Литературный факт (Mar 2024)

Art. Feliche. “Memories of the Actress” (Lyudmila Andreevna Yamshchikova-Dmitrieva: On the 130th Anniversary)

  • Tatyana N. Stepanova

DOI
https://doi.org/10.22455/2541-8297-2024-31-32-51
Journal volume & issue
no. 1 (31)
pp. 32 – 51

Abstract

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We dedicate the publication of a fragment of the fictionalized autobiography of Lyudmila Andreevna Yamshchikova-Dmitrieva (1893‒1978), “Aktrisa” (“The Actress”), to her memory and her 130th anniversary. Another forgotten name that did not continue the ancestral branch of its famous ancestors Rokotov and Tolstoy. She left no descendants, was a dramatic actress and writer, made a certain contribution to Russian historical prose for young people in the first half of the 20th century and memorably served the theater, playing the main roles in plays of classical and modern repertoire. According to the memoirs of the playwright V.S. Rozov, who personally knew Lyudmila Andreevna and her mother, Margarita Vladimirovna Yamshchikova (1872‒1959), known in literature under the pseudonym Al. Altaev, Lyudmila shone on the provincial stage for about thirty years, quietly, imperceptibly died within the walls of the Leningrad House of Veterans of the Scene, named after her unforgettable teacher M.G. Savina. In literature, Lyudmila Andreevna performed under the pseudonym Art. Felice: that was the name of the “Ovod” (“Gadfly”) in the novel of the same name by E. Voynich, wrote books from the history of England, Italy, and the Netherlands, small biographies for children about great scientists, inventors, was a co-author of her mother in several works. The manuscript “Aktrisa” (“The Actress”), a fragment of which is offered to readers, has two copies. They are kept in the Altaev Memorial Fund (Coll. 1370) and in the fund of the Altaev Literary Memorial Museum, which is located in the village of Lositsy in the Plyussky district of the Pskov region, in the former Log estate. Lyudmila Yamshchikova herself did not intend for the manuscript “The Actress” to be published, but for those who are engaged in the history of the Russian provincial theater, this material will be very useful both in historical and research terms.

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