Childhood and youth
Little is known about the early years of the actress’s biography. Tatyana Evgenievna was born in the city of Artyom, Primorsky Territory in May 1945. In 1968 (in some sources - in 1971) she graduated from theater school in Yaroslavl. While still a freshman, Tatyana began performing on the theater stage.
Tatyana Kuznetsova as a child in the film “My Friend, Kolka”
At the age of 16, Kuznetsova first played in a movie - in the debut film by Alexander Mitta “My Friend, Kolka” the role of the pioneer Klava Ogorodnikova. The film with the participation of Anatoly Kuznetsov, Savely Kramarov, Yuri Nikulin talked about how to informally approach the organization of children's leisure time.
After graduating from college, Tatyana set off to conquer Moscow. The young actress did not sit without work. Her type - reddish hair and mischievous eyes - turned out to be indispensable in creating bright, extraordinary characters. And even though Kuznetsova starred mostly in minor roles, the viewer remembered and recognized her.
Tatiana Kuznetsova in the Face to Face section
Tatyana, I would like to know a little about the beginning of your career. You graduated from the Moscow Choreographic School and danced in Igor Moiseev’s ensemble.
Yes, I joined the ensemble in 1977. There were few school graduates there, mostly guys from Moiseev’s school, who learned the ensemble’s repertoire and absorbed its specifics from the first grade. They explained to me that there was clearly no chance of touring for me in the coming years - until I mastered the repertoire. Work in the ensemble took up the first half of the day; we usually didn’t have rehearsals in the evenings, so I decided not to waste time, but to enroll in theater studies at GITIS. My school teacher, ballet critic Natalya Chernova, prepared me, so I entered easily. For the correspondence department.
But I went to the daytime, it was led by Boris Lyubimov, a good friend of Natalya Yuryevna, so he didn’t mind. I also found Pavel Aleksandrovich Markov, he was the co-director of the course. The figure is legendary; in Bulgakov’s “Theatrical Novel” he is Misha Panin. In general, I studied for two months, and then they took me on tour with the ensemble. And when I returned a month and a half later, I discovered that all the guys had made so much progress, had read so much, had gone so far ahead that I no longer felt comfortable among them - I don’t like falling behind and catching up. And I was no longer eager to go anywhere from my correspondence course. The teachers were wonderful, the lectures were a pleasure to listen to, and it made life incredibly fulfilling. I didn’t think about the profession of a critic; in Soviet times there were two newspapers and one magazine, where, of course, all the places were occupied, and there were 15 years of artistic work ahead. But one of my classmates was Alexander Kolesnikov, at that time the executive secretary of the Komsomolets Kubani newspaper, and it was he who forced me to write my first review. I didn’t like writing; I perceived it as a kind of forced coursework. But Kolesnikov persuaded me to treat reviews as personal letters—to write with ease and confidence. That's basically how it all started.
I know that Vadim Gaevsky also noticed you.
I have published a review about the tour of the Antonio Gades troupe. Vadim Moiseevich read it and decided that the author was a mature lady. When I was introduced to him, he gasped: “What a girl!” But I cannot call myself his student in any way, because I did not listen to his lectures, we did not work on the texts with him. Of course, we communicated quite often, together we composed and published several analytical texts in the form of dialogues.
How did you start writing for the Soviet Ballet magazine?
Then the editor-in-chief was Raisa Stepanovna Struchkova, my mother knew her from ballet school, then they worked together at the Bolshoi Theater. Struchkova knew that I was studying at GITIS, and suggested to my mother: “Let’s see your Tanya.” I remember that I was entrusted with writing a creative portrait of the characteristic soloist of the Bolshoi, Nadezhda Kapustina, who danced in the 30-50s. Naturally, I didn’t see her on stage, there were no films preserved, the photographs were static, behind the scenes, so I imagined a “portrait”. She wrote about Kapustina in the role of Teresa the Basque from “The Flames of Paris” - “a frantic bacchante of the revolution.” They changed it to “priestess”. I say: “Why?” They answer: “Bacchante” is an indecent word.” This was the editing style. But it seemed impossible to download the rights; it was a great honor that they published it at all.
Later, I was entrusted with an article about the premiere of Cyrano de Bergerac at the Bolshoi Theater. This is a ballet by Roland Petit from the late 1950s; it was not successful at its premiere in France. In general, so do we. I wrote a review as taught at the institute: what, where, when, background, description of the Moscow production, performers, moralizing ending. And since they told me: “We are in perestroika, you can write whatever you want,” then I laid out that out of the entire world heritage of the 20th century, Grigorovich chose a failed ballet in order to prove that his own performances and Soviet choreography in general are much better than Western. My customers were horrified: “This is a vile feuilleton, a libel, everything needs to be rewritten.” How to rewrite? Replace one word with another? Will not help. Fundamentally change the concept? Don't want. I just took the article.
And at this time, the progressive editor-in-chief of the Teatralnaya Zhizn magazine, Pivovarov, gave four issues of his magazine to young people. They were prepared by students from start to finish: the editor-in-chief, all department heads, correspondents, photocorrespondents, design, layout, ordering texts, working with authors - everything was done by the guys themselves, Pivovarov did not interfere in anything. It’s a small world: GITIS student Tanya Ploshko, having heard from Gaevsky that my text in “Soviet Ballet” was turned down, looked at it and published it, opening the “Salon of the Rejected” section for them. Moreover, she accompanied the review with an editorial comment that in this section the magazine would publish articles that, for various, not always artistic reasons, were rejected by serious newspapers and magazines.
It was a bomb. Raisa Stepanovna could not forgive my mother for this: “We raised and cherished your Tanya. How could you do this?” Mom generally suffered from the reproaches of her theater friends who said: “How can this be? Tanya is ours, a theater person. How can you write like that? You have to influence her." But mom didn’t know how to influence, and didn’t want to do it, she just smiled and shrugged. And some stopped greeting her.
I tell this story not only to describe the cheerful time of the beginning of glasnost. That publication determined my life, because it was Tanya Ploshko who invited me to Kommersant, who in 1997 became the head of the culture department there.
“Kommersant” happened at the moment when you finished your career, right?
While I was dancing, I freelanced, but regularly and often wrote for the Segodnya newspaper, which appeared simultaneously with Kommersant. But in ’95 or ’96 I left there, and a year later Pavel Gershenzon, who was a staff columnist there, left Kommersant. In the fall of 1997, it was my twenty-year anniversary of working in the ensemble, so Tatiana’s proposal was very timely. I, however, explained that until I was officially retired, I would not take my work book from the ensemble. Tanya was not at all embarrassed by this; I was accepted into the staff of Kommersant and given a salary 9 times more than what I received from Moiseev. At the same time, we reserved the right to go on tour (if there are any) and not to write about ballet premieres if they coincide with our concerts or rehearsals. In general, it was absolutely fabulous, it was a very difficult time for ordinary artists, it was difficult to live on government salaries. But pretty soon Igor Aleksandrovich learned that I was working at a newspaper, and he told me to choose - dancing or writing. To his sincere surprise, I chose the newspaper. She retired peacefully and safely jumped from the ensemble to Kommersant.
They say, “A newspaper lives for one day.” There is a certain review format. Tell us about the technical component of your work. You watched the performance. How much time do you have to write a review or does it always vary? How many materials do you write per month?
There are as many informational occasions this month. On average, perhaps, there are 5-6 articles per month. In summer, of course, there is a “dead season”; in autumn and spring, on the contrary, there is an influx of events. There are, of course, news occasions, then you have to urgently write to the room. But more often it is known in advance what events - premieres or tours - can be expected in the near future. Topics and news items are discussed with the head of the department, and the volume of specific material is dictated by production needs. For example, if there is advertising on our page, or some event dominates that day, we need to squeeze into strictly measured lines. If the lane is free, then you can give yourself free rein. My notes are usually between 65 and 100 lines. Depending on the concept of the newspaper's editors-in-chief or the personal preferences of the department heads, genres also change. Under Tanya Ploshko, on Saturdays, for example, long strip interviews, or memoirs, or some historical short stories were published. It was called “story” - weekend reading. And now in the Saturday issue we share a page with “athletes,” so, on the contrary, we need to write shorter. There are different methods of presenting material. Long text can, for example, be divided into chapters. A very short one - 30-35 lines long - is called FSP, “photo with signature”. Now, they say, the reader is not able to cope with more than 20 lines. But Kommersant, fortunately, has not yet switched to such a telegraph style.
Has the Internet affected your work in any way?
For me - no. I’m old-fashioned, I’m basically not a member of social networks, I only use email. Fortunately, Kommersant, which was created by my peers and tries to adhere to its own traditions, has also remained old-fashioned in many respects. Of course, we have a website and a special division that deals with it. But it is still considered that it is more honorable to publish on paper than on a website. Although, it would seem, what difference does it make - almost no one reads paper newspapers anyway.
Don't you use Google and Yandex search engines?
I use them, but I don’t really trust them, especially Wikipedia. Sometimes you come across text copied from your own article and signed by someone else. You have to search through foreign search engines. And there translation problems arise.
The question of the power of the critic. Natalya Osipova opens the Don Quixote block in London, reviews come out the next morning, and she becomes a star. Everyone is waiting with bated breath for the New York Times review. In your opinion, why doesn’t a critic have such influence and respect in Russia?
Perhaps because we have less faith in the press in principle. The reader, taught by the Soviet era, is sure that the critic writes not what he wants, but what he is told. Or what he was paid for. In fact, our criticism is qualified. For example, Ratmansky was appreciated in Russia much earlier than in the West. And Osipov, by the way, too.
And in the West, the public accepts reviews with complete confidence. After the article, ticket sales immediately increase or, conversely, decrease. Not just the immediate commercial success of a performance, but also its future very often depends on reviewers. Therefore, critics there are, of course, much more respectful and attentive. But in terms of the quality of reviews, I can’t say that they are much higher than us. In France, for example, they write only about modern dance, but little and incompetently about ballet. The English are, of course, the best, but they give ballet critics a lot of space in the newspapers. In Russia, they traditionally write a review from the premiere without delay. No one can afford to look at all three lineups of performers and then compare them in detail in several articles, as is done in England. Our second lineup is left behind, even if it is better than the first. For example, it was only by a happy coincidence of production circumstances that I was able to watch two casts of Neumeier’s “Anna Karenina” at the Bolshoi. And it turned out that the latter not only danced better, but with them the whole ballet seemed more meaningful, subtler, deeper, more interesting. The performances turned out to be completely different.
What's your deadline? If you watched a play today, when should you turn in your paper?
Each newspaper has its own deadline; in Kommersant, our culture page is due at 17:00. When I write the text - at night after the performance, in the morning or during the day - no one cares. But I have to hand it in at five. Accordingly, the review is usually published one day after the performance.
In an interview with the “Culture” channel, you said that the critic has an educational function, that he often chews on the meaning of the performance.
I think so. What, no?
Quote: “The pole dog pose—an attitude that is not strictly behind the back—occurred every time the ballerina lifted her leg above 100 degrees.” As a ballet person, I understand that the “dog pose at the pole” is categorically wrong for an attitude, especially for an arabesque. But will the average viewer understand this?
I think that enlightened balletomanes, experienced ballet lovers, will certainly understand the meaning of this expression. But for those who don’t go to ballet and read the article by chance, the negative connotations are still obvious. Plus the clarity of the image. Everyone has seen the dog at the post, and can immediately imagine this inverted pose. I am also proud that since the days of the Segodnya newspaper I have included French names of movements and ballet terms in articles. At first, of course, this met with resistance from my editors. But over time, I convinced them that if the term has some explanatory epithets, then the average reader will understand what we are talking about - a flight in a large jete en tournant or the distinct sharpness of an entrechat.
Headlines: “Everything genital is simple”, “Let’s dance for everyone”, “The ballerinas went to their numbers”, “Pas de deux back”. How do you come up with this?
I repent. Headlines are difficult for me, no more than a third of mine are. Usually they are invented either by the head of the department or by the publishing editor of the newspaper, who has the right to change the headline in an already submitted page.
Are they warning you?
It seems like they don't have to.
So you see this already in print?
Yes, this happens too.
Have you ever completely disagreed with a title?
It was, yes.
Have you ever been offered money for articles? I mean, write well, will we pay you?
Do not remember that. There were no temptations. But if I write a text commissioned by another publication, then, naturally, for a fee. But, of course, I don’t take on everything. I filter orders. For example, it’s not difficult for me to paint a portrait of Natalya Osipova. And if at one time they ordered me a positive portrait of the ballerina Volochkova - thank you.
Ethical principles?
Reputation is more valuable than any money, you can’t wash it off later.
Quotes: “The future prima has a large head, short arms” - this is about Osipova; “The ballerina was twirling the fouette with a fan in her hands. Alternating single turns with double ones, she absolutely did not get into the music; the supporting leg was dangerously clubbed, threatening injury; the fan raised above his head seemed to shout SOS” - about Diana Vishneva. Artists are offended by such harshness, wondering why you write like that and what right you have to do so. We have already figured out the law, you stood at the barre for 8 years, danced in the theater for 20 years. But do you think that your words are offensive to artists?
An artist is a public profession (as is the profession of a critic, by the way). With just his appearance on stage, he already allows himself to be discussed (and the critic who published the article is also subject to the judgment of readers). Of course, an artist has successful and unsuccessful performances. There are injuries, illnesses, troubles - all this affects the quality of the dance. But we don’t know about this, we look at his performance and see shortcomings. And I have to talk about what I saw, and not let it go, much less praise it, even if I love this artist (like, for example, Osipova). Otherwise, this is no longer a review, but a service to the artist’s ambitions.
"Broad-shouldered ballerina." A ballerina cannot change nature, she cannot make her shoulders narrow, what to do with such comments?
Can not. I myself have physical disabilities and, as a dancer, I understand this very well and understand how difficult it is to hide them. But I write not for ballerinas, but for the reader. And in order for him to distinguish one ballerina from another, he must imagine her. In addition, physical appearance is directly related to the role. If a broad-shouldered ballerina with a large head and muscular legs dances, for example, Lady Macbeth, the reader understands that such an appearance suits the domineering, powerful tragic heroine. And when such a ballerina portrays some orphan Cinderella, it is obvious that this does not fit the role. Whether the choreographer is to blame for this, the artistic director who gave her this part, or whether she begged for the role herself - it doesn’t matter. In the old days, they understood a lot about roles. The brilliant Semyonova - regal, stately - in the role of the persecuted Cinderella at the kitchen fireside looked unconvincing. And I wasn’t eager to become a Juliet girl. And the queen of lyric poetry, Ulanova, for example, did not lay claim to “Raymonda”. Ballet in general is an art closely related to physiology, and in my opinion, avoiding physiology in reviews is wrong. In the 19th century, by the way, reviewers described ballerinas with such naturalistic details that would shock the dancers even now. But now we imagine very vividly the imperial primos and soloists.
What would you wish for artists in terms of how they perceive criticism?
Don't read reviews.
Blitz
How did your morning start today?
From checking the results of the Nadal-Federer duel on the Internet. The tournament was in America, played at night. I was disappointed that Nadal withdrew from the match.
What are you reading?
The popular book “Philosophy in 30 Seconds.” 50 philosophical movements, each presented on two pages.
Continue the phrase “I can’t live without...”
Seas.
Bright moment from childhood?
Once my mother and I swam far out to sea from a wild beach, suddenly we were surrounded by dolphins and started a round dance for about five minutes. At first it was scary, then it was pure delight.
When was the last time you were worried?
I worry all the time. I worry several times a day for different reasons.
A review you're proud of?
“Advice from an image maker,” about Volochkova’s benefit performance.
The three best ballerinas today, in your opinion.
Russians? And I don’t know foreign women very well. Firstly, Osipova. In addition to her unique data, she has charisma, and her performances are improvisational: it is impossible to predict what she will do at one time or another. I love Krysanova - a brave ballerina, with a sense of humor, precise, subtle and convincing in very different roles. And in Stasik, Ksenia Shevtsova is good, stylish, self-sufficient, not polished in a Russian way. I can’t say that she is the ballerina of the world, but I always find it interesting to watch her.
What is your current state of mind in three words?
Wary, excited and at the same time satisfied.
Interview Alisa Aslanova
Photo by Karina Zhitkova
We thank the press secretary of the Muses. Theater named after Stanislavsky and Nemirovich-Danchenko Irina Gorbunova for assistance in preparing the material.
Category Face to Face
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Face to Face
Movies
In 1975, the popular comedy by Leonid Gaidai based on the works of Mikhail Zoshchenko “It Can’t Be!” was released. Tatyana Evgenievna played the housekeeper Daria, who is preparing for the wedding of the heroes Leonid Kuravlev and Valentina Telichkina.
Tatyana Kuznetsova in the film “It Can’t Be!”
At the same time, Kuznetsova worked with Nikita Mikhalkov in the drama “Slave of Love” with the participation of Elena Solovey, Rodion Nakhapetov, Alexander Kalyagin and Oleg Basilashvili. With Galina Polskikh and Alexander Kaidanovsky, Tatyana appeared in an episode of the biopic about Alexander Ostrovsky “My Home is a Theater.”
A couple more episodes were added to the actress’s treasury - a melodrama about the resort adventures of the heroes Andrei Mironov and Elena Proklova called “Be My Husband” and the popular film “Mimino”.
Tatyana Kuznetsova in the film “Strange Woman”
In 1977, Kuznetsova starred with Yuli Raizman in “Strange Woman.” The film marked the beginning of the so-called social cinema, in which characters who have the external attributes of prosperity suffer from a lack of sincerity in relationships, become disillusioned with previous ideals, and lose their life guidelines.
Two years later, Mitta invited Tatyana Kuznetsova to play the role of Alevtina’s friend in the famous disaster film “Crew”. Irina Akulova acted as Alevtina herself, her on-screen husband was Anatoly Vasiliev, Georgy Zhzhenov starred as the commander of the aircraft crew.
Tatyana Kuznetsova in the film "Mary Poppins, Goodbye"
In the early 80s, the actress appeared in diverse roles in the historical detective story about the theft of church valuables “Black Triangle” and the melodrama “We Lived Next Door.” In the first, Kuznetsova’s heroine is a follower of anarchist ideas, in the second, she is a milkmaid on a rural farm.
The 90s brought the actress roles in the action film “Everything We’ve Dreamed About for So Long,” the drama “Educating Cruelty in Women and Dogs,” the comedy detective “What the Dead Man Said,” and again with Mikhalkov – in “The Barber of Siberia.”
Tatyana Kuznetsova in the film “The Kukotsky Case”
In the film adaptation of Lyudmila Ulitskaya’s novel “The Kukotsky Case”, carried out by Yuri Grymov, Tatyana Evgenievna appeared in the image of a medical laboratory employee. In the series “Moscow. Central District” Kuznetsova played the heiress of the princely family of Meshchersky, who, while investigating the case, was visited by police partners Vladimir Menshov and Sergei Gorobchenko.
In 2004, Tatyana Kuznetsova’s experience and talent were needed by the producers of the comedy series “Soldiers” about the everyday life of the army garrison. The actress shone in the role of Angela Olegovna Struk, the mother-in-law of the humorous ensign Shmatko, represented by Alexei Maklakov. For the role of a woman who is kind in her own way and not inferior to her son-in-law in wit, Kuznetsova was nominated for an award at the Monte-Carlo Television Festival.
Tatyana Kuznetsova in the TV series “Soldiers”
Tatyana met Maklakov again on the set of the comedy “Dumb Fat Hare” about a theater actor in one role. Author Vyacheslav Ross, for whom the film became a premiere in directing and producing, conceived the film as a dedication to provincial artists. Kuznetsova's character is assistant director Tatyana.
At a festival in France, the film was awarded the prize for best script, at The Columbus International Film + Video Festival in the USA - the main prize, at the International Austrian Non-Commercial Film Festival - the third Bronze Bear award.
Tatyana Kuznetsova in the series “Poor Relatives”
In 2011, in the documentary “Echo of Love,” Tatyana Evgenievna played the role of the grandmother of Soviet pop star Anna German. The melodrama “How Much Does Happiness Cost” is about a teacher, Nina, who won millions in the lottery, but at the same time has neither friends nor warmth in her family. A woman is trying to restore her relationship with her former lover Andrei. Alexander Konstantinov starred in this role, Kuznetsova played his mother.
Biography and personal life
Agniya Kuznetsova was born in one of the largest cities in Russia, Novosibirsk, into a creative family.
His father, Evgeniy Kuznetsov, was an artist, his mother, Maya Vladimirovna Byadova, worked at the institute as a teacher of decorative and applied arts. She grew up as a restless child. The girl spent most of her childhood with her grandmother in the village of Lake Karachi near Omsk. There she ran freely, swam, climbed trees and gained experience communicating with other children.
Agnia went to school in her hometown of Novosibirsk. I studied well, got straight A’s and B’s, but I didn’t like school and considered it a place of human degradation. She was a sharp-tongued girl whom everyone respected, despite the fact that Agnia was very short.
From an early age the girl was interested in drawing. From the age of eight she knew how to paint in oils. At the age of 11 I started watching serious films (for example, Tarkovsky) and reading Dostoevsky. During this period, she did not like to communicate with peers, preferring the company of older people. I dreamed of becoming an actress or rock star.
The father constantly purchased video cassettes with performances of the Sovremennik Theater for his daughter. After school, Agnia constantly reviewed them and memorized the monologues by heart.
The girl was not accepted into the music school to study vocals. They said that the voice was loud, but there were problems with hearing. Therefore, at the age of 12, Agnia enrolled in a theater studio, where she was immediately accepted into the senior group. It was then that the girl, performing on the stage, really fell in love with the theater with its attention and applause from the audience.
After graduating from school, Agnia goes to enroll in a theater university in Moscow; at that time there were six options. From the first time, the girl was taken to the Shchukin Higher Theater School in the workshop of professor and People's Artist of the Russian Federation Shlykov Yuri Veniaminovich (born 1953), who recognized and trained a real artist in Agnia.
Natalya Ivanovna Sanko also taught acting on the course. In her first year, the student was almost expelled for bad behavior , but, thanks to her talent and abilities, she was retained.
In the educational theater, the girl often played male roles and professionally mastered the artistic expression. Already in her fourth year, the student was invited to audition for a film directed by Alexei Balabanov (1959-2013), which she successfully passed. In 2006 she graduated from university, becoming a certified actress.
While still studying at a theater university, Agnia began acting in films. First there was a cameo role as a minor prostitute in the series “Dasha Vasilyeva. Lover of Private Investigation" (2003), and then in the film "Birds of Heaven" (2005) she played the main character, Sasha.
The actress considers Balabanov’s thriller “Cargo 200” to be her debut film work, in which the girl was offered the complex psychological role of the main character Angelica. The actress began acting in the film immediately after graduating from university in 2006. This role brought the girl fame.
In 2007, Agnia met the scandalous director Valeria Gai Germanika, who called the actress and offered to star in her dramatic film “Everyone will die, but I will stay.” The girl agreed and played the main role of ninth-grader Jeanne in the film.
These two film works became a successful start for the actress in her acting career and brought popularity among viewers. After this filming, she received offers from various directors with job offers.
Agnia became an actress-muse for Germanika, they maintain loyal friendship and cooperation. Today they have many joint projects in which the actress appears without preliminary auditions.
The actress's filmography includes many dramatic roles and almost no comedic ones. Among the prominent roles are the following projects:
- “Oh, Mommies” (2008);
- “Phobos. Club of Fear" (2009);
- “Made in the USSR” (2011);
- MosGaz (2012);
- "Temptation" (2014);
- “Yes And Yes” (2014);
- “And the dawns here are quiet” (2015).
In 2008 and 2012, Agnia was awarded several awards for best actress in a film and was nominated for awards. The actress does not have rose-colored glasses about her profession; she understands perfectly well that acting popularity is a relative concept. Agnia is always ready to find herself in another activity, despite the fact that she loves her job very much.
Over the past two years, Agniya Kuznetsova has continued to act a lot ; she can be seen in the films: “Route of Death”, “Girls Don’t Give Up”, “Yellow Eye of the Tiger”, “Like Children”, “Scenario”, “Coal” and others. In cinema today, an actress dreams of playing a woman in power.
The actress made her theater debut in 2009 at the Praktika Theater in the play “The Girl and the Revolutionary.” The actress almost never plays classical roles in the theater. The actress also played in the project “Another Theater” in the productions: “Stirlitz is walking along the corridor”, “Manifestations of love”, “Closer”.
Other theatrical productions with Agnia’s participation include:
- "Sneakers";
- "Life is good";
- "Inquiry";
- "Literature Lessons".
The actress’s first romance was with actor Leonid Bichevin, whom Agnia met at a theater university. They dated and lived together for some time. Together they took part in the film “Cargo 200”, where Leonid played Valera. They soon separated, but remained friends.
On September 16, 2020, the actress married dancer and choreographer Maxim Petrov. Its homeland is the Altai Mountains (Barnaul). For a long time Maxim lived and worked in Iceland, where he taught ballroom choreography. We saw each other for the first time at the birthday party of Valeria Gai Germanika’s daughter.
We continued our acquaintance in March 2020 at the “Dance for Good” charity dance event, where we danced in pairs. Their first date took place on Easter, and Maxim proposed to Agnia in Altai during a horseback ride. The couple spent their honeymoon in the Maldives.
The actress says that a year before meeting Maxim, during a prayer she asked God that she would finally find her other half. So that her husband had not been married before and had no children, was 6-7 years older than her and had a creative profession, but not an actor. And now her cherished wish came true. Maxim turned out to be an attentive and caring man.
The actress’s personal life comes first today; she finds time to combine family and work. Agnia takes care of the housework herself. And the spouses often travel together. The couple does not have any children together yet, but they are planning on it. Agnia has been busy with her career all her life, but now she considers her personal life to be the most important.
She doesn't want her future children to follow in her footsteps and become actors. Life in Moscow is considered similar to roulette, who is lucky in their personal life and career and who is not.
Agnia always takes on any task carefully and fanatically. He is never late and does not like unpunctuality in others. Thanks to my husband, I fell in love with fitness, and now I do this sport at least four times a week to stay in shape.
Theater
Fans of Melpomene are familiar with Tatyana Kuznetsova from the performances of the Chekhov Moscow Art Theater. In the theater, the actress participated with Mikhail Trukhin and Alexei Devotchenko in Kirill Serebrennikov’s high-profile production of “Zoykina’s Apartment.”
Tatyana Kuznetsova in the play “Zoykina’s Apartment”
The character of Tatyana Evgenievna, nicknamed the Apartment, is a wordless, shadow-like elderly woman, a kind of housing spirit of the heroine of the play Zoya Peltz. Like Firs from The Cherry Orchard, this symbol of life in the finale remains alone on stage as a sign that the Apartment must disappear along with the apartment from which, by the will of fate, life has disappeared.
Previously, Kuznetsova played with Serebrennikov in “The Threepenny Opera” based on Bertolt Brecht, “The Golovlevs” by Saltykov-Shchedrin, and in a symphonic performance in four acts “Goddess Ex Machina”.
Vera Kuznetsova. Biography of the actress. Personal life. Photo
Vera Kuznetsova in the film “Stepmother” (1973)
Vera Andreevna Kuznetsova (then Sdobnikova) was born on October 6, 1907 in Saratov into a poor family with 6 children. When Vera was 11 years old, her mother, who was responsible for the entire household, passed away. My father, who worked as a decorator in various theaters, was literally torn between home and work. In her interviews, Vera Kuznetsova said that it was her father who taught her lifelong lessons of moral strength and sacrifice. Subsequently, no matter how hard it was for her, Vera Andreevna always thought about her loved ones first and foremost. And then, thanks to her father’s profession, Vera more than once watched productions in Saratov theaters from behind the scenes. As a result, at the age of 16, the girl entered an evening theater studio.
Let's remember everyone. Actors of Soviet cinema. Kuznetsova Vera Andreevna.
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When her father passed away, nothing kept Vera in Saratov - she moved to Leningrad, where by that time her older sister had already settled. The future actress entered the Leningrad Workers' Theater Studio of Proletkult. And she first appeared on the theater stage at the age of 21. A few years later, the artist, together with other colleagues, founded the Leningrad New Theater, which later became known as the Leningrad Lensovet Theater. The theater was unable to get its own building, so they performed performances in the church, which the Soviet government “repurposed” into a center of culture. And during the war, Kuznetsova changed the theater stage to the front stage - as part of propaganda brigades, she went with concerts to the front line to lift the mood and spirit of the soldiers. At the Lensovet Theater, Kuznetsova will be one of the long-livers - she will serve there for 45 years, playing dozens of heroines, her partners in the performances were the famous Nikolai Kryukov, Boris Sushkevich , Georgy Zhzhenov and Alexey Petrenko . Her stage career lasted forty-five years.
Vera Kuznetsova in the film "Big Family". 1954
But Vera Kuznetsova’s film debut took place quite late - at 46 years old. Perhaps this is why she was given mainly age-related roles - Kuznetsova mainly played mothers, grandmothers and kind aunts. But she performed them with such soul that her heroines touched the hearts of not only the public, but also film critics. This has been the case since the first film work - the feature film “Big Family” by director Joseph Kheifits, Vsevolod Kochetov about a large family of hereditary shipbuilders. where the artist performed the mother of the family, Agafya Karpovna Zhurbina. Her husband was played by the incomparable Boris Andreev , and one of her sons was played by Alexey Batalov . The film was loved not only by Soviet viewers, but also won an honorary award in the category “Best Acting Ensemble” at the Cannes Film Festival in 1955.
Vera Kuznetsova in the film “Two Captains”. 1976
After a well-played first role, Kuznetsova immediately attracted the attention of directors. She will play a series of very sincere roles in the films “Father's House”, “I Love You, Life”, “Everything Remains to People”, “The Month of August” - in all these films she played kind mothers and grandmothers, keepers of the hearth. Also performed wonderfully in the films “Dirk”, “Stories about Keshka and His Friends”, “Two Captains”, the fairy tale “Shoes with Golden Buckles”, and the TV series “Eternal Call”. But most of all, perhaps, the public fell in love with the film drama directed by Grigory Chukhrai “Once upon a time there lived an old man and an old woman.” Life has prepared a difficult test for the elderly Gusakov couple in old age - they lose their home due to a fire and go to the Arctic to live with their daughter, whose life is not going well. Vera Andreevna played Natalya Maksimovna Gusakova, and Lyudmila Maksakova played her daughter.
“Once upon a time there lived an old man and an old woman.” 1964
It must be said that the role of mother and keeper of the family hearth was absolutely consistent with the actress’s personal life. the artist Anatoly Kuznetsov in 1927 and lived with him in love and harmony until the death of her husband in 1954.
The Kuznetsovs had two sons, Vsevolod and Yuri. Vsevolod Kuznetsov was born a year after the wedding and became a famous actor; since 1956 he worked in the famous BDT, where he was invited by Tovstonogov . Like his mother, Kuznetsov was considered an excellent master of supporting roles. He played more than 30 roles in films.
Vera Kuznetsova in the film “Shoes with Gold Buckles.” 1976
The actress gave birth to her second son, Yuri, quite late - in 1945.
Vera Andreevna died in 1994 at the age of 87 years. Kuznetsova, who played dozens of roles as mothers, was buried next to her husband and youngest son at the Bolsheokhtinskoye cemetery.
Personal life
Some Internet sources attribute actor and director Rudolf Furmanov as Tatyana Kuznetsova’s husband, but this is a mistake. If the actress ever crossed paths with him, it was only on film sets: both played in the TV series “Streets of Broken Lanterns.” Furmanov is the husband of Tatyana Borisovna Kuznetsova, who played in the military film story “The Crew of a Combat Vehicle.”
Namesake of Tatyana Kuznetsova in the film “The Crew of a Combat Vehicle”
According to unconfirmed reports, Tatyana Evgenievna was married to a man named Vladimir Perevalov. The couple has been divorced for a long time. There is no other information about the artist’s personal life in the public domain.
Kuznetsova does not use Instagram or other social networks.
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A serious obstacle to their communication was that Ekaterina Kuznetsova’s future husband lived in Russia, and the parents, who did not approve of their daughter’s choice, were not happy with this. But Katya showed persistence and followed her beloved. First, she settled in Zhenya’s hometown of Klimovsk, and then moved to his rented Moscow apartment.
Their life together was interesting and eventful, there was time for different hobbies and travel - together they visited different parts of the world. Before Ekaterina Kuznetsova and Evgeny Pronin became legal spouses, seven years passed from the moment they met.
The lovers had long been planning to have a real wedding with guests and other ceremonial attributes, but this happy moment was constantly postponed for various reasons, including because of Katya and Zhenya’s busy work schedule.
Ekaterina Kuznetsova and Evgeny Pronin traveled a lot
However, the stamp in the passport did not bring anything good to the personal life of Ekaterina Kuznetsova - after being married for about a year, the couple decided to separate.
“My marriage to Zhenya gave me a lot: he was a mother, a father, a brother, and a matchmaker, as they say. He made it clear what love is, for which I am incredibly grateful,” says the actress.
According to Katya, she initiated the divorce, and its reason was a strong resentment towards her husband.
Kuznetsova does not say how Evgeniy offended her, but says that she has already forgiven him for everything, and this whole story is a turned page for her.
During their life together, they never became parents - Katya believes that it is too early for her to have children.
“Children are a loss of freedom that I value,” says the actress.
Nevertheless, she is not at all against becoming a mother, and when on her life’s path she meets a man from whom she wants to give birth, Ekaterina Kuznetsova’s children will definitely appear, and then many things that seem very important to her now will fade into the background for her.
Catherine never had problems with fans - there were always men ready to court her, but she needed a responsible person and always with a good sense of humor. In one of the interviews, the actress admitted that her personal life was gradually improving, and she had a beloved man.
According to Catherine, her new lover has nothing to do with cinema, and she is incredibly happy about it. After an unsuccessful experience of family life with an actor, she would not like to see her colleague next to her again.
The actress’s new lover turned out to be Maxim Aplin, who has his own business in Sri Lanka, where the couple met.
In the photo: Katya and Maxim Aplin
Katya says that she likes to surround her beloved man with comfort and home warmth, although due to lack of free time she is not always able to prepare a delicious dinner herself.
Work always comes first for the actress and, despite the fact that home is very important to her, she has no intention of leaving the profession.
“Remembering my thorny path, I think: how can you take it all and give it all up? “I won’t be able to breathe,” says the actress.
Another girl also appeared in the life of Ekaterina Kuznetsova’s ex-husband - Evgeniy Pronin is increasingly seen in the company of aspiring producer Kristina Arustamova.
In the photo: Ekaterina Kuznetsova’s ex-husband with a new girlfriend
Tatyana Kuznetsova now
In 2020, Tatyana Kuznetsova’s filmography was supplemented with work in the horror genre. For Alexander Domogarov Jr., the actress reincarnated as a Russian language teacher, who thinks that her students are not children, but terrible monsters pursuing mysterious goals. The film “Let the Children In” is a film adaptation of a short story by Stephen King, published in Russian under the title “Children in a Cage.”
Trailer for the film “Let the Children In”
At the beginning of 2020, a dramatic series about the Russian landowner Daria Saltykova “Bloody Lady” was released on television. Unexpectedly for many, the role of Saltychikha, famous for her cruelty, was played by the soft and sophisticated Yulia Snigir. Tatyana starred in the episode in the image of an evil witch - a healer.
Tatyana Kuznetsova in 2020 in the series “Moscow Greyhound”
In the continuation of the crime melodrama “Moscow Greyhound,” Kuznetsova again became Polina Ermolaevna, the straightforward neighbor of the main character, a police major, who still has to prove her own professional suitability. The leading actress Olga Krasko was replaced in the second season by Ekaterina Klimova.
Filmography
- 1975 – “Slave of Love”
- 1977 – “Strange Woman”
- 1981 – “Be My Husband”
- 1987 – “Forgotten Melody for Flute”
- 1992 – “Educating Cruelty in Women and Dogs”
- 1997 – “Everything we’ve dreamed of for so long”
- 2000 – “Old Nags”
- 2003 – “Moscow. Central District"
- 2004 – 2007 – “Soldiers”
- 2006 – “Dumb Fat Hare”
- 2012 – “Poor Relatives”
- 2014 – “Moscow Greyhound”
- 2017 – “Bloody Lady”
- 2018 – “Moscow Greyhound – 2”
