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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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