Tag Archives: Nikolai Gogol

Alexander Ostuzhev house, Moscow

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Alexander Ostuzhev (1874 to 1953) is one of those rare individuals whose great career in art spanned large portions of the pre-Soviet and Soviet periods. He was a huge star at the Maly Theater by the time he went completely deaf in 1910, while some of his most famous roles were performed between 1935 and 1940 when he was in his 60s. I can measure his longevity against my own experience – he was one of the finest partners of the great Maria Yermolova at the turn of the 20th century – seemingly a million years ago – and he was a contemporary of actors who have been contemporaries of mine. It’s a small thing, to be sure, but it does make time shrink incredibly, at least for me.
Ostuzhev was born Alexander Pozharov in the city of Voronezh in 1874. His father was a train engineer. The young man was a bit of a handful for everyone, getting himself kicked out of school for insubordination, and later, being fired from the Maly Theater for getting into a fight with a fellow actor. He began his life working odd jobs around Voronezh until he decided, in 1894, to try his hand at acting. He began in amateur theatricals, finding himself in demand because he had a beautiful voice and was quite a physical specimen – handsome and well-built. He did not have to wait long for his big break. Just one year later the popular Maly Theater actor Alexander Yuzhin (see my piece on Alexander Sumbatov-Yuzhin elsewhere in this space) happened to come through Voronezh and see Pozharov in a bit role. The fare that night was Victor Hugo’s Hernani and, despite his brief time in the spotlight, Pozharov made a huge impression on Yuzhin. In a letter to the playwright Pyotr Gnedich (quoted on the Memoria website), Yuzhin wrote:
In Voronezh I discovered a treasure whom I believe is a major future force, and boldly for the first time I take responsibility for his entire life, extracting him from service on the southeastern railroads and bringing him to the stage. He is twenty-one years old, handsome. He has some intangible way of making you listen to him, watch him, and appreciate every sound of his voice that vibrates with authenticity and every gaze of his wonderful deep gray eyes.”
If that isn’t an account of Yuzhin falling in love, I don’t know what would be. In any case, Ostuzhev’s life had changed. Yuzhin brought him to Moscow and enrolled him in acting classes at an organization that today would be called the Shchepkin Theater Institute – back then it was the Dramatic Courses at the Moscow Theater Institute. Pozharov was given a stipend of 300 rubles while he matriculated and he was finally admitted into the company of the Maly in the 1898-99 season. It was apparently at this time that the provincial boy took the pseudonym of Ostuzhev. There are a few reasons hanging around as to why he did that. One is that the name “Pozharov” comes from the word for fire, “pozhar,” and the folks at the Maly were afraid that if his fans began shouting his name in the theater, unsuspecting patrons might actually believe a fire had started on the premises. Perhaps a more convincing explanation is that Pozharov’s teachers and handlers were looking for a way to calm down his hot temper and so, in place of his fiery name, gave him one, Ostuzhev, that is built around the root for “cold” or “frost” – “stuzha.” Or maybe it was just a name game of the young man enjoying going from hot to cold…
Whatever the case, Ostuzhev played no less than 16 roles in his first season at the Maly (that’s not a typo), at least four of which were major leads. By the time summer rolled around he was a star in Moscow. In 1902 he played Romeo and critics dubbed him the “perfect Romeo.”

The last great role Ostuzhev played before going completely deaf, apparently from Ménière’s disease, was the False Dmitry in a 1909 production of Alexander Ostrovsky’s False Dmitry and Vasily Shuisky. Deafness, at least at first, had little effect on Ostuzhev’s work. The following year he played three new roles – including Khlestakov in Nikolai Gogol’s The Inspector General. According to Kino-teatr.ru, Ostuzhev played four new roles in 1911/12, seven in 1912/13, two in 1913/14, three in 1914/15, and so on. Perhaps not the load that he carried in his first season, but, still he was anything but out of work. He was able to perform because he would show up at the first rehearsal already having completely memorized his role, as well as most of the others in every play. It is said that he was often able to help other actors during performances when they would forget their lines – because he knew them and would whisper them to them.
Still, it is the received opinion that Ostuzhev, by the 1920s, was in serious decline, at least in popularity, if not in talent. Increasingly he played smaller roles and lesser amounts.
But a fortunate meeting with director Sergei Radlov revived Ostuzhev’s career in a serious way. Radlov was not concerned that he could not communicate by voice with the actor; he would write out his directions in long letters and give them to Ostuzhev who studied the letters with the same diligence that he did roles. As a result, when Radlov cast Ostuzhev in the role of Othello in Shakespeare’s tragedy, he unwittingly wrote a new page in the history of Russian theater. Ostuzhev’s Othello stunned spectators and critics alike, returning to him the same kind of mass popularity he had not enjoyed for several decades. The always-interesting Chtoby-pomnili website tells the story this way:
In the opinion of the critics Ostuzhev’s interpretation of Othello gave particular resonance to the topic of offended justice. His Moor was not an unbridled, primitive savage, but a man of exquisite culture and feelings. In the very image of the hero Ostuzhev masterfully emphasized the solemnity of the commander’s appearance, his gestures and features. This made the terrible and terrifying catastrophe all the worse as a great human world collapsed because of petty intrigue. Ostuzhev’s Othello not only inspired admiration among spectators – it was a genuine triumph. Alexander Alekseevich could not hear the applause and shouts of ‘Bravo!’ but he saw, and felt the delight of the audience. The building of the Maly Theater was literally filled with flowers.”
Othello, however, was no mere swan song. Ostuzhev followed it up with two more of his most famous roles, helping him to fashion one of the great career “comebacks” in Russian theater, if one dares use such a word. His performance of the Baron in Alexander Pushkin’s The Covetous Knight (1936/37) and the title role in Karl Gutzkow’s Uriel Acosta (1939/40) were also highly acclaimed. Ostuzhev performed his last new role in the 1941/42 season, but he often took the stage during World War II to entertain Russian troops at the front lines. He died five days before Joseph Stalin on March 1, 1953.
The house pictured here today served as Ostuzhev’s home from 1905 until his death. The address is 12/2 Bolshoi Kozikhinsky Lane, more or less in between Patriarch’s Pond and Pushkin Square.

 

 

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Dmitry Sverbeev, Yekaterina Semyonova house, Moscow

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This house at 37/1 Arbat is a throwback to another age. It was built in the late 18th century – the oldest remaining building on the Arbat – and, after damage suffered in the fires associated with the Napoleonic War of 1812, it was reconstructed. What we see today is the result of work done in 1834. Quite a few people of note have lived in or visited this home. Today we’re interested primarily in Dmitry Sverbeev (1799-1874), who was born here,  and Yekaterina Semyonova (1786-1849) who lived here for a time from 1834 to 1835.
Sverbeev was a diplomat who loved literature and writers and befriended many of them. He described his own interest as such: “I sometimes love to read a bit and listen to intelligent conversations.” He knew Alexander Pushkin and appeared to be rather close to Nikolai Gogol, which is a little bit like a tiny planet orbiting two super-suns. Sverbeev spent a good deal of time with Gogol abroad and, when the writer found himself in financial difficulties, the friend generously gave him money to keep going on. (Sverbeev in general seems to have been a generous man, often helping out people who were not as well-situated as he. In a stroke that says much about him as a person, he never wrote about any of this in his memoirs.) Sverbeev was not as close to Pushkin as he was to Gogol, although the poet did attend Sverbeev’s salons in Moscow in the 1830s, and they crossed paths in various places for many years.
Interestingly, one story from Sverbeev’s memoirs, My Notes (written in retirement in Switzerland and never intended for publication), involves Pushkin and Semyonova, a famed actress who counted Pushkin among her admirers.
In 1820 when Pushkin was visiting the theatres in Moscow, he attended a performance of Semyonova and caused a bit of a ruckus. I’ll let the Prometheus website finish the tale: “Pushkin brought to the theatre a portrait of the French artisan Louvel, who had recently been executed for assassinating in Paris the Duc de Berry, an heir to the throne. The portrait bore a  sweeping inscription: “A Lesson to Tsars.” After the first act, the portrait was passed around the rows of the theatre. Incidentally, it is precisely Dmitry Sverbeev who tells us about this incident from the life of the poet.”
There is some slight confusion about the actual years Sverbeev spent at this house on the Arbat. At least I don’t find hard evidence of the date he left for good. The plaque on the building facade states he lived here from 1799 to 1825, but I haven’t been able to corroborate that. What I do find is that he was posted to the Russian embassy in Geneva in 1824. What exactly he did in the immediately preceding years, I do not know (he graduated from Moscow University in 1817). I’m guessing that the famous literary salons that he hosted were not begun until he left the Arbat, even though the Prometheus site claims he “organized a circle in his own home on the Arbat.” It is known that his most famous salon gatherings were held when he lived at 10 Strastnoi Boulevard and later at 25 Tverskoi Boulevard (I’ve written about this location previously as one of Osip Mandelstam’s addresses in the early 20th century.)

Semyonova is one of those shooting stars that history tosses up every now and then. She was an uneducated, apparently illiterate peasant who, thanks to her fiery temperament, became one of St. Petersburg’s and Moscow’s most popular actresses of her time. She particularly shone in the romantic dramas and tragedies of Vladislav Ozerov, himself a huge star playwright whose fantastic popularity died utterly within just years. He had the misfortune of being a pre-Pushkinian writer, and was soon wiped from the memory of his countrymen. (You will see Pushkin do a bit of the wiping himself in a long quote offered shortly below.) Nobody has performed Ozerov plays for decades, if not centuries. Be that as it may, four of Semyonova’s first six major roles were in plays by Ozerov (stress on the first syllable) – Oedipus in Athens (1804), Fingal (1805), Dmitry Donskoi (1807) and Polyxena (1809). She also shined in Yakov Knyazhnin’s Rosslav (1805) and several foreign plays: Friedrich Schiller’s Maria Stuart (1809), Corneille’s Ariana (1811) and Racine’s Iphigenie (1815). She debuted in 1802 and joined the company of the Alexandrinsky Theater in 1805.
As I have mentioned, Pushkin was a huge fan and in a long defense of Semyonova (whom some in St. Petersburg compared unfavorably to the popular French actress known as Mademoiselle Georges), he wrote:
Speaking of Russian tragedy you speak of Semyonova, and, perhaps, only about her. Gifted with talent, beauty and a lively, true temperament, she came into being all on her own. Semyonova never had a model. The soulless French actress Georges and the eternally enthusiastic poet [Nikolai] Gnedich could only hint at the secrets of art which she understood as a revelation of her soul. Her performances are always unencumbered, always clear, with noble, lively movement, her voice is clean, smooth, pleasant and often reveals gusts of true inspiration – all these belong to her alone and are not borrowed from anyone. She decorated the imperfect creations of the sad Ozerov, creating the roles of Antigone and Moine; She animated the pedestrian lines of Lobanov; In her mouth we appreciated the Slavonic verses of Katenin, full of strength and fire, but lacking in taste and harmony. In colorful anonymous translations which, unfortunately, today are much too ordinary, we heard nothing but Semyonova. The actress’s genius gave stage life to all these lamentable works translated by allied teams of poets, where each of them individually renounced his participation. Semyonova has no rival; The occasional gossip, brief battles and invented hearsay have ceased; She remains the unanimous queen of the tragic stage.”
Pushkin so admired Semyonova that he mentioned her in his great novel-in-verse Eugene Onegin. Celebrating his young years when he frequented the theatre, Pushkin in Chapter 1, stanza 28, wrote: “There Ozerov shared the involuntary tribute / of people’s tears and applause / with the young Semyonova.”
Depending upon the source, you can read all kinds of probable nonsense about Semyonova; what a hothead she was, how ignorant she was, how lazy she was, how covetous she was… You can always read things like that about popular, to say nothing of great, actors. I think Pushkin’s characterizations beat the hell out of all the snippers, snappers and snipers combined. I just have a feeling (say I with no small sarcasm).
In any case, Semyonova’s career took a downturn in the years 1815 to 1820 and from then on she performed less and with less success. She moved to Moscow in 1827 and the following year married Count Ivan Gagarin, the man who had been her lover and had given her several children. It wasn’t the happiest of arrangements, but it became worse after his death in 1832. At least as late as 1830, Pushkin is said to have attended her performance in an amateur production in Moscow, but it was a far cry from her glory days. By the time Semyonova lived briefly on the Arbat, her acting days were effectively behind her.

 

Nikolai Gogol Bust at School No. 59, Moscow

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When you think about it, the idea of a school named for Nikolai Gogol is rather weird. Not that I don’t think it’s admirable. Don’t get me wrong. The world’s kids would be a lot better off were they to grow up reading, and understanding, Nikolai Gogol. The key there is “understanding,” of course. Gogol’s dark vision of the world has led to him being called a satirist for a couple of centuries. There’s no doubt he satirized most anything he could reach with  his pen, but just sending stuff up wasn’t what he was about. He peeled back the facade of a phony world, revealing the incongruity, the quirks, the cruelty, the mendacity (thank you, Tennessee Williams!), the isolation that lurked beneath the surface. I’m not going to give you a Gogol lecture today, but I do want to point out the lovely oddness of the fact that someone chose to name a school after this writer of dark, cutting, often wicked tales.
School No. 59, located at 18-20 Starokonyushenny Lane in the Arbat region of Moscow, until recently was what in the U.S. would be called a common elementary/high school. Unlike many Russian schools that focus on specific topics – mathematics, music, the sciences – it was a general-topic school. Since 2013 it has been subsumed in some far-reaching, octupus-like educational conglomerate bearing the name of Gogol’s fellow writer Alexander Griboedov. That’s not of much interest to us, but what happened here in the past is.
This is actually the site of a fairly famous place of education. It was originally founded June 8, 1901, across town on Povarskaya Street as a gymnasium (essentially a high school). The funding was provided from a grant left by a rich merchant by the name of Ivan Medvednikov, and the gymnasium was called the Medvednikov gymnasium. The building on Starokonyushenny, which still stands today, was opened in 1904. Over the next decade and a half it turned out numerous individuals who subsequently made important contributions to Russian history, science and culture. Among them were famed Russian theatre director Yury Zavadsky (1894-1977), architect and theater designer Georgy Golts (1893-1946), philosopher Sergei Fudel (1900-1977), art historian Sergei Sidorov (1891-1978) and others. The revolution brought changes to the school. In the 1920s alone it changed its name and profile five times. It underwent several more changes until it was named after Gogol on February 9, 1952, 100 years, give or take a month, after the writer’s death. Whatever the school was called, it continued to churn out illustrious students. Vitaly Kostomarov (born 1930), an influential linguist and the future head of the Pushkin Institute of Russian Language, was one of them. You had to know your Kostomarov when studying/teaching Russian at Harvard in my day. Also matriculating here were the writer and dissident Vladimir Bukovsky (born 1942), philosopher Grigory Pomerants (1918-2013), actors Rostislav Plyatt (1908-1989) and Vyacheslav Shalevich (born 1934), and writers Kir Bulychyov (1934-2003) and Mikhail Shishkin (born 1961).

The bust of Gogol that stands in a corner of the school’s courtyard, essentially pleases us because it looks like what you would expect. This is the generic Gogol executed with an attractive hard edge to the features and the gaze. I don’t find anywhere who the sculptor is, but I don’t think I need to. After all, if you back up and take in the bust in its environs, you see that it stands in front of a huge banner topped with the words “Burganov House.” The two Corinthian columns pictured on the banner are photograph images of columns that, indeed, stand outside the Burganov House, which is the semi-gallery and workshop of popular Moscow sculptor Alexander Burganov (born 1935). Leave it to Burganov to put up a modest little bust of Gogol and surround it with a huge advertisement to himself.
Burganov is a friend of Moscow’s head sculptor Zurab Tsereteli (born 1934), the notorious self-promoting sculpture-factory who makes huge, awful sculptures then tries to give them to cities for free. Usually, they turn them down, showing that most cities of the world have better taste than Moscow. His rejects often end up somewhere in Moscow; too often in the line of sight. Anyway, Burganov kind of runs around in Tsereteli’s shadow, getting all kinds of prime commissions to “illustrate Moscow with culture.” There’s no denying Burganov’s flair as a sculptor – he’s a pro. But most of his work looks to me like it’s come off a conveyer belt. Do I, for example, see anything of Burganov in this Gogol bust? I do not. Although I see the work of every other sculptor who has ever sculpted Gogol’s face.
By this time the astute among you may have asked themselves the question – so what’s this author’s bone to pick with Burganov? Well, as long as you ask, let me tell you.
Back in the deep past a good friend named Mikhail Pushkin was looking for an unusual place to stage Jean Anouilh’s Antigone. He found Burganov’s studio in the Arbat district and had a talk with the sculptor. Burganov probably thought nothing would come of this proposal and, even if something did, it wouldn’t last long. So he gave his okay. Pushkin staged a brilliant indoor-outdoor Antigone that made use of an underground bunker whose glass windows up top looked out on trees and old brick walls. It was a spectacular production and Burganov was clearly caught off-guard. Somebody had actually done something truly creative in his midst and it irked the conveyer-belt sculptor. When Pushkin’s company came in to play the next block of shows, he found that Burganov had placed two of his sculptures in the middle of the bunker – the main performance space, and he demanded that they remain there from now on. The director was furious, refused to agree, and that was the end of that show. Short-lived but genuinely brilliant. Ever since then I have been unable to think of Burganov as anything but a jealous, ignorant individual who couldn’t care less about art and is only interested in his place in art – preferably front-stage-center, as he wanted to be in Misha Pushkin’s Antigone, and more or less as he put himself in that banner towering over Gogol at School No. 59.

 

 

Erotic Pushkin, Gogol and Tolstoy bas reliefs, Moscow

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DSCN9327I had no idea that this place at 4/5 Plotnikov Lane existed. I had never seen nor heard anything about it. Consider, then, my amazement and excitement when I happened to be walking around the Arbat area a couple of weeks ago and I came upon this  – a marvelous home featuring a myriad of mildly erotic bas reliefs of none less than Alexander Pushkin, Nikolai Gogol and Leo Tolstoy. Mild as they may be, they are clearly erotic in nature, and, yes, as I said, they involve the great Russian writers Pushkin, Gogol, Tolstoy and, perhaps, Ivan Turgenev, in various suggestive poses with each other or with seemingly faceless others…
It goes without saying that my ignorance is not shared by all. There is plenty on the internet about this structure that is one of several in Moscow called a “Broido home.” Like the one in question here, these were designed by the prominent architect Nikolai Zherikov for the jurist and businessman German Broido. Zherikov, supported by the evidently wealthy Broido, erected several memorable art moderne buildings around the city. Although the main structure of this five-story apartment house (an “income house” in Russian) is not particularly outstanding, the decorations interspersed among the second-floor windows are. It was built in 1907.
A bit of mystery swirls around the bas relief sculptures. Some sources declare the creator is unknown. Others say he is suspected to be Lev Sinaev-Bernshtein, while still others state unequivocally that the works belong to him. I am convinced by the arguments that posit Sinaev-Bernshtein as the author, so I, too, will take that stance.
A few words about the artist before getting to the art. Indeed, Sinaev-Bernshtein specialized in sculptures and bas reliefs of famous cultural figures, and he spent time with Leo Tolstoy at Yasnaya Polyana in the first decade of the 1900s. He was commissioned to create a commemorative medallion of Tolstoy in 1911, a year after the great writer died. Born in Vilno (Vilnius, Lithuania) in 1867, Sinaev-Bernshtein died in 1944 at the hands of the Nazis in the Drancy internment camp near Paris. The Nazis destroyed one of his last works, Youth and Old Age, on which he had worked the last 10 years of his life. He lived primarily in Paris from 1881 on, although he did come to Russia to visit and work from time to time.
Bear with me today. There are a lot of photos below and more text than usual. There was no other way to do this place justice.

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I first did a double take upon seeing that familiar bob cut hairdo on a forlorn figure staring at two lovers over the clumsy inconvenience of a drain pipe. I squinted and moved in closer, and, sure enough, realized I was staring at a pretty good likeness of Nikolai Gogol. (See photo immediately above.) Gogol, his right hand awkwardly inactive at his side, stares at the embracing couple as if trying to figure out what in hell are they doing? Gogol’s sexuality, or his lack of it, has long been the subject of discussion. My acquaintance Simon Karlinsky, the great Russian literature scholar from Berkeley, wrote a book suggesting that Gogol was gay, and I don’t know if anyone has ever successfully refuted that. Or whether it needs refuting. Gogol here does look like an outsider in the feast of heterosexual love going on around him. I wish the figure immediately behind him in the photo above had not literally lost its head. It might give us a few more clues. Gogol here, like Tolstoy and Pushkin elsewhere, is repeated in the same basic pose, no matter what the surroundings. Look, for example, at the photo immediately below. You’ll see Gogol jammed uncomfortably into others’ embraces again, the same limp right arm, the same frozen distance in his eyes. As far as I can see, Pushkin only appears in tandem with Tolstoy, ever the somewhat distracted and uncomfortable object of the big man’s clearly aggressive attentions. Tolstoy is also repeated in the same basic pose elsewhere in the sculptural ensembles, but, depending on the context, you actually see somewhat different stories unfold.
Tolstoy-Pushkin is a delight to behold. I’ve put up several photos that show the combination from various angles. The great author of War and Peace goes after the great author of Eugene Onegin with gusto and passion. Is that a manuscript Tolstoy is holding, or is it a rocket in his pocket? I think it’s the former, although in a different setting, when the object of attention is not Pushkin, you will see that it looks more phallic than bookish. Tolstoy’s fierce eyes and bold pose, in one case, virtually push Pushkin up against the wall. (See the second photo below.) Tolstoy – and this makes great sense – seems to be smelling Pushkin. Don’t you just know that Tolstoy would have wanted to know everything there is to know about the man who created the language he wrote in! The novelist’s left foot steps in boldly on the poet, giving him no way out of this weird encounter. Tolstoy is everything Tolstoy is – adamant, forceful, overbearing, and damned ready to get to the bottom of things. Pushkin, as would be proper for the founder of the contemporary Russian language and the poetry that is written in it, is almost oblivious. He’s clearly backed up in an awkward position, but he doesn’t seem to realize it. His gaze is smooth and unperturbed. He’s fixed his eyes on something distant, something intriguing – perhaps the perfect iamb? We don’t even know if that right hand is being used to ward Tolstoy off – I rather think not. I think Tolstoy just trapped Pushkin’s arm where it was. Perhaps Pushkin was getting ready to pose for a statue and he had grabbed his lapel. And here comes Tolstoy, all animal, all brain, all body, all curious, and he’s going to pin that damn Pushkin down, once and for all! I stood on the street below these marvelous figures and laughed out loud. How could you not? Tolstoy going after Pushkin, all business, all body! I love it.

DSCN9315 DSCN9320 DSCN9324 DSCN9325 DSCN9296 DSCN9299Gogol, as I have noted, looks almost virtually the same no matter what configuration the artist puts him in. As far as I can see, Pushkin only appears in the steamy encounter with Tolstoy. But Tolstoy is given a second encounter, one that looks a little more sinister. (See the third and fourth photos below.) Here Tolstoy is not only paired with a young woman, there is a third figure intruding on the tryst. This individual looks rather like an avenging angel, an angel with an attitude, an angel who does not like what he sees. (I’m assuming that arch over his head is a halo; if it’s not, then my premise falls apart. But I’ll stick with the halo variation.) The muscles in the angel’s left arm are clenched; he is tense. Do his fingers form a fist or are they just beginning to clench into a fist? I see real condemnation in his visage and his stance.
Tolstoy, of course, was famous for his dalliances with peasant women. One might even say he had a compulsion for the women who belonged to him. In his writings he often described men like himself going to “women like that” and it was always a heady intoxication followed by shame and self-loathing. Tolstoy’s attraction to women created enormous problems for his wife Sofya and for himself. One can’t help but think of this as you peruse this trio of figures. Whereas the put-upon Pushkin virtually paid Tolstoy no mind, this young woman, under the old man’s press, appears to be quite ill at ease. She’s been given the same basic pose as Pushkin, but the different circumstances give the whole image a different feel. She is truly trapped. Tolstoy here doesn’t want to know what makes her tick, he’s not sniffing out an ancestor and competitor in the literary game, he quite simply wants this woman. Even the “manuscript” that he holds in his left hand looks much more like a phallus pushing its way up under the writer’s robe as he guides it with his hand.
This one image, more than any of the others, pushes the whole lot over the line from light, humorous eroticism into unabashed, unflinching eroticism – though not without humor.
It is said that Sinaev-Bernshtein’s friezes were originally commissioned by Ivan Tsvetaev (the poet Marina Tsvetaev’s father) for the building in which he planned to open his new Pushkin Museum of Fine Arts on Volkhonka Street in the center of Moscow. The idea, apparently, was to depict the great Russian writers, accompanied by muses, on a procession to see Apollo. According to the story, however, Tsvetaev declined to accept the work when it was completed. It was deemed too risqué, if not downright shocking. So as not to waste good work, the figures were put to use, cut up and moved around, on this building. Over the years the house and the bas reliefs have been dubbed with various names including “the caricature house” and “the house with the naked writers” (although there are no naked figures to be seen). The rumor that this was once a bordello and the sculptures show supposed famous clients is nothing but an urban legend. More reliable – and intriguing to think about – is that this likeness of Tolstoy is apparently the first and only sculptural likeness of the writer created when he was still alive. Tolstoy died three years after this building was erected; Pushkin died in 1837 (70 years before), Gogol in 1852 (55 years before).

DSCN9294 DSCN9314 DSCN9313 DSCN9312 DSCN9322 DSCN9323A few sources suggest that Ivan Turgenev is also depicted among the revelers and onlookers here. I did not see him on my own when I discovered the building (Pushkin, Gogol and Tolstoy are obvious), and even after going back over my photos, I continue to have doubts that Turgenev is pictured here. However, since most everything is in the eye of the beholder, I offer a couple of shots that may – I say, may – show a young Turgenev in the embraces of a young woman. Look at the final photo below. Is Turgenev the second figure from the right? (He would be the one on the extreme left in the penultimate photo, just parts of his head and right hand visible on the corner behind the female figure/muse.) Something about the hair, the mouth and the eyes here are reminiscent of some images we have of Turgenev early on in his life. Take a gander at this drawing, for instance. Our bas relief lacks the beard and mustache, to be sure, but some of the other details intrigue, even if they don’t convince entirely. Is this the same figure who stands between Gogol and a woman in the photo immediately above? I don’t know. They look different to me, although the overall composition – minus Gogol – is quite similar.
In short, Turgenev remains a question mark here, but everything else about this place gets exclamation points. I am terribly torn between potential favorites – the fierce Tolstoy backing the oblivious Pushkin into a corner, or the somewhat clueless Gogol trying to squeeze into threesomes without quite figuring out how to do it. Whatever the case, unless someone comes up with some money to save these unique bas reliefs soon, they’ll be long gone and we’ll only have these photos to remind us that they ever existed at all. This building is included on the list of protected architectural sites in Moscow, although, as one can see, nobody seems to be doing anything about stopping the rot. Is it possible that this place makes the authorities too uncomfortable and they are simply waiting for it to self-destruct? You bet it is. And what a shame it will be to lose this wonderful, unexpected treasure.

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Maria Sollogub’s literary salon, Moscow

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This is one of the nicer homes in my expanded neighborhood. Someday I’ll have to leave it behind, but it will always remain strong in my memory. It stands cattycorner across from the Tretyakov Gallery, and directly across from the famous Writers’ house on Lavrushensky Lane. (If you’re one of those, like a benighted editor I once had, who doesn’t know the word cattycorner [or caddycorner], expand your vocabulary: The Grammarist, in a lovely, long article tells us that it means “positioned diagonally across a four-way intersection, but … can work in other contexts relating to one thing being diagonal from another.” It’s a very useful word.) But I already digress.
The main structure at 3 Bolshoi Tolmachyovsky Lane dates back to 1772, while most of the decoration, added after the Moscow Fire of 1812, dates to 1814. The gorgeous wrought-iron gate and fences were originally created in the 1760s, but were not put up here until the 1820s. The wings to either side of the building were added in the years 1849-1859 by then-owner Maria Fyodorovna Sollogub (1821-1888), who is the reason for this post today. (Note that in the historical record her last name is sometimes found spelled with a single “L” but the accepted spelling for her family is with the double “L”.) Maria was born into a well-known and well-connected family in St. Petersburg. Her father was Fyodor Samarin, a military man, and her mother was Sofya Neledinskaya-Meletskaya (whose father, in turn, was something of a poet – one of his poems became the popular romance, “Whenever I Go Out to the River”). Two of her brothers had connections to what today we might call the “creative class” – Dmitry Samarin wrote essays and small books defending Slavophile views, while Yury Samarin was a philosopher and a good friend of many writers, including Konstantin Aksakov, Ivan Kireevsky, Alexei Khomyakov and others. In this family of learned, prominent people, Maria had the opportunity to meet many of the early great Russian writers – including Alexander Pushkin and Nikolai Gogol. Maria was well-educated (at home) and had a sharp, inquisitive mind. She was known to her contemporaries as a brilliant conversationalist. The philosopher and jurist Boris Chicherin called her “one of the most worthy women I ever met in my life” and noted her “solid, clear and fundamental intellect.” As was the rule for the time, she was groomed for marriage and one of the pretenders, if I may put it that way, was Andrei Karamzin, the son of the great historian Nikolai Karamzin. However, her authoritarian father prevailed and in 1846 she was handed in marriage to Lev Sollogub, the older brother of the then well-known writer Vladimir Sollogub, best known for his light society tales and his vaudevillian dramas. In short, Maria was – right from the beginning of her life on through into the thick of it – surrounded by literature and writers.

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That marriage not only brought Maria to Moscow, it turned out to be something of a disaster when, after a few years, Lev Sollogub lost, shall we say, contact with reality, and Maria was left to care for him until he died in 1852. The couple’s only child – Fyodor Sollogub (1848-1890) – became a costume designer for theater, as well as a sometime poet and actor.  (Don’t confuse him with the symbolist Fyodor Sologub, whose real last name was Teternikov.) He was a good friend of Leo Tolstoy’s and stood at the origins of a small theatrical organization with the bland name of the Moscow Society of Lovers of Art and Literature. We remember this society today because it is the place where Konstantin Stanislavsky took his first baby steps in the theater world before moving on to found the Moscow Art Theater. In fact, Stanislavsky credited Sollogub with being one of the few people whose ideas and support helped him consolidate his thoughts on a new kind of theater.
Maria clearly loved and appreciated good company and good talk, for the “evenings” or “get-togethers” or “salons” that she hosted in her home were well-known and well attended. The Russian Field website tells us that “the Sollogub home became a popular literary-political salon, frequenters of which included Alexei Khomyakov, the Kireevsky brothers [Ivan and Pyotr], the Aksakov brothers [Konstantin and Ivan], Konstantin Kavelin, Ivan Turgenev, Boris Chicherin and others. In other words, Slavophiles and Westerners alike gathered here in comfort.”
Details about Maria’s salon are not easy to come by although I did find a description of a theater production of an early Turgenev play that was put on there. Here is a text drawn from a Turgenev website:
“The Provincial Lady was performed on the amateur stage of Countess Sollogub in early January 1851. The author ignored the first performance. But, having heard of its success, he attended the second. Countess M. F. Sollogub was the wife of Lev Alexandrovich Sollogub, a cousin of the Vasilchikovs and Countess Cherkasskaya. Visiting her home, Turgenev naturally met her many relatives, but Countess Cherkasskaya, who played the lead role in the play, disappointed the writer. In a letter to Pauline Viardot on January 5, 1851, he wrote, ‘Day before yesterday I had a great success. The actors were loathsome, especially the heroine (Countess Cherkasskaya), although that did not stop either the public from applauding excessively or me from going backstage to congratulate them heartily. Still and all, I was satisfied that I attended the performance. I think that my play will have success on the theatrical stage, since it has been appreciated, even though it was abominated by dilettantes… I received many congratulations, compliments et cetera. You know, it’s amusing to see your own work on the stage.”
In fact, Turgenev in another letter to his love Viardot (published on the Turgenev page of the az.lib.ru site), reveals that he was quite nervous about the little premiere. Here is an excerpt from a letter he wrote New Year’s Day 1851:
This evening one of my manuscript comedies will be played on the amateur stage at Countess Sollogub’s. I was invited to attend the performance but I, of course, will refrain from that; I am too afraid that I will play a silly role. I’ll write to you about what results.”
As such, in addition to all the interesting conversations and meetings that these walls witnessed during the years that Sollogub lived here, it was also the place of the world premiere of Turgenev’s The Provincial Lady. Sollogub sold the estate in 1882 and it became a gymnasium (high school). It is currently the K.D. Ushinsky pedagogical library.

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Alexander Pushkin at Nashchokin’s, Moscow

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I have so many photographs of plaques and busts and monuments of Alexander Pushkin’s presence in Russia that I could almost – almost – get away with doing a blog devoted just to him. This location today has two plaques commemorating the fact that Alex used to hang out here with his friend Pavel Nashchokin in 1831-32.  Actually one plaque (see above) declares what I have just stated; a second, the more generic kind of plaque (that you see immediately below) claims that Pushkin “lived here with his friend P.V. Nashchokin” in 1831. The two apparently made an excellent pair. Pushkin “loved life,” as the saying goes, and Nashchokin appears to have loved it no less. When his mother died she left all her considerable properties to Pavel’s older brother and sister because she knew her youngest son would squander it in no time. Here is what one  Russian history  website writes about Pavel Nashchokin: “Nashchokin was a cheerful, extravagant, reckless man who was quick to lend money and quick to forget to demand payment of the debt, never abandoned the homeless and unsettled, was a peacemaker who shared the last coin he had. He would become fabulously rich, winning cards or receiving an unexpected inheritance, after which he would throw Lucullean feasts for his friends…” The obvious next step of that phrase is he could just as easily lose everything he had. He was up to his neck in debt within months of his mother’s death in 1828.
In the early 1830s Nashchokin moved often, residing at five different addresses in the first half of the decade. It’s a boon for Pushkin fans, for it assured us a spate of plaques going up a few hundred years later to commemorate all these meeting places.
The structure we peruse today is 4/2 at the corner of Gagarinsky Lane and Nashchokin Lane. It’s a lovely early 19th-century building, one of those low, two-story, stand-alone buildings, painted in that powdery yellow I so love (the photos here distort it some, itlooks duller than in real life). I have no idea what color it was 185 years ago, of course.
The same site I quoted earlier adds this lovely tidbit about Pushkin coming into Moscow from his home in St. Petersburg and telling cabbies to take him to Nashchokin’s: “When he was in Moscow, Pushkin always stayed with Voinych [that was Nashchokin’s patronymic]. He was always as amused as a child when the cabbies would faultlessly find the road to the home of his friend who often changed apartments.”
In other words, of course, Nashchokin’s was a place many a cabbie had driven to.
Russian Wikipedia tells us that by 1831, Nashchokin had two children, a boy and a girl, by a Gypsy singer whose name was Olga Soldatova. Pushkin became the girl’s God father, just as Nashchokin was God father to Pushkin’s first son, Alexander. Pushkin asked Pavel to be God father to his second son, but Nashchokin was ill at the time and could not make the trip from Moscow to St. Petersburg.

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Pushkin (1799-1837) and Nashchokin (1801-1854) first met when the two were kids at the Tsarskoe Selo college in 1814-15. Nashchokin spent time as an officer in the Tsar’s army, but retired for “domestic reasons” in 1823 at the age of 22. The two grew close after Pushkin spent time in exile after the Decembrist Uprising in 1825. Nashchokin never did anything that would have caused anyone other than direct descendants to remember him, but his friendship with Pushkin made him something of a folk figure, and even a relatively frequent object of serious study. It is the reality of Pushkin in Russia that anything or anyone he ever touched or even cast an eye on became an object of considerable historical interest. The Pushkin scholar Mikhail Gershenzon wrote a 70-page essay in 1912 entitled “Pushkin’s Friend Nashchokin,” which considers not only the retired officer’s relationship with Pushkin, but also with Nikolai Gogol. Be forewarned: This is what happens when you hang out with a famous person and then a scholar comes along to comment:
Nashchokin interests Pushkin clearly for his purely artistic features: the attractive expressiveness of his personality and life,
the harmonic play between his relatively large spiritual powers and his typical love of domestic life. Pushkin primarily admires Nashchokin unselfishly as a luxurious object of attention, then studies him, reflecting on the mechanics of this phenomenon, seeking in his actions general psychological and historical laws. It is impossible to deny that Gogol, too, was attracted by Nashchokin’s picturesque qualities; but he [Gogol] consciously neglects this aspect of the matter and hastens to transform this vivid image, which Pushkin appreciated as a poetic jewel, into an instrument of practical use, a tool for the structuring of society. Pushkin could be fascinated by Nashchokin for the very process of his turbulent emotions, whether full of drama or typically common; for Gogol his manifestations of sinfulness and social malignancy were repulsive...”
Gershenzon notwithstanding, Nashchokin, during his life, was one of the liveliest figures, not an object of study, at the center of Russian cultural life. Aside from Pushkin, the crown jewel, to be sure, Nashchokin counted among his friends the poets Vasily Zhukovsky, Yevgeny Baratynsky, Denis Davydov, Nikolai Yazykov, the novelist Mikhail Zagoskin, the philosopher Pyotr Chaadaev, the painters Karl Bryullov and Vasily Tropinin, the composer Alexei Verstovsky, the actor Mikhail Shchepkin and the critic Vissarion Belinsky.
Belinsky called Nashchokin “a kind and splendid person.”

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Dead Show “Gravestone,” Moscow

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This, as Lewis Carroll might have said, is one of the curiouser memorial plaques in Moscow. Maybe anywhere. It lies in a corner of the Aquarium Garden just off of Triumphal Square (known popularly still as Mayakovsky Square), in front of the right side of the Mossoviet Theater. It first showed up in the year 2000, when Oleg Menshikov, the popular actor and founder of the 814 Theatrical Association, decided to mark the closing of his production of Alexander Griboyedov’s Woe from Wit with a bit of macabre humor. (Menshikov’s shows, until he took over the Yermolova Theater a few years ago, invariably played in Moscow at the Mossoviet, a venue where he once briefly was a member of the company.) Menshikov had a gravestone-like marker made up with the inscription “Production of A.S. Griboyedov’s play Woe from Wit, 1998-2000″ and he sunk it into the ground. Later he added other “dead” shows to the plaque – Maksym Kurochkin’s Kitchen, 2000-2002, and Nikolai Gogol’s The Gamblers, 2002-2005.
However, don’t take everything you read, especially on gravestones, to be the gospel truth. The Gamblers is actually still performed from time to time to this day.  The story on that is as follows: Menshikov is famous for being a dynamic kind of guy. He doesn’t linger long in any once place, doing any one thing. When he begins getting bored with something, he moves on. His credo is that it’s better to close a show when it’s at the peak of its popularity than it is to keep playing until audiences realize the old magic is waning. And anybody who has ever seen an old, wheezing, gasping show that should have been closed long ago will understand this well. Thus did Menshikov close both Woe from Wit and Kitchen when both were still packing audiences in like sardines in a can, raisins in a box, stars in the sky. He did the same with The Gamblers in 2005, but his friend, and one of the performers in the show, Viktor Sukhorukov, was furious. Viktor simply did not understand why anybody would stop playing a production that was so fantastically successful. And so he badgered Menshikov until Menshikov gave in and brought the show back to life. Surely there are few people capable of badgering Menshikov like that, so let’s all stand and give Sukhorukov a round of applause. Very rare instance, indeed. By the time Menshikov brought the show back, however, the news of the “death” of The Gamblers had already been impaled in stone for all of eternity. True or not: RIP – 2002-2005.

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I was present at the unveiling of the second renewing of the plaque on June 25, 2002, the day of the last performance of Kitchen. My wife Oksana Mysina played one of the leads (Queen Kriemhild) and so I was there to attend the big afterparty, which for many, who regretted that the show was ending so soon, did resemble a funeral as much as a celebration. Anyway, after everyone had had plenty of drinks and all the celebrity guests were full of smiles and laughter and had tried out a few wobbly dance steps, Menshikov called everyone out into the late-night dark of the park. The Woe from Wit gravestone was covered with a veil that, when it was ripped off, revealed the birth and death dates of Kitchen itself – a show we had seen still living and breathing just hours before.  At that time nobody knew Menshikov was susceptible to being badgered, so we all took it as final proof that Kitchen would never rise again. At least not in that incarnation. And we were right.
A few more details on this marker.
It spends several months a year buried under snow, so that in the winter few are aware of its existence. Actually, because this is a corner where snow gets dumped when it’s shoveled off the sidewalk, the marker remains buried even for some time after much of the snow is gone. These photos were taken shortly after the last snow disappeared, but well before any of the grass or other greenery began coming in this spring. It seems fitting for a gravestone to be surrounded by gloomy, raw earth and tangly dead branches…
Finally there is the lovely fact that shortly after Kitchen was added to the marker, some grim grave robber came into the park one shadowless late night and made off with the whole plaque as a souvenir. Menshikov had to have a second version made and this time, the word is, he attached it to an incredibly deep and heavy base that goes who-knows-how-far into the earth.
Still, not all is gloom and doom here, as you will notice if you click on the last photo below and take a good look. It so happened that as I was taking that picture, I entirely by accident caught a couple embracing and kissing against the neon backdrop of an American diner that stands across the park from the Mossoviet Theater. As the Latin scholars said, art is short but love is long. Or something like that…

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