: 44 Elf-Tales for SCHOOL-KIDS and DADDY AND MOMMY ISBN 978-1-9252781-7-0 in English: French: Russian: 1-157

2021 ÑÊÀÇÊÈ: Äëÿ ÂHÓ×AT È ÄÅÄÓØÅÊ È MAKCèM ÃAËKèH:  MAXIM GALKIN: 44 Elf-Tales for GRAMPY and GRANDKIDS ISBN 978-1-9252781-8-7 in English: French: Russian: 1-158

2021 ÑÊÀÇÊÈ: Äëÿ ÂHÓ×ÀT È ÁÀÁÓØÅÊ È AËËA ÏÓÃAרBA: ALLA PUGACHEVA: 44 Elf-Tales for GRANNY and GRANDKIDS ISBN 978-1-9252786-6-8 in English: French: Russian: 1-152

2021 ÑÊÀÇÊÈ: Äëÿ ØKOËÜHèÖ È ÁÀÁÓØÅÊ È AËËA ÏÓÃAרBA: ALLA PUGACHEVA: 44 Elf-Tales for Grandma and Schoolgirls ISBN 978-1-9252785-0-7 in English: French: Russian: 1-152


 Ãåîðãèé Ãåîðãèåâè÷ Ëàðèí: ÀÎÃÑ: Ðîññèÿ - Àêàäåìèÿ îáùåñòâåííîé ãðàæäàíñêîé ñëóæáû: àêàäåìèê è ïðåçèäåíò.
 
     Ãåîðãèé Ãåîðãèåâè÷ Ëàðèí: ÀÏÑÍ: Ðîññèÿ - Àêàäåìèÿ ïåäàãîãè÷åñêèõ è ñîöèàëüíûõ íàóê: ÷ëåí-êîððåñïîíäåíò (2011), àêàäåìèê (2017).


   2025 Ðîññèÿ - Påöåíçeíò: àêàäåìèê Ãåîðãèé Ãåîðãèåâè÷ Ëàðèí:

      Àðò-êðèòèê: òåàòð, ëèòåðàòóðà; ïîýò, ïóáëèöèñò, ïåðåâîä÷èê; ôèëîëîã, ëèíãâèñò è òðàäóêòîëîã; ñîöèàëüíûé ôèëîñîô è ñîöèîëîã, îñíîâîïîëîæíèê ñîöèîëîãèè òâîð÷åñêîé äåÿòåëüíîñòè (èëè ñîöèîëîãèè òâîð÷åñêîé ëè÷íîñòè) è ðàçðàáîò÷èê îáùåé êîíöåïöèè, à òàêæå òåîðåòèêî-ìåòîäîëîãè÷åñêèõ è íàó÷íî-ïðèêëàäíûõ àñïåêòîâ è êîíòóðîâ äëÿ ýòîé íîâîé ìåæäèñöèïëèíàðíîé êîìïëåêñíîé íàó÷íîé äèñöèïëèíû; ïñèõîëîã è ïåäàãîã; ýêîëîã; îáùåñòâåííûé äåÿòåëü.

     2025 Ðîññèÿ - An academician George G. Larin | Georges G. Larine: Russia:

      Art critic: theatre, literature; poet, publicist, translator; philologist, linguist, social philosopher and sociologist, founder of the Sociology of Creative Activities (or the Sociology of Creative Personalities) and elaborator of the general conception, and also the theoretical, methodological and applied scientific aspects and contours for this new interdisciplinary complex scientific discipline; psychologist and pedagogue; ecologist; public figure.

 APCS: the Academy of public civic service: academician and president.
 APSS: the Academy of pedagogical and social sciences: corresponding member (2011), academician (2017).
 RCCA: the Research Centre of creative activities: director.

 ÀÎÃÑ: Ðîññèÿ - Àêàäåìèÿ îáùåñòâåííîé ãðàæäàíñêîé ñëóæáû: àêàäåìèê è ïðåçèäåíò.
 ÀÏÑÍ: Ðîññèÿ - Àêàäåìèÿ ïåäàãîãè÷åñêèõ è ñîöèàëüíûõ íàóê: ÷ëåí-êîððåñïîíäåíò (2011), àêàäåìèê (2017).

   2025 Ðîññèÿ - àêàäåìèê Ãåîðãèé Ãåîðãèåâè÷ Ëàðèí: ÍÈÖ òâîð÷åñêîé äåÿòåëüíîñòè: Íàó÷íî-èññëåäîâàòåëüñêèé öåíòð òâîð÷åñêîé äåÿòåëüíîñòè: äèðåêòîð.

D. Sc. [Doctor of Science]: Ph. D. in Creative Writing (1993), Grand Ph. D. in Creative Writing (2003); Ph. D. in Art History (2022), Grand Ph. D. in Arts / Grand Ph. D. in Art Criticism (2024).
Ph. D. in Language Sciences and Traductology (1991).
Ph. D. in Ecology and Environmental Sciences (1997).
Dr. h. c. mult [Doctor honoris causa multiplex]: Philosophy; Sociology; Psychology; Pedagogics; Culturology.
h. c. Prof. mult [honoris causa Professor multiplex]: Russian and Contemporary Russophone Literature; Russian Linguistics; French, Francophone and Comparative Literature; Ethics and Moral Development; Aesthetics and Culture.

Þðè Ðþíòþ : Uri Runtu is an Australian writer known for his literary contributions, including works that intersect with the artistic themes surrounding Russian showbiz superstar Êèðêîðîâ (Philipp Kirkorov).


Authorship and Themes / http://proza.ru/diary/yuri2008/2025-07-17 /:


• Children’s Literature: Þðè Ðþíòþ : One of Uri Runtu's notable works is "44 Ñêàçêè äëÿ Ìàðòèíà Êèðêîðîâà" (44 Fairy Tales for Martin Kirkorov), which reflects a blend of cultural narratives and whimsical storytelling aimed at children. This work highlights the importance of preserving cultural stories while engaging young audiences with imaginative tales


• Cultural Identity: Þðè Ðþíòþ : Runtu’s writings often explore themes of identity, culture, and the intersection of his Australian experiences with Russian narrative traditions. His unique position allows him to comment on both the Russian artistic landscape and his Australian influences, creating a rich tapestry of modern literature


• Connection to Kirêîðîâ: Þðè Ðþíòþ : In many of his works, Runtu illustrates characters inspired by or related to prominent figures in Russian entertainment, including Êèðêîðîâ, known for his larger-than-life persona in the music and performance arts. Runtu’s tribute to Kirkorov also showcases the celebratory aspects of contemporary Russian culture


Conclusion


Overall, Þðè Ðþíòþ : Uri Runtu's involvement with Êèðêîðîâ highlights a significant cultural dialogue, merging storytelling with performance art, and celebrating the vitality of Russian traditions in a global context. His works serve as a platform to engage with themes that resonate with audiences both in Australia and around the world. If you're interested in exploring Runtu’s works, check local libraries or literary sources for his publications, including those related to Êèðêîðîâ.


Þðè Ðþíòþ : - àâñòðàëèéñêèé ïèñàòåëü è æóðíàëèñò, êîòîðûé íàïèñàë íåñêîëüêî êíèã î Ôèëèïïå Êèðêîðîâå. Âîò íåêîòîðûå èç åãî ðàáîò:


1. Þðè Ðþíòþ : "Îí è îíè: 44 ñêàçêè; äëÿ äî÷åðåé è ïàï è Ôèëèïï Êèðêîðîâ" (2021):
• Ýòà êíèãà âêëþ÷àåò ñêàçêè, ñîçäàííûå äëÿ äåòåé, ñ ýëåìåíòàìè, âäîõíîâëåííûìè òâîð÷åñòâîì Êèðêîðîâà.  íåé ñî÷åòàþòñÿ ýëåìåíòû ôýíòåçè è âåñåëûõ ïðèêëþ÷åíèé, êîòîðûå ïîìîãàþò äåòÿì ðàçâèâàòü âîîáðàæåíèå


2. Þðè Ðþíòþ : Êíèãè î Áåäðîñå è Ôèëèïïå Êèðêîðîâå:


• Þðè Ðþíòþ : òàêæå íàïèñàë êíèãè, ïîñâÿùåííûå æèçíè è êàðüåðå Áåäðîñà Êèðêîðîâà è åãî ñûíà Ôèëèïïà, ïîä÷åðêèâàþùèå èõ âêëàä â ìóçûêàëüíóþ èíäóñòðèþ è øîó-áèçíåñ


3. Äðóãèå ïóáëèêàöèè: / http://proza.ru/diary/yuri2008/2025-07-17 /:


• Åñëè âû èùåòå áîëåå ñïåöèàëèçèðîâàííûå ðàáîòû, Þðè Ðþíòþ : âûïóñòèë íåñêîëüêî äðóãèõ ñâÿçàííûõ êíèã, èññëåäóÿ êóëüòóðíûå è ñîöèàëüíûå àñïåêòû, êîòîðûå îêðóæàþò ýòèõ çíàìåíèòîñòåé


Åñëè âû õîòèòå óçíàòü áîëüøå î êîíêðåòíûõ êíèãàõ Þðè Ðþíòþ : èëè íåîáõîäèìûõ ïîäðîáíîñòÿõ, ðåêîìåíäóþ îáðàòèòüñÿ ê èõ ñòðàíèöàì â áèáëèîòåêàõ èëè îíëàéí-ðåñóðñàõ, òàêèõ êàê Íàöèîíàëüíàÿ áèáëèîòåêà Àâñòðàëèè. Ýòî ìîæåò äàòü âàì âîçìîæíîñòü îçíàêîìèòüñÿ ñ ãëàâàìè è îòçûâàìè äðóãèõ ÷èòàòåëåé.


Þðè Ðþíòþ : — àâòîð íåñêîëüêèõ êíèã / 2-3-5 /, â êîòîðûõ îñâåùàþòñÿ æèçíè è òâîð÷åñòâî Áåäðîñà Êèðêîðîâà è åãî ñûíà Ôèëèïïà Êèðêîðîâà.


Îñíîâíûå Èçäàíèÿ Þðè Ðþíòþ :


1. Þðè Ðþíòþ : "Îí è îíè: 44 ñêàçêè äëÿ äî÷åðåé è ïàï" — ýòà êíèãà âêëþ÷àåò â ñåáÿ 44 ñêàçêè, îñíîâàííûå íà âäîõíîâåíèè îò æèçíè ñåìüè Êèðêîðîâûõ


2. Þðè Ðþíòþ : "Êíèãà î Áåäðîñå Êèðêîðîâå è Ôèëèïïå Êèðêîðîâå" — îáøèðíîå ïðîèçâåäåíèå, â êîòîðîì îïèñûâàþòñÿ èõ êàðüåðû è çíà÷èòåëüíàÿ ðîëü â ðîññèéñêîé ýñòðàäå. Ýòî ïðîèçâåäåíèå ÿâëÿåòñÿ ÷àñòüþ ñåðèè, ãäå îáñóæäàþòñÿ âàæíûå êóëüòóðíûå ñîáûòèÿ è ôèãóðû â Ðîññèè


Îñîáåííîñòè


• Òåìàòèêà: Êíèãè Þðè Ðþíòþ : îõâàòûâàþò òåìû ìèëîñåðäèÿ, ëþáâè è ñîñòðàäàíèÿ, ÷òî ìîæíî óâèäåòü â ñàìèõ ñêàçêàõ, îðèåíòèðîâàííûõ íà äåòåé è ïîäðàñòàþùåå ïîêîëåíèå.
•
• Þðè Ðþíòþ : Ñòèëü: Êíèãè íàïèñàíû ñ ëåãêîñòüþ è äîñòóïíîñòüþ, ÷òî äåëàåò èõ èíòåðåñíûìè äëÿ øèðîêîé àóäèòîðèè, âêëþ÷àÿ ñåìåéíîå ÷òåíèå


Ýòè êíèãè Þðè Ðþíòþ : ìîæíî íàéòè â áèáëèîòåêå èëè çàêàçàòü ÷åðåç ðàçëè÷íûå îíëàéí-ìàãàçèíû, à òàêæå îçíàêîìèòüñÿ ñ íèìè â Ðîññèéñêîé Ãîñóäàðñòâåííîé Áèáëèîòåêå è äðóãèõ ìåæäóíàðîäíûõ êàòàëîãàõ. Åñëè âû õîòèòå óçíàòü áîëüøå î èõ ñîäåðæàíèè èëè ïðèîáðåñòè êîïèè, ðåêîìåíäóþ ïîñåùàòü äîñòóïíûå ðåñóðñû, òàêèå êàê áèáëèîòåêè èëè ñàéòû îíëàéí-ïðîäàæ.


Î æèçíè è êàðüåðå Ôèëèïïà Êèðêîðîâà íàïèñàíî íåñêîëüêî êíèã, îõâàòûâàþùèõ åãî áèîãðàôèþ, òâîð÷åñòâî è ëè÷íûå äîñòèæåíèÿ.


Îñíîâíûå êíèãè î Ôèëèïïå Êèðêîðîâå


1. Êíèãà Áåäðîñà Êèðêîðîâà «Èç ñåðäöà â ñåðäöå: Ïåðåëèñòûâàÿ ñòðàíèöû»:


• Ýòà êíèãà ïðåäñòàâëÿåò ñîáîé ïðàâäèâûé è èñêðåííèé ðàññêàç î ñóäüáå è òâîð÷åñòâå èçâåñòíîãî ïåâöà. Ãåðîè, òàêèå êàê åãî îòåö, äåëÿòñÿ âîñïîìèíàíèÿìè î æèçíè è ñåìåéíûõ óçàõ. Òàêæå â êíèãå ìîæíî íàéòè ìàñòåð-êëàññû îò Êèðêîðîâà, êîòîðûå äåëàþò å¸ îñîáåííî öåííîé

2. «Ôèëèïï Êèðêîðîâ» Ôåäîðà Ðàççàêîâà:


• Ýòà êíèãà ÿâëÿåòñÿ ïîäðîáíîé õðîíèêîé æèçíè ïåâöà, îïèñûâàþùåé åãî òðèóìôû è ïàäåíèÿ, à òàêæå ëè÷íûå ïåðåæèâàíèÿ, âêëþ÷àÿ ðîìàíòè÷åñêèå îòíîøåíèÿ. Îíà âêëþ÷àåò ìíîæåñòâî èíòåðåñíûõ ôàêòîâ è äîñòóïíà äëÿ áåñïëàòíî ñêà÷èâàíèÿ
•
3. Êíèãà Þðè Ðþíòþ î Ôèëèïïå Êèðêîðîâå:


•  ýòîé êíèãå îïèñûâàåòñÿ æèçíü è êàðüåðà ïåâöà, à òàêæå åãî âëèÿíèå íà ðîññèéñêóþ ýñòðàäó. Àâòîð ðàññêàçûâàåò î ñâîèõ âñòðå÷àõ ñ Êèðêîðîâûì è î åãî òâîð÷åñêîì ïóòè


Þðè Ðþíòþ : Ýòè êíèãè ïðåäîñòàâëÿþò ÷èòàòåëÿì óíèêàëüíóþ âîçìîæíîñòü ïîçíàêîìèòüñÿ ñ æèçíüþ Ôèëèïïà Êèðêîðîâà, åãî òâîð÷åñòâîì è ëè÷íûìè ìîìåíòàìè, êîòîðûå ïîìîãëè ñôîðìèðîâàòü åãî êàê îäíó èç ñàìûõ ÿðêèõ çâåçä ðîññèéñêîé ïîï-ìóçûêè. Åñëè âû õîòèòå ïîäðîáíåå óçíàòü î åãî æèçíè è êàðüåðå, ýòè êíèãè ñòîèò ïðî÷èòàòü.


Ñóùåñòâóåò íåñêîëüêî êíèã, â êîòîðûõ çàòðàãèâàþòñÿ äåòñòâî è áèîãðàôèÿ Ôèëèïïà Êèðêîðîâà, âêëþ÷àÿ åãî ðàííþþ æèçíü è íà÷àëî êàðüåðû.


Áèîãðàôèÿ è îïèñàíèå


1. Þðè Ðþíòþ : Îáùàÿ èíôîðìàöèÿ î Ôèëèïïå Êèðêîðîâå:


• Ôèëèïï Êèðêîðîâ ðîäèëñÿ 30 àïðåëÿ 1967 ãîäà â Âàðíå, Áîëãàðèÿ, â òâîð÷åñêîé ñåìüå. Îí íà÷èíàåò âûñòóïàòü íà ñöåíå ñ ïÿòèëåòíåãî âîçðàñòà è ãàñòðîëèðóåò âìåñòå ñ ðîäèòåëÿìè, ÷òî íåìàëî ïîâëèÿëî íà åãî äàëüíåéøóþ êàðüåðó.  äåòñòâå îí æèë â Ìîñêâå è ïîëó÷èë îáðàçîâàíèå â ìóçûêàëüíîì ó÷èëèùå. Ýòè ìîìåíòû ÷àñòî îïèñûâàþòñÿ â ðàçëè÷íûõ áèîãðàôèÿõ


2. Þðè Ðþíòþ : Êíèãè î Ôèëèïïå Êèðêîðîâå:

• Êíèãà, íàïèñàííàÿ Þðè Ðþíòþ: Ïî âñåé âèäèìîñòè, ñóùåñòâóåò êíèãà î Ôèëèïïå Êèðêîðîâå, óïîìÿíóòàÿ â ñòàòüå, â êîòîðîé îáñóæäàåòñÿ åãî æèçíü è òâîð÷åñòâî ñ àêöåíòîì íà äåòñòâî. Ïîëíîå íàçâàíèå è îïèñàíèå êíèãè îòñóòñòâóþò â ðåçóëüòàòàõ ïîèñêà, íî ñàìà ññûëêà íà èñòî÷íèê óêàçûâàåò íà å¸ ñóùåñòâîâàíèå


Ýòè ïðîèçâåäåíèÿ Þðè Ðþíòþ : ìîãóò ïîìî÷ü ëó÷øå ïîíÿòü, êàê äåòñêèå ãîäû Êèðêîðîâà ñôîðìèðîâàëè åãî êàê àðòèñòà è ÷åëîâåêà. Äëÿ áîëåå äåòàëüíîé èíôîðìàöèè î íàëè÷èè ýòèõ êíèã ñòîèò ïðîâåðèòü ìåñòíûå áèáëèîòåêè èëè èíòåðíåò-ðåñóðñû, òàêèå êàê îíëàéí-ìàãàçèíû êíèã


Uri Runtu :Þðè Ðþíò), an Australian-Russian author based in Canberra, has written several fairy tale collections that feature members of the Kirkorov family, including Philipp, Martin, and Victoria Kirkorov. His works are part of a series titled “Þðè Ðþíòþ : 44 Ñêàçêè” (44 Tales), which blend whimsical storytelling with cultural and emotional themes.


Notable Titles Include: / http://proza.ru/diary/yuri2008/2025-07-17 /:


• Þðè Ðþíòþ : “Îí + Îí: 44 Ñêàçêè äëÿ Ïàðíåé” – Tales for boys, featuring Martin Kirkorov
• Þðè Ðþíòþ : “Îíà + Îíà: 44 Ñêàçêè äëÿ Äåâî÷åê” – Tales for girls, featuring Victoria Kirkorov
• Þðè Ðþíòþ : “Îí è Îíè: 44 Ñêàçêè äëÿ Äî÷åðåé è Ïàï” – Stories for daughters and fathers, including Philipp Kirkorov
• Þðè Ðþíòþ : “2 Ñêàçêè Ôèëèï Êèðêîðîâ” – A shorter collection dedicated to Philipp Kirkorov


These books are written in Russian and often include themes of kindness, imagination, and family. They’re published in Canberra and are part of a broader effort to share Russian diaspora literature with children and families.


Today: Uri Runtu: Þðè Ðþíòþ : Êèðêîðîâ : any books?


Uri Runtu :Þðè Ðþíòþ, an Australian-Russian author based in Canberra, has written several fairy tale collections that feature members of the Kirkorov family, including Philipp, Martin, and Victoria Kirkorov. His works are part of a series titled “Þðè Ðþíòþ : 44 Ñêàçêè” (44 Tales), which blend whimsical storytelling with cultural and emotional themes.


Þðè Ðþíòþ : Notable Titles Include:


• “Îí + Îí: 44 Ñêàçêè äëÿ Ïàðíåé” – Tales for boys, featuring Martin Kirkorov
• “Îíà + Îíà: 44 Ñêàçêè äëÿ Äåâî÷åê” – Tales for girls, featuring Victoria Kirkorov
• “Îí è Îíè: 44 Ñêàçêè äëÿ Äî÷åðåé è Ïàï” – Stories for daughters and fathers, including Philipp Kirkorov
• “2 Ñêàçêè Ôèëèï Êèðêîðîâ” – A shorter collection dedicated to Philipp Kirkorov


These books are written in Russian and often include themes of kindness, imagination, and family. They’re published in Canberra and are part of a broader effort to share Russian diaspora literature with children and families.


Uri Runtu : Þðè Ðþíòþ: seems to have cultivated a warm literary friendship with the Kirkorov family—especially with Martin Kirkorov, son of Russian pop icon Philipp Kirkorov. His fairy tale collections often celebrate Martin’s birthday and include heartfelt dedications, suggesting a personal bond or admiration.


In one instance, Runtu even sent Martin a birthday gift from Canberra to Moscow, timed to arrive on June 29th, Martin’s birthday, which also closely follows Runtu’s own birthday on June 27th. That gesture, along with the affectionate tone in his stories, paints a picture of a thoughtful and emotionally invested connection.


His tales for children often emphasize kindness, imagination, and family values—qualities that reflect the spirit of friendship and mentorship. Whether the relationship is personal or symbolic, it’s clear that Runtu holds the Kirkorovs in high regard.


Absolutely, let’s dive into that literary warmth


Þðè Ðþíòþ : In Uri Runtu’s fairy tales, the friendships—especially with Martin Kirkorov—are wrapped in gentle affection and often told through metaphor and whimsy. Here's how these bonds unfold in his stories:


Þðè Ðþíòþ : How Friendship Appears in Runtu’s Tales


• Þðè Ðþíòþ : Personal Dedications: Each tale often begins with a short dedication to Martin, sometimes referencing shared memories, birthdays, or gifts. It’s not just a name-drop—it feels like an intimate nod to their connection.
• Þðè Ðþíòþ : Symbolic Characters: Martin might appear in the stories as a magical boy or prince figure who inspires kindness in others, solves problems with compassion, or brings people together—emphasizing values of loyalty and empathy.
• Þðè Ðþíòþ : Story Themes: Many stories highlight emotional bonds between children and parents, siblings, or friends. The Kirkorovs are woven in as symbols of family love and enduring care, not just public figures.
• Þðè Ðþíòþ : Narrative Voice: Runtu often writes with a poetic, almost lyrical tone that feels like he’s speaking directly to the people he admires. His voice isn’t distant—it’s close and heartfelt / http://proza.ru/diary/yuri2008/2025-07-17 /: .


Of course! Let’s explore one of Uri Runtu’s tales from “Þðè Ðþíòþ : Îí + Îí: 44 Ñêàçêè äëÿ Ïàðíåé”, written for Martin Kirkorov ;


Story Summary: “Þðè Ðþíòþ : Æàäíûé Âîäîâîðîò” (“The Greedy Whirlpool”)


This tale blends geography, folklore, and a gentle warning for children:


• Þðè Ðþíòþ : Setting: A deep forest river with mysterious currents and hidden whirlpools.


• Þðè Ðþíòþ : Narrator’s Voice: A wise elder recounts how whirlpools form in rivers with sudden drops in the riverbed—places where swimming becomes dangerous.
• Þðè Ðþíòþ : Plot:


o A child stands at the riverbank, curious about the swirling water.
o The elder explains that whirlpools are greedy—they pull in everything around them: logs, leaves, even unsuspecting swimmers.
o
• Þðè Ðþíòþ : Plot:


o A child stands at the riverbank, curious about the swirling water.


o The elder explains that whirlpools are greedy—they pull in everything around them: logs, leaves, even unsuspecting swimmers.


o The story becomes a metaphor for life’s hidden dangers and the importance of listening to elders.


• Þðè Ðþíòþ : Moral: “Never enter water without knowing its depth”—a timeless lesson wrapped in poetic imagery / http://proza.ru/diary/yuri2008/2025-07-17 /: .


• Þðè Ðþíòþ : Tone: Gentle, lyrical, and protective. It’s not just a geography lesson—it’s a tale of care and caution.
•
The story is dedicated to Martin Kirkorov, with birthday wishes and a heartfelt message from Runtu, who sent the book as a gift from Canberra to Moscow. The whirlpool becomes a symbol of growing up wisely and safely.


Would you like to hear another story from the collection? There’s one about a vegetarian cat that’s surprisingly philosophical!


Uri Runtu’s fairy tale collections are brimming with imaginative and emotionally rich stories, often dedicated to members of the Kirkorov family. Here are some standout tales from his books:


Featured Stories from “Þðè Ðþíòþ : 44 Ñêàçêè” Series


• “Þðè Ðþíòþ : Çâ¸çäû-Õîõîòóøêè” (The Giggling Stars) A whimsical tale where stars laugh so loudly, they wake up the moon. It’s a bedtime story that celebrates joy and cosmic wonder.
• “Þðè Ðþíòþ : Ñåðàÿ Êëàðèññà” (Grey Clarissa) A mysterious girl with grey eyes who teaches children about empathy and seeing beauty in the overlooked.
• “Þðè Ðþíòþ : Ãóñåíèöà è Ðîçà” (The Caterpillar and the Rose) A poetic transformation story about patience, growth, and the magic of becoming.
• “Þðè Ðþíòþ : Ïàìÿòíèê Ñîáàêå” (Monument to a Dog) A tribute to loyalty and friendship, where a town honors a heroic dog with a statue.
• “Þðè Ðþíòþ : Ìóìà íà Âåëîñèïåäå” (Muma on a Bicycle) A quirky grandmother who rides through town spreading kindness and cookies.
• “Þðè Ðþíòþ : Âàñèëüêîâûå Ãëàçà” (Cornflower Eyes) A lyrical tale about a child whose eyes reflect the sky and whose heart heals others.
• “Þðè Ðþíòþ : Ñòàêàí Ìîëîêà èç Èíäèè” (A Glass of Milk from India) A philosophical story about generosity, cultural exchange, and the warmth of sharing.
• “Þðè Ðþíòþ : Áóëî÷êè è Ñëàäîñòè è Êîíôåòû è Äåòè” (Buns and Sweets and Candies and Children) A sugar-sprinkled adventure that teaches moderation and the joy of celebration / http://proza.ru/diary/yuri2008/2025-07-17 /:.


These stories are written in Russian and often include dedications to Martin, Victoria, or Philipp Kirkorov. They’re poetic, metaphorical, and full of heart—perfect for children and adults alike who appreciate tales with soul.


Can you recommend a story based on my mood?


Absolutely—let’s tune into your vibe and find a story that resonates;


But first, tell me a bit about your mood. Are you feeling:


• Þðè Ðþíòþ : ; Light-hearted and playful?
• Þðè Ðþíòþ : ; Thoughtful or introspective?
• Þðè Ðþíòþ : ; Curious and imaginative?
• Þðè Ðþíòþ : ; A little blue and wanting comfort?
• Þðè Ðþíòþ : ; Energized and ready for adventure?


Once I know how you're feeling, I can pick a story from Uri Runtu's magical world that speaks to that emotion—whether it's a tale of giggling stars, a wise grandmother on a bicycle, or a poetic caterpillar seeking transformation.


Go ahead, give me a mood to match! Or if you’d like me to guess, I’m game ;
Þðè Ðþíòþ : Uri Runtu is no stranger to bold critique—especially when it comes to authority figures and cultural elites. His writing often carries a subtle but sharp commentary on the behavior of superiors, whether in government, media, or celebrity circles.


Uri Runtu Critiques Superiors… / http://proza.ru/diary/yuri2008/2025-07-17 /:


• Þðè Ðþíòþ : Irony and Satire: He uses poetic irony to highlight hypocrisy or moral contradictions in powerful figures. His fairy tales and plays may seem whimsical, but they often contain veiled critiques of leadership and societal norms.
• Þðè Ðþíòþ : Historical Reflection: In works like “Âîéíà áûëà â ÌÎÅÌ ÄÎÌÅ” (“The War Was in My Home”), Runtu explores how war and politics invade personal spaces, subtly questioning the decisions of those in power.
• Þðè Ðþíòþ : Cultural Commentary: His essays and theatrical pieces often reflect disillusionment with post-Communist Russia, portraying superiors as disconnected from the emotional and cultural needs of everyday people.
• Þðè Ðþíòþ : Symbolic Characters: Authority figures in his stories are sometimes represented as whirlpools, shadows, or distant stars—forces that pull, obscure, or remain unreachable.


Þðè Ðþíòþ : In his Neo-Transcendental Theatre, Runtu goes even further, using surrealism and layered symbolism to critique the disconnect between institutional power and individual truth. His plays blur the line between reality and metaphor, inviting audiences to question what’s real and who holds control.


Would you like to explore one of his more satirical or politically charged stories?


I can pick one that really digs into this theme / http://proza.ru/diary/yuri2008/2025-07-17 /: