Every year on March 25 we honor cultural workers. This includes museum workers, librarians, employees of leisure centers, theaters — all those who bring culture to the masses and preserve it. Today, on the eve of this wonderful spring holiday, I would like to tell you about a family that made an enormous contribution to the development of culture in Cherdyn during the years of the revolution and the establishment of Soviet power — the family of Arkady Andreevich Mazharinov.
Presented to your attention is a research work about the life and fate of a man who at 20 left his native family and what seemed then to be “the work of his whole life.” In 1908 Arkady Andreevich moved to the north of Prikamye, to Cherdyn. There he worked, met his love and started a family. He survived the revolution, the First Civil War, and the Great Patriotic War. But he never stopped creating: acting on stage, writing plays and music, photographing.
It is worth noting one peculiarity: the Mazharinov surname can sometimes be written as Mozharinov. From correspondence with his granddaughter Svetlana Chukalova: “We have a real mess with the surname. In my birth certificate the surname is Mazharinova and my parents are also Mazharinovs. In their marriage certificate their surname is also Mazharinov (I kept it after my parents’ deaths). All documents were issued in Murmansk. Then we moved to Cherdyn. And there my two brothers who were born are recorded as: Mozharinov Yuri Vladimirovich 23.06.50 and Mozharinov Alexander Vladimirovich 27.03.55. And my parents also became Mozharinovs. I discovered this only in 2005 when my mother died. I think my grandfather and grandmother also had some trouble with the surname. I have many papers from my grandmother and father left — we will figure it out.”
Arkady Andreevich Mazharinov was born on November 30, 1888 in the city of Perm into a peasant family. His father was Andrey Grigoryevich Mazharinov, a peasant from Kazan Governorate, Arsky uyezd, Ars‘kaya volost, village Tyubyak. His mother, Ekaterina Vasilievna Mazharinova (née Belousova), was also a peasant, from Ryazan Governorate. His father worked in agriculture until age 21, then was conscripted and served in Riga and neighboring areas. He served in a regiment and left the service as a non-commissioned officer. While in the army, being a self-taught literate man, he somewhat broadened his knowledge and, after leaving the service, did not return to farming but became a clerk at one of the piers of the “Brothers Kamensky and Lyubimov Partnership,” whose ships ran from Nizhny Novgorod to Perm. When his son Arkady was born they were already living in Perm. They owned no real estate, so they lived in private houses and moved from apartment to apartment. Andrey Grigoryevich left the Partnership and worked in the office of the Singer Sewing Machine Company. The years of the revolution found him working as a storekeeper at the Perm City Pawnshop. Most pawnshop employees, including Andrey Grigoryevich, transferred to an organization similar in function to a pawnshop, i.e., assessing and safekeeping requisitioned property. He finished working due to old age and illness. Andrey Grigoryevich died in 1922 or 1923 (exact date unknown).
Ekaterina Vasilievna — Arkady Andreevich’s mother — devoted herself entirely to caring for the family and raising the children. She died when Arkady was 16. How many brothers or sisters Arkady had is unknown. As Arkady Andreevich mentions in his autobiography, he had a brother two years older (name not given) who was closest to him in childhood outlook. He died after one year in primary school, and Arkady felt lonely in the family, although he was already grown — their spiritual bond had been very strong. A younger brother was four years younger than Arkady. “With the death of my mother family life changed for the worse, which affected my schooling: I had to leave after the 2nd grade of the City School, two years short, and enter as an apprentice in a photography studio in 1904,” writes Arkady Andreevich.
Throughout his life Arkady Andreevich engaged in photography and amateur art. He wrote music to poems, wrote plays and staged them. From Arkady Mazharinov’s reminiscences: “From distant childhood it should be noted that musical and artistic talents manifested themselves in me very early. In preschool age I quickly mastered any musical instrument that came into my hands, and at that time those instruments were exclusively children’s — those given to us and my brother on our name days, or bought at fairs. Namely: cheap toy harmonicas of 4–5–7 reeds, mouth harmonicas, xylophones (sets of metal plates), flutes (tin or wooden) with finger holes, as well as self-playing toys, to which, however, I quickly grew cold, while the others became dearer to me as I enlarged my modest childhood repertoire. I was less passionate about drawing, but at that same age I quite accurately copied pictures that particularly attracted my attention; I either traced them or reproduced them from memory. In the first years of school I showed ability in expressive reading and declamation. At rare school celebrations, once a year (for example, at the Christmas tree), I was allowed to read a poem or fable or story, which was met with general approval, but… that was only once a year, and a momentary enthusiasm that found no nourishment during the year until the next success, and the enthusiasm died without a trace.”
From these recollections one can conclude that he was a versatile, creative person. He had a desire to learn and discover new things. During difficult times for his family he did not despair but tried to make things better for those around him. Although the family was influenced by the prevailing view that creativity cannot be a means of earning a living and is merely a waste of time, Arkady was not forbidden to engage in music and art. “And if from the parents there was no prohibition, there was equally no desire or encouragement to develop these abilities and a love for the arts: they would listen, look and even praise, but nonetheless would, in one way or another, make clear the futility of making a living by these talents. I did not hear such admonitions from my parents, but that was how the environment around us thought, and the parents agreed with it; nevertheless they bought us musical instruments and drawing supplies.” Incidentally, Arkady himself did not see making music or drawing the purpose of his life. In his view, even the most famous composers and artists could and did end their lives in poverty. Moreover, studying in an art class would have been a big problem for his family, since musical instruments at that time were luxury goods affordable only to the rich. His interest in the stage began at age 15.
He learned photography and simultaneously, with a friend, played clowns, puppets and so-called “pantomimes with speech,” which he had seen in circuses and fairground booths — small puppet shows. After they grew bored of clowns and puppets they began to dream of theatrical productions on stage, which required more serious preparation. Arkady’s artistic taste helped him make sets. Thus one-act vaudevilles and longer comedies, mainly of a comic genre and sometimes with distinct sections, began to appear. “In winter and spring we used the room of one of the participants of our dramatic and musical entertainments, whose parents looked favorably on the schemes and hobbies of their favorite and pet. The very well-to-do parents of this ‘pet’ provided us in summer with the coach-house; moving the carriage aside, the raised floor of the coach-house served us as the stage for our exploits, and the wide doors as the ramp of a stage constructed with our set.”
In 1905 a 17-year-old lad was offered to go to a factory in Lysva under better conditions than staying in Perm as a photographer. Six months later Arkady Mazharinov ended up in Usolye, where he worked until August 1908. Arkady Andreevich recalls: “…from where the owner of a well-appointed photography studio, an amateur, invited me to Cherdyn. Offering independent conduct of the business on even more favorable terms, since he himself without professional knowledge could not run it. This my third and last move is especially memorable to me, and I cannot omit it without dwelling on it in more detail.” It was in 1908, at the invitation of Viktor Heinrichovich Bortnovsky (a teacher with revolutionary views from a noble family), that he made his third and final move — to the north of Prikamye, to Cherdyn.
From Arkady Andreevich Mazharinov’s memories about his move to Cherdyn: “In 1908, in the first half of August (I do not remember the date), at about 4 or 5 o’clock in the afternoon, the passenger steamer ‘Pochetny Grazhdanin’ departed from the pier in Usolye, heading north to its final destination — Cherdyn on the Kolva River. Among the passengers of the 3rd and 4th class, who had settled on the upper covered rear deck lined with bunks, I took a bunk at the left side. During the last two years this was the third and last move to new places of work. Cherdyn, where I was offered a position in a photography studio that, in my opinion, should only be offered to an experienced, many-years-working master, flattered my vanity and at the same time frightened me with some uncertainty. And now I, a recent apprentice still needing guidance, dared to take the position of a full-fledged master, and that daring created a feeling similar to the fear and trembling of a schoolboy awaiting a difficult exam. Both decks, front open and rear, were crowded with passengers of all classes; the wonderfully warm and pleasant approaching evening must have contributed to this. Lively talk, laughter, jokes coming from everywhere did not cheer me but deepened my thoughts about an unknown future, creating longing for the past, sharpening sadness that everything beloved, dear and carefree had remained somewhere behind. And ahead perhaps endless wanderings from place to place? Darkness fell (August nights were already dark), reminding everyone that it was time to rest. The forward deck emptied. On the rear deck quiet talk here and there, and the snoring of those asleep on their bunks. I too began to make my bunk ready for sleeping and unpack my bag, consisting of a three-row harmonium, mandolin, bedding and some clothes; all my personal possessions, not counting the canvas dinghy left at home, of which I was especially sorry to be separated. The silence of the night, interrupted by the machine’s sighs and the monotonous noise of the paddle wheels cutting the water, should have lulled me, but sleep fled. I did not want to sleep; sad thoughts continued to paint pictures of the recent past and to think about irretrievable time. There is a melancholic waltz called ‘Irretrievable Time’ that exactly matched my mood and I wanted to hear its sounds. I took the harmonium out of its case and began to play the melody quietly, timidly, afraid to disturb the sleeping neighbors, although the noise of the ship’s wheels was much louder. Surely I was not the only one on that steamer longing in spirit. Several dark figures alone in various places on the foredeck flickered with their cigarette lights, and a voice behind me, a few bunks away, asked me to play louder. ‘How to know,’ I thought, ‘what is happening in the soul of the man who asked me to play louder?’ Encouraged by the request and by a few people drawing closer to me, I gave myself up to the desire to dispel my gloomy thoughts with the sounds of appropriate melodies. Engrossed in playing, I do not recall how long the pastime lasted — an hour, two or longer — but I clearly remember that I ended my playing with the melody to Nekrasov’s words ‘Show me such a shelter, I have not found such a place where your sower and keeper would be, where the Russian peasant would not groan?’ The deck rested in dead sleep and only the rhythmic noise of the paddle wheels broke the night’s silence. ‘I have lulled and soothed everyone,’ I thought and was about to lie down on my bunk when a male figure detached from the starboard side and quickly came to me on the left. ‘Thank you, from the bottom of my heart, thank you!’ I heard a voice trembling with emotion, and the thanking hand gripped my hand tightly. The stranger quickly withdrew. I barely managed with unnecessary excitement in my voice to stammer: ‘Mercy, but for what?’ In the morning, approaching Cherdyn, I searched for a meeting of eyes by which I could guess to whom I owed the night handshake, but I read nothing in the faces I met. Whenever I remember this, I always wished for some chance meeting with that man just to shake his hand for once having shaken mine. Forty-two years passed, and that chance never came.”
All this time Arkady’s creativity did not leave him; he acted in theatrical productions in Lysva, Usolye and Cherdyn. “The first play in which I performed on a real stage and before a real audience was Maxim Gorky’s ‘The Lower Depths,’ in the role of Alyoshka in 1906 at the Lysva factory. In Cherdyn, as in the factories at Lysva and Usolye, I soon became known as a good harmonist and for my dramatic abilities, and they drew me into an amateur dramatic circle at the local club of the Society of Family Evenings.” This circle consisted of the local intelligentsia, divided into two groups unfriendly to each other. One group was the haute aristocracy or social elite; the other was intelligentsia from minor officials, teachers and even craftsmen, to whom I belonged. If both groups participated in a play, of course the main and better roles were given to the upper group. It is natural — would they demean themselves to play a lackey or maid? Such localism was, of course, offensive even to me, who always saw only one difference in roles: that large and important roles required more work and attention than small ones. But I was always happy if by my small role I could produce a greater impression on the audience than a big role poorly played by some upstart from the top. Professional actors also came to Cherdyn: troupes and solo artists. We must give them credit — they were sometimes merciful about my ability. For example, in one troupe although they had their own Luka in ‘The Lower Depths,’ they gave me that role, finding that I would be better than their Luka.
Gorky’s ‘The Lower Depths’ ranks first by the number of roles I played in it and, consequently, by the number of productions in which I took part. I played in it no fewer than 10–11 times within a relatively short period: the role of Alyoshka was played by me in 1906, the role of Luka in 1909 or 1910, Klesch in 1912 or 1913, the lodging-house keeper in 1918 and the baron in 1925–1926.
In 1917 practically two revolutions happened one after another in the country; at that time the Russian Empire had already been at war on the fronts of the First World War for three years. From Arkady Mazharinov’s memories: “The events of the coup rolled and were experienced by Cherdyn with some delay, and the establishment of Soviet power should probably be attributed to the beginning of 1918, up to November or December. Then the town was occupied by Kolchak’s White forces, who held out a little more than half a year and fled to Siberia in June or July 1919. A month or two after them there was some leaderless state in the town before Soviet Power was finally restored.” To support the people so they would not lose heart — because at that time many young lads from Cherdyn county had been conscripted, some returned from the front and some lay forever in mass graves — theatrical productions continued, although far less. Plays were staged, and actors came from other regions. Arkady himself took part less in amateur art; in the 1917–1918 season he acted in only two plays. At that time amateur actors were “blown away like the wind”: some fled from the revolution, some joined it, others simply lay low and drifted with the events happening in the country. Then a townsman named Mikhailov suggested that A.A. Mazharinov propose to audiences the creation of an amateur circle, which he did. There was no public response, so he proposed an impromptu concert where anyone wishing could perform whatever they wanted. After the concert he picked out a couple of actors who later took part in his productions: “I remember that my comrade Mikhailov and I copied down the surnames of participants in the impromptu concert. All those we wrote down, occasionally took part later both in concerts and productions, but the most active proved to be comrades Sulin and Vishnya; (I consider myself and the pianist as it were obligatory to be everywhere). Thus we formed a core of activists and each week could present something new. The first work of our group after the impromptu was ‘Divertissement,’ i.e., a one-act play, followed by a concert section. The vaudeville-play was called ‘The Orderly Let Me Down.’ Roles were distributed as follows: the officer — Sulin, I — the orderly and the officer’s wife was played by N.S. Vereshchagina (daughter of the city head of Cherdyn). Material for productions were mostly the same plays (often) — vaudevilles and Chekhov’s plays and stories, which we staged. For concerts: anecdotes, stories, fables, poems, songs, dances and music; whatever anyone could do. We did not disdain anything, pursuing one goal — that it would not be boring.”
Work at the club ceased when rumors reached them of the evacuation of the Reds from Cherdyn before the arrival of the Whites. From Arkady Andreevich’s memories: “Soon indeed the carts of the retreating columns began to pass, and our town froze in anticipation of something unknown. Personally I felt somewhat uneasy. Business in photography was almost nonexistent, and there was almost nothing to work with; photo materials ran out and could not be obtained — that is, they could not be ordered from anywhere, and I obtained some small supplies from local photo amateurs and worked bit by bit, as they then said ‘cheko na cheko’ (little by little). The Whites arrived. I did not go anywhere, and I was not required anywhere, except that I had to present myself to the military commission for mobilization, but I was rejected as 'unsuitable for bearing arms.' Searches were conducted everywhere in Cherdyn: in houses, in institutions; they even came to Arkady to search his photography studio.
Alongside his creative work Arkady Andreevich taught music at the girls’ gymnasium and the men’s parish school. In the archives of the Cherdyn museum there are group photographs, among which there is a photo of students of the male parish school, where Nikolai Petrovich Alin sits in the center and to his right sits Arkady Andreevich Mazharinov. And on another photo signed “Teachers, September 2, 1912,” Arkady Andreevich is among the teachers of the gymnasium and the men’s school.
With the establishment of Soviet power life began to come back to normal. Creativity became an integral part of Arkady’s life. We will return to Arkady Andreevich later; now I would like to talk about his wife Augusta Dmitrievna Mazharinova (née Lyubimova).
Augusta Dmitrievna was born on November 11, 1894 in the village of Kolchug. She had three sisters and one brother. Her father was a psalmist at the local church; her mother was a housewife. Augusta studied well, as evidenced by the grade reports of the gymnasium pupils for 1908. Augusta Lyubimova completed the full course at the Cherdyn girls’ gymnasium with the qualification of a home instructor in the Russian language. In January 1917 Augusta, already under the surname Mazharinova, was appointed class supervisor at the Cherdyn girls’ gymnasium with a salary of 300 rubles. During the Soviet years from 1930 to 1935 she worked in the children’s commission under the District Executive Committee, a member of the union of state institutions. From 1935 to 1950 she was a photographer at the Cherdyn mixed industrial artel named after the 4th Congress of Soviets. At the same time, for 40 years she carried out public and voluntary elective work “from the call of the heart.” In her personal file kept at the Cherdyn local history museum, Augusta Dmitrievna’s personal card includes the note: “Organized a pensioners’ choir, sang in the choir herself, declaimed, acted in plays, did makeup, participated in more than 100 concerts of pensioners in Cherdyn and the district, and also took part in amateur performances at the RDK, traveled 8 times to regional amateur reviews. Partially took part in productions in 1919 in the first Red Guard club, later worked together with her husband — director, organizer; had a personal badge of a participant in the All-Russian Choral Society.” Possibly Arkady and Augusta met when the pupils of the girls’ gymnasium attended theatrical productions in which Arkady Andreevich performed. The metric book of the Cherdyn Epiphany Church records that on August 21, 1915 Augusta Lyubimova and Arkady Mazharinov entered into lawful marriage.
Their family and creative partnership made a huge contribution to the development of amateur art in the town and district. They survived the revolution, the First World War, the Great Patriotic War and always remained creative people, lifting public spirits and giving people hope for tomorrow. With the same attitude to life the Mazharinov family raised their children: Georgy and Valery (born 1916), and Vladimir (born April 6, 1922). Valery practiced photography; Georgy, though suffering from mental illness, studied at the musical-pedagogical technical school of the Molotov region. Vladimir, like his father, played musical instruments — mandolin, accordion — sang and composed music. In 1941 the three sons were conscripted into the ranks of the Soviet Army. Valery died and was buried on March 23, 1943 in the Karelian-Finnish SSR, Medvezhyegorsky District. Georgy also died at the front. I would like to dwell in more detail on the biography of their son Vladimir, who followed in his parents’ footsteps.
Mozharinov Vladimir Arkadyevich, the youngest son of Arkady Andreevich and Augusta Dmitrievna, was born in 1922 in Cherdyn. In August 1941 he was drafted into the Red Army. From a letter Vladimir Arkadyevich wrote to his parents: “Good day and farewell dear parents — father and mother! I write to you from the place of departure — from Perm II station, I am sent to the naval fleet to Murmansk — not certain, in one word to the west. When I arrive I will write. Well, there is nothing to write except thank you for all you have done personally for my wellbeing. Your son Vladimir. Molotov city, September 2, 1941.” Vladimir went to the fleet and served, but not only fought the enemy, he also lifted the unit’s spirit with his songs and musical playing.
From Vladimir A. Mozharinov’s file. Award sheet: “Junior Sergeant Mozharinov, upon arriving to staff activity as pianist-accordionist of the Naval Military Air Force of the Northern Fleet in January 1943, diligently and persistently began to perfect his specialty. In an exceptionally short time he expanded his repertoire with Great Patriotic War songs and classical pieces. Most of his time comrade Mozharinov spends in dugouts with pilots at the airfield. For his personal modesty and mastery of performance, at the personal request of each pilot for a particular song, comrade Mozharinov became a favorite of the pilots. With song and music he created full relaxation of the strained bodies of the flight-technical personnel, and also instilled confidence in our victory over the enemy. Often there were cases when the accordion in Mozharinov’s hands had just finished the melody and a combat alarm sounded. The pilots ran to their machines and went on a mission, returning with victory over the enemy, they would say: ‘The accordionist Mozharinov helped us win this battle.’ Vladimir Arkadyevich was awarded the medals “For the Defense of the Soviet Polar Region” and “For Combat Merit.”
After the war Vladimir’s creative activity continued. He stayed to live in Murmansk, but around 1949 Vladimir’s family moved to Cherdyn; by then he and his wife Yulia had a daughter — Svetlana. In Cherdyn two sons were born: Mozharinov Yuri Vladimirovich (born June 23, 1950) and Mozharinov Alexander Vladimirovich (born March 27, 1955). Vladimir Arkadyevich Mozharinov worked for some time at School No. 1 named after Hero of the Soviet Union A.I. Spirina. He taught singing. Sometimes during lessons he told about the war.
Ten years later Vladimir returned with his family to Murmansk. From a letter to his parents: “Good day dear Dad and Mom! I received your letter and the newspaper clipping. I am very glad that the good traditions of amateur art live and develop in our historic Cherdyn. Recently I read in the magazine Ogonyok that diamonds and other valuables were found on the Vishera, and that our Polyud, according to preliminary geological data, is also a treasure trove that will be developed in the near future. I timed my letter to some joyful events for me: 1. I received the 1st prize for the song I wrote ‘Polar Star,’ which I hope to send you in a new collection. 2. A Czechoslovak art historian took an interest in me, to whom, apparently from Moscow, our collection with my songs got to. He wrote a letter to the House of Folk Art in Murmansk and asked that I write about myself. …Now a bit about life. After your departure mother, Lyusya, was often ill. And now she has just gotten out of bed. Sveta and Yura also fell ill. Only Alexander and I stayed well. Perhaps Sasha’s habit of running without pants hardened him and helps him. Well, as you know, I spent most of my youth outdoors, and the flu fears visiting my body. My affairs at work are going well. We often give concerts at agitation points. Mother, I beg you, send me as soon as possible copies of my certificates from the music college and the art college, because my copies were badly damaged and are unusable. Soon I will send you the Murmansk folk art bulletin and the certificates I have received in this time. Kisses tightly. Vladimir. February 14, 1959.”
There are many award documents in Vladimir Arkadyevich’s file, and collections of his songs and music. From letters he wrote to his parents from the front and after the war, one can conclude that Vladimir loved, respected and cherished his father and mother. The Mozharinov family can be confidently called creative. Arkady Andreevich before and after the revolution engaged in photography and amateur art, playing the mandolin and accordion. Augusta Dmitrievna acted in her husband’s theatrical productions. In Soviet times she edited wall newspapers and also took part in amateur art. Today Vladimir Arkadyevich’s daughter Svetlana lives in Murmansk with children and grandchildren. I correspond with Svetlana and each time learn something new about the family of Arkady Andreevich — her grandfather. “No one in our family practices art anymore, but I, for example, love classical music. I clearly remember how my grandfather and father played together the Krakowiak from the opera Ivan Susanin and I love that piece as a memory of my grandfather. At my school they asked my father to give lectures on classical music; he came with an accordion and played the music he spoke about. Everyone was greatly impressed. Two years ago a former classmate wrote to me on VKontakte and asked for a photo of my father with an accordion, and that was 50 years after graduating from school. My brothers are no longer alive, but they loved music. And my grandson dreams of a professional camera; he takes excellent photos. He is very impressed that his great-great-grandfather was a very good photographer. My daughter found a fragment from Alexander Shirvindt’s book where he mentions my grandfather as an excellent photographer (my grandfather photographed their family when they were evacuated to Cherdyn during the war). I will forward that article on VK and a few of dad’s photos. I also sent a photograph in a boat where he and his sister are in youth. I love that photo very much.”
Quite recently, in the museum archives I came across information that Arkady Andreevich was closely connected with Ilya Alekseyevich Lunev. From Lunev’s recollections:
“On January 3, 1951 the Cherdyn District House of Culture was packed with workers of the town. That evening the merits of Arkady Andreevich Mazharinov — a participant in amateur art for half a century — were celebrated. Local organizations entrusted me to speak that evening with a report on the life and work of Arkady Andreevich. I accepted this assignment, moreover I had known comrade Mazharinov for a long time. For example, I remember this episode: in the premises of the party-professional club in 1924 Arkady Andreevich played on stage a role in the course of which he was to hang himself. And so artistically skillfully was this tragic scene executed that his wife, who was in the audience, Augusta Dmitrievna, fainted deeply; the hunter Ivan Ivanovich Popov from Ruchiba village, who was sitting next to me and who had come to a play for the first time in his life, seeing the event on stage rushed from his seat and ran to save the hanged man. I barely had time to grab the hem of his coat and return him to his place. His agitation knew no bounds. The audience was stunned. On stage the hanged man. In the hall Mazharinov’s wife unconscious. Hunter Popov by his action showed an unexpected feat. When everything calmed down, they remembered that case for a long time — those who were spectators of this unusual performance.”
I will finish with the words of Arkady Andreevich himself: “It is certainly impossible to recall from memory all the plays and roles in which I acted over a period of more than 40 years. Dear comrades, I bring you my heartfelt thanks for the attention with which you mark the 40th anniversary of my amateur service to the arts, mainly dramatic. I cannot find sufficiently bright words to express the feeling that overwhelms my whole being when I experience these happy and dear moments that will forever remain in my soul as the memory of an extraordinary event in my life. I never dreamed of such an event as a jubilee. Was I even bold enough to dream? Because, essentially, what have I done that would deserve sufficient attention to distinguish me? True, I have always loved and continue to love the stage, but this is nothing other than an expensive pleasure for me and far from always worthy; there are other duties that do not always look favorably on my love and passion for the stage, and often call me to order. So what does it turn out? That, first of all, I satisfied my love for the boards, some spiritual need of mine only in order to experience that inexplicable and incomprehensible state of bliss, entering into a role and embodying the image demanded by the author of the play or story. And when this embodiment succeeds, which does not always happen, you feel happy and satisfied with the consciousness that the created image was also transmitted to the viewer” — Arkady Andreevich Mazharinov.
Arkady Andreevich Mazharinov
Arkady Andreevich in makeup.
Augusta Dmitrievna Mazharinova (Lyubimova)
