from mikhail baranovsky for a gadzhik by a branch of the literary museum of maxim bogdanovich mikhail alexandrovichternoon, you stave sculptures and the lion and sergey gumilevsky passes near the walls of the literary museum of maxim bogdanovich shamomin, the vitality of the face was taken for the rise of the gumilevsky family in the film people close to us according to their efforts. e , on this grave, ivans are just tired of it, now she is not pretty, uh, she remembers and what kind of ships i pass on to me. i've worn out this mood. i often visit mine and show maxim bogdanovich, because it is not surprising that these are people. what shmat they thought about bogdanovich shmat consecrated to the hour, by firing his image about the sculptures at a time are presented in the literary museum of maxim bogdanovich, here we can swim maxim in their economy and this body. boy e often say hello so that u of a person is some kind of one template one in the image, and here we are the youngest, that both the father and the son shmat, thought they also had the image of maxim bogdanovich, uh, developed at the s

can i i’ll tell you about one special feature of mikhail alexandrovich, he was a man with an amazingushin ivan from whom mikhail alexandrovich shopped and the composer and poets all and he this butcher wrote a song of grass, and he received royalties good and he decided to quit. so, i don’t know the case and move on and he decided to consult with michal savich. here's mikhalych. i already have these, maybe i should become a poet. mikhail said, vanya is not meat herbs. they wrote us a song . a white light came upon you when they asked the dancers how you wrote this song together. he says, yes, it was shepherance who composed this line on you. a white light passed through klina, and i simply suggested repeating it three times . a white light came after the wedge. it hit you like a wedge. the white light came together like a wedge on you, but the west disappeared. the whole sky ran, the whole sky turned, and lay around the corner. i would like to take it and run around the corner. only pride does not give. it was my anniversary and he could not attend because he fell ill just at that ti

difficult and expensive to wash their cloudy glasses, and two people come to my office e, mikhail alexandrovichich lavrov, whom i naturally knew as a theater critic, be quiet, they are older by pills. they are so they are the same artists, they went in like that. yes, misha, well, you know you won’t fire , so they started, so they scoff at their wonderful theatrical, and ulyanov was, in principle, that he could play one of the buildings of such a limit from the building and marshal zhukov and here everything means. i began to find out with them how everything was going on. and when i realized how much they receive two great artists, as theater directors, as artists yes , and then we had an idea, and then yuri khatovich temirkanov was involved in this and valery wrote georgiev and then igor ivan helped who worked in the administration and the idea was simple, it was necessary to make a grant for artists very simply in the forty-third year. uh, during the war, stalin appointed such extra salaries to the state sarchestra for the bolshoi theater by five teams, well, five teams, only for one you nee