TRIBUTE TO ANDREI MIRONOV
to the 60th anniversary of the actor's
birth
By Y. Kislyarova
On March 8 the well-known Russian actor Andrei Mironov would have turned
60. He was so tremendously popular during his lifetime that 14 years after
his death his birth anniversaries remain major events on Moscow's cultural
schedule.
Mironov's
60th birthday was marked by an unusual premiere at the Satire Theatre where
the actor had played for a quarter of a century. Having neither a plot,
nor characters in the traditional sense of the word, "Andryusha"
(Mironov's pet name) is, nonetheless, a repertory performance and not a
one-night anniversary production. The script was written by the well-known
satirist Arkady Arakanov. Producer Alexandr Shirvindt, Mironov's close
friend and long-standing stage partner, described the play's genre as "Andrei
Mironov's Birthday". His extraordinary personality revives in the
reminiscences of his fellow actors - Alexandr Shirvindt, Vera Vasilyeva,
Mikhail Derzhavin, Olga Aroseva, Spartak Mishulin and others, while Mironov
himself smiles at the audience from a huge screen. The performance features
fragments of movies and theatre productions starring Mironov, his unforgettable
songs and rare videotapes from personal archives.
Andrei Mironov was born into the family of a popular actor's duet Alexandr
Menaker and Maria Mironova. His mother was on stage when she felt that
her baby was coming. She was immediately rushed into a maternity home.
46 years later Mironov fainted in the middle of Figaro's Wedding - a guest
performance in the Latvian capital Riga. Two days later he died.
The part of Figaro in Beaumarchais's famous comedy, one of Mironov's
best images created on stage, seemed to have been written especially for
him. Radiating elegance and humor, he was enjoying every minute of his
risky game with the powerful count. Mironov's irresistible charm, witticism
and musicality won him the undying love and admiration of millions of Russian
women.
A movie idol adored by the public, towards the end of his life Mironov
was increasingly dissatisfied with his predominantly comic repertoire.
He yearned for roles in which he could establish himself as a serious drama
actor. His legacy includes several such works - Grushnitsky in an Anatoly
Efros production of The Hero Of Our Time based on Lermontov's novel and
Don Juan in a modern version of the classical drama. There would, no doubt,
have been many more, had not his hear stopped beating so early .
113 MUSES OF ALEXANDER PUSHKIN:
UNKNOWN FACTS FROM THE POET'S BIOGRAPHY
Based on a book by Yevgeny Riabtsev
By V. Zherdeva
"Women loved Pushkin not only for his brilliant talent, but also
because the moment he was gripped by a certain feeling,
he
surrounded himself wholly to it". This is a passage from Yevgeny Riabtsev's
book 113 Muses of Alexander Pushkin.
It's about women of noble and less noble origin, he was fascinated
or fell in love with at various moments of his life. The author made a
bold attempt to penetrate into the poet's intimate world. Citing his letters
and diaries as well as notes by his
contemporaries,
Riabtsev portrays Pushkin as a passionate lover and adventure seeker. The
Don Juan list of "lovely creatures" who yielded to the poet's
unfailing charm, drawn up by Pushkin himself at the age of 30, numbers
34 women. His wife, Natalia Goncharova, was his 113th love. Of special
interest are the chapters titled "Romantic Flames Of Youth" telling
about the love adventures of Pushkin under age and "Illegal Comets"
about his passionate romances with Anna Kern and Agrafena Zakrevskaya.
In the author's opinion, Pushkin's first love was Sofia Sushkova, the daughter
of the well-known essayist Nikolai Sushkov. He fell in love with her at
the age of 9. This was a platonic love, of course, for Sofia was only 8
at the time.
The first romantic passion of young Pushkin was Natalia Kochubei, an
haughty upper-class beauty. Most researchers
are
inclined to believe that her name is behind the mysterious NN on the poet's
Don Juan list. Apparently, Pushkin was passionately in love with her and
must have suffered a lot when in 1818 she married a rich and influential
nobleman - Count Stroganov. Natalia Kochubei never flirted with Pushkin.
She knew he was mad about her, but remained as cold as ice. Yevgeny Riabtsev
holds that Pushkin's poems The Caucasian Prisoner, Poltava, The Fountain
Of Bakhchisarai and certain lines from Evgeny Onegin bear sad reminiscences
about that unrequited love.
But
not all of his loves were unrequited. In 1828 Pushkin met two upper-class
women who captivated him - Anna Kern and Agrafena Zakrevskaya. The former
was hardly pretty. At one of her portraits made by Arefief-Bogayev she
appears in a dark unsophisticated dress, a modest hat, with colorless brows
and eye-lashes, looking more like the wife of a clergyman than an aristocratic
lioness. And yet, she drove dozens mad. The famous Russian composer Mikhail
Glinka was also in love with her.
By contrast, Agrafena Zakrevskaya was very pretty, tall, read-haired
and of dark complexion. One of her numerous admirers was Prince of Cobourg
and future king of Sweden Leopold. Prince Vyazemsky dubbed her "a
copper Venus", writer Sergei Aksakov couldn't speak about her other
than with horror and disgust. Her passionate romance with Pushkin was comparatively
long. Experts assume that Zakrevskaya served a prototype for Nina Voronskaya
in Evgeny Onegin.
Pushkin's other flames were the brilliant actress Yekaterina Semyonova,
the divine ballet dancer Avdotia Istomina, Princess Zinaida Volkonskaya,
Countess Daria Fikelmon and many more.
Photos:
Anna Kern's portrait by A.Pushkin
Agrafena Zakrevskaya
Yekaterina Semyonova
Avdotia Istomina .
THE MAGIC BRUSH
OF NATALIA PASCHUKOVA
By I. Beratova
One of the hits of the current exhibition season in Moscow is the Amazons
of Avant-Garde - an exhibit of works by Russian female painters of the
early 20th century. Earlier it made a sensation in Germany, Britain, Italy,
Spain and the United States. What about modern Amazons? Running at Moscow's
House of Artists are several exhibits displaying a rich variety of contemporary
female art. These are Irina Alaverdova's pastels in The Romanticism Of
St.-Petersburg, Valentina Kuznetsova's ceramics heralding the advent of
spring, Irina Kazimirova's batiks with their subtle harmony of color.
Says a member of the Russian Academy of Arts Tatyana Nazarenko: "So
many exhibitions are being launched that it's hard to say which one is
more surprising. Natalia Paschukova is probably one of the most charismatic
modern female painters. Her works are half-rebuses, half-puzzles offering
an original interpretation of world art legacy". Paschukova's canvases
are an extraordinary mix of reality and fiction. An easily recognizable
Russian village is the scene of fantastic metamorphoses with some queer
spell-bound creatures, half-animals, half humans, roaming about... Circus
acrobats in incredible postures, brave soldiers and sailors looking like
good-natured were-wolves... The eternal struggle of darkness and light
so that looking at her paintings you feel as if you were balancing on the
border between the good and the evil. Producer Alexandr Negruk's documentary
about Natalia Paschukova won a special prize at a film festival in Spain
in 1994. "It's a very complicated film because it touches upon a serious
theme, namely that behind a real world there is another one that reveals
itself through the purgatory-related carnivalism of Paschukova's works.
Through flashbacks to gloomy stalinist Russia, the medieval Spain, periods
of romanticism and antiquity to a better understanding of the contemporary
world full of unexpected turns, through chaos to new harmony. At all times
there are talented people who create this harmony".
15 March 2001
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