On March 12, 2018, Oleg Tabakov died at the age of 83. The actor's wife, 52-year-old Marina Zudina, was with him for more than 30 years and until his last breath.
National artist The USSR Oleg Tabakov will forever remain in our memory and in the hearts of millions of fans, but today it is unlikely that anyone is harder than his wife and children. Oleg Pavlovich did not like to share the details of his personal life. Relations with his wife Marina Zudina, the age difference with which was more than 30 years, did not flaunt. A few years ago, Marina herself, in an interview with Komsomolskaya Pravda, spoke about how difficult their love had been.
Zudina admitted that in her youth she dreamed of studying with Tabakov, he was her idol. On the eve of the exams at GITIS in his workshop, she read a prayer and asked God to help. Everything worked out, Marina Zudina became a student of Oleg Tabakov.
An affair with Oleg Pavlovich, according to Marina, she foresaw long before it began. It was like a revelation, she just came up with the idea that she and Tabakov would definitely be together someday. Marina recalls how she once told her husband: “Interesting: I first fell in love with you, and then I had some kind of desire. And you, probably, first had desires addressed to me!
Zudina and Tabakov started dating when the actor was still married. Marina did not want to destroy the family, she loved disinterestedly, did not demand anything and did not play on the feelings of a man.
“Perhaps, for my patience, for the fact that I lived as my feelings suggested, God is merciful to me. The Lord God is a great director, and he puts everything in its place, ”Marina Zudina shared.
The secret romance of the actors lasted 10 years. All this time, Marina was there and supported Oleg Pavlovich. As the artist admits, she did not hope that Tabakov would leave his family. She was waiting for the person who could “interrupt” her feelings to appear. But just at the very moment when she decided to break off these relations, Tabakov divorced his first wife. Zudina believes that this is fate. Perhaps Oleg Pavlovich realized that the woman he loved could leave, which is why he decided to make drastic changes, or maybe he was just tired of living in two houses.
Zudina recalls that she then said to Tabakov: “You didn’t get divorced because of me! On the other hand, if I wasn’t there, you probably wouldn’t get divorced!
The actress said that Oleg Pavlovich was not emotional, he was in no hurry to talk about feelings, he believed that everything was already clear: “He didn’t even confess his love to me for the first time. It turned out like this: we were sitting in the car, and I said something to him, and he told me: ‘‘What are you even saying, I love you! ‘‘ That is, it was not even a confession, but an answer to my emotional speech. He thinks it goes without saying that he loves me.” Marina Zudina was so shy in front of the actor that for the first few years she did not call him by name.
The actress calls the moment when their son Pavel was born the greatest happiness. A newborn baby was brought to her, and Tabakov stood at the window and looked at them. It was absolute unity loving people. Then Tabakov and Zudina got married. Marina recalls that during the celebration, a double rainbow appeared in the sky. A little later, the couple had a daughter, Maria.
Of course, the life of the spouses did not develop as smoothly as we would like. Experiences due to the age difference, condemnation of the public - all this left its mark. However, love won, and Marina Zudina remained by her husband's side until his very last breath.
It all started with the fact that 16-year-old Marina was simply in love with Tabakov in absentia and dreamed of entering GITIS in his workshop. The girl did just that. Although at that time Tabakov was already married and had two children, this did not stop Marina. We would like to remind you that the difference in years between the couple was 30 years. 
Marina was very happy that Oleg left his first wife for her. Soon the couple had a son, Pavel, in whom the parents doted on the soul. Later, Marina gave birth to Tabakova and a daughter.
The strong influence of Zudina on her husband
It's no secret that Marina worked with her husband, but not everyone knows what kind of person she was. And after the death of her husband, her whole life in the theater began to be disclosed by the actors. The woman had a huge influence on her husband, almost all appointments for roles passed through her. If Zudina did not like the actor, they did not take him. If the production did not have her name, the performance was not staged. In the theater, the actress had her informers. She encouraged flatterers and fawning.
Illness and death of Oleg Tabakov
In November famous actor and the director ends up in the hospital. Without delay, he is taken to the intensive care unit of the first city, with suspected pneumonia. Under a long observation of doctors, he is diagnosed with pneumonia, eyewitnesses claim that he will soon be discharged.
After that, another shocking news: he is connected to an artificial respiration apparatus. He cannot communicate, but retained a sense of direction. After the holidays, it becomes known that the actor is in a coma. His body was extremely weak and could not cope even with minor loads. But this was the official version of the disease. After her death, the woman decided to tell the whole truth about the death of her husband. In fact, for several years now, the actor has been battling a severe cancer. And in this regard, the body simply could not stand it, and the actor died.
Good legacy from my husband
After the death of the genius of the Russian theater and cinema, rumors slowly began to spread about the legacy of the actor. And indeed, Oleg Pavlovich left behind a rather large property and a good condition. As it became known, Marina completely and completely inherited his rather big property. He decided not to leave anything to his first wife, and the journalists called the children from his first marriage independent. Maybe that's why the actor left them nothing. In fact, no one fully knows the amount of the inheritance. The figures, according to different sources, differ, someone says it is about 250 million rubles. And some believe that it is in the billions. But it is known for sure that he received about two million rubles a month, which allowed him to live comfortably and accumulate capital.
One mansion on the Istra River without furniture was estimated by experts at 400 million rubles. This is without taking into account exclusive furniture made to order from high quality materials. But not all the accumulation of the actor survived. Some of the banks where he kept money went bankrupt, and the actor lost everything that he kept there for many years.
How does Zudina live and what does she do after her husband's death: latest news
After his death, the actress quickly came to her senses, and firmly pulled herself together. She took up her new project on the NTV channel in the new series "The Good Wife". Over the past five years, this was her first, but not the only work. In order not to interrupt achieved result, she began filming the series by Konstantin Bogomolov. Not so long ago, she starred in a new project based on Pelevin's novel, and for the first time in her life she was on the same set with her son, Pavel Tabakov.
Recently, she began to spend more time with children. Her son lives separately, but very often stays with his mother. Daughter Masha is already 12 years old, she moved to the seventh grade. On questions about the future profession, she is still silent. Masha is a versatile child, loves creativity and does not yet want to talk about her future profession. The girl still refuses to study and live abroad. The woman is sure: it is not necessary to study abroad for a better education, the most important thing is the human soul.
Oleg Pavlovich Tabakov met with RG journalists, who, according to tradition, asked not only their questions, but also voiced letters and calls from their readers, of which there were a huge number. Unfortunately, no account of this meeting can give a complete picture of the brilliant, hilariously funny, serious, grotesque and temperamental spectacle witnessed by RG journalists Valery Kichin, Maya Kucherskaya, Sergei Sych, Yadviga Yuferova.
Oleg Pavlovich, I would like to start the conversation with what worries many today. Once again, the flight was delayed at the airport for several hours. The two women aroused great suspicion among the passengers. In your opinion, what is happening to us after Beslan, will we not become hostages of our own suspicion?
Well no. I think that every trouble, every grief has its own recipes for treatment. Something can be treated by drinking 200 grams and burying your nose in a corner. Some things take longer to absorb. I do not think that with all the magnitude of the current disaster, the suspicion of passengers on a flight to Hurghada will become a trend. No. We, I would say, are still gullible: a person still tends to forget the bad.
I was seven and a half years old when the first large column of Germans was led through Saratov, where I come from. We lived hungry, my grandmother sold gold coins, paintings, and especially valuable books. She took a loaf of black bread, cut it and said: go, give it back. I don't think I have changed much since then.
You had American students, you yourself have been to America more than once since September 11th. Americans believe that their society has changed radically since the tragedy. What do you think such tragedies teach our country?
I don't think the Americans have changed, it's for the red word they say so. Little have they changed.
Our trouble is something else, and I think that she is diagnosed quite seriously. We have been destroying our secret services for a long time. Before Putin, in my opinion, this department was reorganized four times. Losses are irreplaceable. You probably understand that people with the most enterprising brains have long been working in other places. Destroyed, destroyed, and then realized: what a disaster! What did you think then? The last thing I want to do is exclaim or throw up my hands, as Democrats, Orthodox, and statesmen do. I am a man of a free profession, so I am interested in this because of human science.
We need to restore these services, and the president's recognition is worth a lot. When, by coincidence, I began to direct the Moscow Art Theater, I had to muster up my courage to say: sorry, we are bankrupt, and therefore let's get down to business.
For two years already, an unprecedented theatrical tragedy has been unfolding before our eyes - the capture of Nord-Ost. It continues, because now there are fierce disputes: to play a performance or not?
It seems to me that this is one of the very honest attempts to make a national musical performance, and "Two Captains" is not "Romeo and Julia" at all. This is absolutely our, Soviet, novel, which was clothed in a very convincing form. So, it seems to me that this must be done. I think even if people come and put flowers in front of the theater and go to watch, there is nothing wrong with that, on the contrary. After all, what do the terrorists want to do? They want to destroy the way. Way, national character. You lived like this - you won't live like that. Impose will. In my opinion, the restoration of "Nord-Ost" - this is anti-terrorist activity. This is resistance to terror in my understanding.
- So we went to the theater. Does the theater need a strong state?
A strong state is not necessary for the theater, but for the people. Theater is part of human life. A strong state is a mechanism for caring for a person. Today we have 20 percent of poor people. According to the current trend economic growth by 2007 this figure could be half that. If the state is strong, then the poor will be half as many - that's what a strong state is for. And the theater is still only a part of life.
But a strong state is a police state in which the budget goes not to culture, education and theater, but to the army, to services that have not been given money for all these years.
Well I'll wait. Pay first teachers, doctors, soldiers, policemen.
Perhaps this is not the answer of an actor, but of a successful businessman. Because an actor would probably say: pay the theatre...
That stupid actor would say. And I, I will not say that smart, but cunning.
Let's finally move on to the theater stage. What happened to the letter "A" in the name of the Moscow Art Theater? Where and why did she disappear at the beginning of the season?
There is no difficulty here. What is "A"? This is a kind of sublimation of what was called the "imperial theater" at the beginning of the last century. It had various forms of encouragement. When the revolution happened, she wanted to keep some kind of reward system. Show who she has on a special account...
What do I associate the adjective "academic" with? with the Academy of Sciences. With something undeniably unshakable. In relation to the theater, such a word is incorrect. Theater is a beautiful, frivolous, exploratory activity.
When the new theater artist Trofimov from the Moscow Art Theater configuration left those three letters that were invented by the founding fathers and showed me a photocopy of what was, I thought: oh, how good! And the "name of Chekhov" also needs to be removed.
- But did the academic theater get a bonus for academicism?
Well, what is the academic bonus now? Of course, there is some kind of allowance, but not for people, but for the theater. The Moscow Art Theater pays its employees much more from the funds earned from its main activities than the state does. The state gives, say, 5.5 thousand rubles, and the average wage by troupe for June ( last month before vacation) was 19,800 rubles. I try to bring things to the point where people get what they work for. It is very important. By labor. That's all.
You came to the theater and told the troupe that the theater is not only a temple, but also an enterprise. What are the successes of the Moscow Art Theater enterprise today?
Talking about success is embarrassing, not to the face and not for years. I can talk about an interesting, developing business, about joys along the way. Well, for example, which of you wrote about actress Olga Barnet a few years ago? Of course, she was famous, but somehow quietly. And today you know her very loudly, right? This is the main joy.
This is what makes me happy. Or the debuts of completely unknown people. Vanya Zhidkov, yesterday's student of Dima Kulichkov, or Dmitry Nazarov's remarkable debut on the Moscow Art Theater stage as Teterev. Or, let's say, a twist that you probably didn't expect in Sasha Semchev when he played Lariosik in The White Guard. Here are my joys.
And how do you feel about the dramaturgy of the Presnyakov brothers, which is actively staged today at the Moscow Art Theater and throughout the country?
I think that they are a new undergrowth, or something, of the Russian theater. I would not call them a discovery, but they are extremely sympathetic to me as people who are prone to self-learning, to improvement, and, undoubtedly, their latest play, Playing the Victim, is for the better different from how they started.
- But criticism evaluates this work differently.
Excuse me, I don’t want to disavow criticism at all, but I turned 69 in August, and believe me that I understand the theater no less than criticism. I will build the case, and they will criticize. To say that I don't care what the critics write about our work would be a lie. But I survive it without much psychological trauma.
How do you feel about the critical statements of some theater critics about the changes in the Moscow Art Theater that took place after the departure of Oleg Nikolayevich?
I will say that I do not inherit anything from anyone. At a difficult time for the theatre, I was appointed external manager. A sort of major general from the department of Sergei Shoigu. And let them come up to the grave of Oleg Nikolaevich, look to the left and be ashamed that the slabs have failed at the grave of Stanislavsky. And the water in these dips.
So for me, memory is a pretty important thing. But in a different way: 27 graves of employees of the Moscow Art Theater, who had fallen into disrepair and looked like heaps of earth, were restored. And not only on Novodevichy, but also on German, and on Vagankovsky. Through the efforts of Garik Leontiev, my feeble efforts.
- There are several questions from our readers about the fate of the memorial plaque on the house where Oleg Nikolayevich lived.
In 2001, the theater wrote a letter to the mayor's office regarding the installation of a memorial plaque on the house where he lived. We were told that such a board can only be installed 5 years after death. We wait.
Another question from Galina Stepanovna Orlova from Omsk: "How are your relations with the actors who worked with Efremov?"
Natasha Tenyakova has just turned a few years old. She is in that shape and in that condition of her talent that she should play Gurmyzhskaya in "The Forest" and this will be the premiere a few months after her anniversary. Here is the thing. I accept this, this is my life logic.
- And what is the fate of the Efremov foyer?
The Efremov foyer was made hastily and untalented. And it will be done differently. In general, the memory of Oleg Nikolaevich, it seems to me, rises much more clearly when Zhenya Mironov, Boris Plotnikov, Zhenya Dobrovolskaya, Nastya Skorik, Misha Khomyakov entered the play "The Seagull" (my favorite play from his Chekhov ones).
Or, as a result of slightly increased money for culture in the budget of my country and with the help of well-wishers, in particular the chairman of the board of trustees of the Moscow Art Theater German Gref, we will finally connect house 3 and house 3a in Kamergersky Lane. This opening will have a glass cover and there will be three levels: on the lower level there will be a good, beautiful cash hall, where computer monitors will stand. On the second floor there is a permanent exhibition. Because we must remember the history of the theater. It should be a part of life, not some exclusive promotion. After all, I go to my mother and to Maria Nikolaevna, my second mother, to the cemetery for the wrong dates. I do this because this is my life.
Another question from our readers: "Why is the Soviet actor, who was formed as talented person, became an ardent anti-Soviet? This is incomprehensible to me. Doctor of Historical Sciences Sokolov.
If you call me an anti-Soviet, then you need to define Doctor of Historical Sciences Sokolov as an "adviser", that is, a supporter of the Soviet system. I am opposed to this religion. I respect his convictions and urge him to treat my political and civic views with the same respect. I want to disappoint the doctor of historical sciences. Formed in Soviet time the actor comes, on the one hand, from his father from the middle class and serfs, and on the other hand, from his mother from quite serious nobles, whose estate was in the Odessa province. And the collection of grain from this estate was a significant part of the bread that fed the tsarist army in the Russo-Japanese War.
I already told you how my uncle Anatoly Andreevich, who lived opposite the Saratov Theater for Young Spectators, on the pediment of which there was a huge, 9 by 6 meters, portrait of Stalin with a girl Gelya Velikanova in a sailor suit and a huge bouquet of daisies, led me to him and said: "Here is Lelenka, this blind-eyed man killed 20 million of our people." So, let it be known to the doctor of historical sciences, I am an anti-Soviet with early age. He simply lived a double, triple life, was a Komsomol organizer in Sovremennik, was chairman of a local committee, and was a party organizer. He became a member of the party after the decision of Oleg Nikolaevich, who turned to Zhenya Evstigneev and me and explained: “We won’t make party organizations, they will close Sovremennik.” By this time, Malanin Mikhail Petrovich, head of the assembly part, deputy director Leonid Erman, two firefighters, Efremov himself. Then Zhenya and I entered ...
- Art, they say, is not capable of influencing life.
Your views are close to the truth ...
-But what about the experience of Sovremennik or Taganka?
Stop it. The creation of Oleg Nikolayevich in 1956 is straightened lungs, this is a deep breath. Has it affected anyone? Influenced, but on a very narrow stratum of the intelligentsia. They are terribly far from the people. But speaking seriously, the political ambiguity, which both the Taganka Theater and, to a sufficient extent, the Sovremennik Theater operated on, has always been unsympathetic to me personally. I remember how, in the late 60s, I came to see Tarelkin's Death at the Mayakovsky Theater, staged by Petya Fomenko. A successful performance, they put me in the director's box for free. In front of me are two educated women, critics, and in the most pathetic moments one grabs the other by the hand and whispers enthusiastically: "Do you understand what this is about?" As my grandmother used to say: I'm squeamish. I can do it better with my craft. To hell with your political ambiguity?!
And how do you feel about the fact that in a week you will again cut furniture on the TV screen? How do you feel about your hero, the character of Rozov's play?
You know, Oleg Savin is still doing something to get the viewer out of the state of spiritual static. The idea is not too deep, but understandable. To make the difficult lives of the people I'm in charge of easier. So that they receive the money that will take them out of poverty and allow them to feed their families normally. To the best of my weak strength, I want to restore this theater to its working form, the elasticity of the body and the confidence of the muscles.
- Is it possible?
It's up to you to judge. In any case, the current government offered me a contract for the next term. If you had asked me three years ago, I would have said: "Oh, I don't know", but today I think so. If God grants and there will be health, it is necessary to brush aside one more term.
Let's reassure some of our readers about your personal life, which they managed to write about in the yellow press.
They don't leave women like Marina. If only they would resign...
With what inspiration you speak about household things, it seems that you have somewhat cooled off towards your main profession - acting.
Do you seriously think that these are household items? No, these are not business items. As for acting, here's the premiere of "Tartuffe" will be in two months. We issue with our own money. Not from the budget. I play Tartuffe there. It's actually the only thing I really like - to play on stage.
Oleg Pavlovich, traditionally we do not like the rich. And in The Last Victim, where you play a wonderful, in my opinion, rich industrialist, you are engaged in justifying a rich man. He's so thin and tender...
Yes, I love Stanislavsky - Alekseev Konstantin Sergeevich, the owner of the gold-weaving production. I love Schukin, Morozov. I respect Mamontov, Schmidt. The rich have done so much for Russian culture.
And how do you feel about the fact that for so many years they have not been able to advance the law on patronage, which would allow for a real expansion of assistance to culture?
Loafers. This is how I take it. The idlers are the Duma, the idlers are people from the Union of Theater Workers. They would need to do three things: to ensure that a person who graduated from a higher theater educational institution, had no right to receive less than a certain wage per hour of work. Then - to help the elderly. I will not talk about the third. But these would be two things to do. Don't mimic activity.
Oleg Pavlovich, as an intermission. There is a letter with a story behind it. If you can, tell me. "Sakhalin. City of Dolinsk. Nikonova Galina Vasilievna: I express my gratitude to Oleg Pavlovich for the help you provided to my son Ivan Nikonov. I wish Oleg Pavlovich good health and success."
I don't want to comment on it. These are my personal matters. I help people and I don't want to talk about it. Thank you. God bless your son.
You build two theaters at once. Meanwhile, the Russian theater as a whole is now facing a real danger of curtailing the system of repertory theaters, which our Western colleagues envy.
I won't comment for fear of harm. But I want to reproach my brothers in the shop. Many of them float with the flow like stupid logs. I myself am from the Volga, from Saratov. When the river opened up, from there, from the upper reaches, with absolute certainty that they would sail to the Caspian Sea by gravity, these most stupid logs went. But even to the left or to the right bank they did not always succeed in landing. Why raise your hands and yearn for social security? Do something to save yourself. The state will not be able to provide 550 theaters indefinitely. This is not according to the talent of Russia today. This is called "equality for all in poverty". So let's start with this: what have you done to help yourself? And what to say: oh, how bad! Everyone knows what's bad. And who is good?
Those who cannot resist, who cannot fight for the right to life, will die. I don't see this as a tragedy. I have rather radical views on the system of government assistance to its theaters. It is necessary to help, first of all, successful, developing, moving, changing. Here you give me a million state. And on next year I need to help in direct proportion to how much I earn on this million myself. How much will I increase. Of course, opera and children's theaters should be immediately excluded from this competition. This is part of the cultural program. And a normal drama theater should exist responsibly.
But, seriously speaking, if I knew the answer to your question, I probably was doing something else. I only know what I know. I know how to help others. You need to take the money out of your pocket and give it back. This is a very simple move. It doesn't always lead to success. Because money is spent, and things are not always done.
Well, you are just being offered a job in Saransk: "Over the past 10 years, not a single good performance has been staged in Saransk due to the lack of a talented director. Could you take patronage over the Mordovian theaters?"
I'm a quarter Mordvin. Here next year, for my 70th birthday, I'm thinking of playing seven performances in Moscow: three, maybe from the basement, four from the Moscow Art Theater. Then I will play the same performances in my hometown of Saratov. In Saransk for seven, I think I can't pull it. But I'll bring two. You know, this again has nothing to do with anything theoretical or global. These are human addictions. No more. And even better for the anniversary, if the guys - Zhenya Mironov, Seryozhka Bezrukov, Vovka Mashkov - still composed some kind of funny story and we would have amused each other. I once ended up in the American city of St. Louis. And there I saw how fat, old Negro musicians sitting in a cafe turned on each other. Here is the most interesting! When, looking at someone else's talent, you want to try to do it yourself.
- Who else turns you on? You keep saying: Mashkov, Mironov...
Why? Valka Gaft turns me on with her talent. True, he has not played lately. Chulpan Khamatova turns me on. The performance based on Sigarev's Claudel Models turns me on.
What do you think of Kirill Serebrennikov's latest work? Here Alla Borisovna Pokrovskaya courageously participates in the play "Playing the victim". They say that at the spring shows she cursed there, as it should be according to the text. And now she could not say a swear word of three letters, although it contains all the salt of the joke.
It took me a long time to come to this decision. Of course, if a theater hall was built under the direction of Tabakov for 375 people, it would probably be better to play this performance of the Moscow Art Theater there. But all the same, I feel the pain of one of the characters, the police captain, in relation to the indifference, so to speak, of today's life. And then I think: no, it has a right to exist. It's not designed to entertain people. Maybe in the performance the pain is not enough. Or not so sharp. But it's still a pain. And the presence of pain for me justifies the existence of this very obscene performance on a small stage.
- In one interview, you very tasty told that you love slot machines. True?
I am theoretically not ready to generalize my experience and offer it to other workers. But it came to me very simply. I worked in Finland or Denmark, I don't remember, I worked very hard. And when things were already coming to an end, two weeks before the premiere, when I rehearsed for 4.5 hours in the morning and 4.5 hours in the evening, even two cassettes by Vladimir Semenovich did not help to relax. And 200 grams. And then I took 50 dollars in a sweaty hand, went to the slot machine, lost and slept like a child. I can't say that this is the only thing that drives me now when I go to play. I hope and sometimes even win. I have an intimate relationship with him.
-Have you ever won?
And won a lot.
-Acting for you - a fun, dashing business, inexpensive?
Not quite right. When I play "Amadeus", I lose 800 grams.
-And then how do you recover?
Five pies and that's it.
Sometimes it seems that today's theater is indeed a low-cost occupation. No one wastes nervous energy - neither the artists, nor, as a result, the audience.
If you are talking about the symptoms of the disease, then you are right. Because imitation becomes a chronicle. But you know, I'll tell you for myself: if you imitate a couple of times, you'll die. And if several people imitate, then the performance will die. And many such dead performances are shown to us. But if everything goes well, then The Blue Bird, which Mitya Chernyakov will make, will not, how to say, a performance of insufficient energy.
Oleg Pavlovich, you have a very strong production start. You are a classic producer because you are able to create unexpected alliances, make strange proposals. For example, your idea to invite Nina Chusova to stage a play about the war seems to me completely paradoxical.
And I just saw how she played Nastena in "Live and Remember" in Samara. Actually, you misunderstand me. I am a very cunning person. I only believe my eyes. I have a flair. And this instinct is physiological in nature, this is what I got from the Lord God and from dad and mom. Count my successful students. What's the matter here? I taught them for myself. I thought they were all going to play with me. I thought: let's go on stage together, and then everyone will see ...
- Aren't you afraid that they will overplay?
No. Not afraid.
The publication was prepared by Alena Karas
The People's Artist of the USSR, whom the national cinema will never forget, during his lifetime did not like to talk about his divorce. Many years later, a classmate of Oleg Tabakov spoke about the reasons for the drama that occurred in the actor's family.
In a recent interview, Boris Abrosimov spoke about friendship with Oleg Tabakov's first wife. The man admitted: he was genuinely surprised when the actors decided to divorce. Boris Abrosimov was shocked by the news that Oleg Tabakov was leaving his beloved woman and children for Marina Zudina.
About the novel and married life of Oleg Tabakov and Marina Zudina do not stop talking even today. For the sake of the second wife, the artist left the first - Lyudmila Krylova, and 2 children. The daughter and Lyudmila Krylova could not forgive him, and the son only began to communicate with him shortly before his death.
Who is the first wife of Oleg Tabakov?
The first wife of Oleg Tabakov was Lyudmila Krylova. The married life with the actress lasted 35 years, until another woman appeared in the life of the artist. Boris Abrosimov witnessed them family drama: the man was then shocked that Oleg Tabakov decided to leave the family. According to Boris Abrosimov, Lyudmila Krylova has always been and is a benevolent, calm, hospitable woman, an ideal wife. He believed that their marriage union with Oleg Tabakov was the strongest.
- But one day Tabakov comes to his native Saratov and says that he is divorcing Luda and marries Marina Zudina. “Marina and I will have a child, and now in this situation I cannot but marry her. I love her very much, and she loves me madly, and if I leave Marina now, it’s scary to even imagine what will happen to her, it’s impossible for me, ”- Boris Abrosimov recalls.
The man carefully asked Oleg Tabakov, what about Lyudmila Krylova now, but he only minted:
- This part of life is closed for me, I start life from a new page.
The next morning, the actor came to visit Boris Abrosimov with new sweetheart, whose strongly protruding belly was impossible not to notice.
Children of Oleg Tabakov from his first wife
In a marriage with Lyudmila Krylova, Oleg Tabakov had a son Anton (06/11/1960) and a daughter Alexandra (05/03/1966). Today Anton Tabakov is an actor and restaurateur, raising 4 children:
- son Nikita (28 years old) - a restaurateur;
- daughter Anna (19), who now lives in London;
- daughter Antonina and daughter Maria - the girls live and study in Paris.
Alexandra Tabakova also followed in the footsteps of her parents and became an actress, radio host, and TV presenter. Her daughter, 30-year-old Polina Lifers, is a theater artist.
Lyudmila Krylova sincerely loved Oleg Tabakov, considered the role of his wife the most important in her life. When she saw him for the first time on stage in Sovremennik, she immediately realized that this was her man, charismatic, fair-haired. Once they started talking, and the loving look of Lyudmila Krylova pierced the heart of Oleg Tabakov. That same evening, their romance began. The young actress in love moved into the communal apartment of Oleg Tabakov, and soon became pregnant.
For 35 years, Lyudmila Krylova and Oleg Tabakova lived, it would seem, in an idyll. When the public found out about their separation, the actress commented on it like this:
- I don't like betrayal. It doesn't even mean cheating, no. Betrayal goes much deeper than that. I part immediately with traitors, be it girlfriends, husbands or someone else.
The artist said:
- No matter how trite it sounds, love-f-f came ...
Years later, Anton Tabakova, the son of the artist, said:
- Mom and Sasha are offended not because it happened. They are offended by how it happened. After the divorce of my parents, I also did not communicate with my father. However, looking at the situation from the outside, I realized that it looks like “to spite my mother, I will get frostbite on my ears.” I quickly forget insults.
Lyudmila Krylova and Alexander Tabakova were not even present at the funeral of Oleg Tabakov. Moreover, the journalists learned that the actress did not even have a very good relationship with her daughter: when Lyudmila Krylova was asked how she was doing, she said:
I have my life, she has hers.
The second marriage of Oleg Tabakov with Marina Zudina
The second wife of Oleg Tabakov, Marina Zudina, bore him 2 children: son Pavel (08/01/1995) and daughter Maria (04/07/2006). After the death of the artist, she is now saved at work. Colleagues noticed that the actress even looked younger: at the age of 53, she looks much younger.
Now Marina Zudina is receiving various offers, and she has already managed to star in the television series The Good Wife. Today she is filming in a new project from Konstantin Bogomolov.
Master and Marina
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Zudina fell in love with Tabakov when she was very young. She was only 16 years old, and the teacher did not even suspect her existence and was married to actress Lyudmila Krylova. In the family of artists, son Anton and daughter Alexander grew up - the same age as Marina. Zudina could not even imagine that she would ever be able to conquer Tabakov. The girl had a goal: to enter GITIS and certainly in the workshop of Oleg Pavlovich. The task turned out to be within her power, and then everything turned out by itself - a romance began between the student and the teacher.
“All the students were in love with him - both boys and girls. It was adoration. I didn’t think it would turn out this way. The relationship was honest, I wasn’t going to take anyone away. Oleg Pavlovich didn’t promise anything,” the Lady Mail portal quotes Zudin .ru".
According to the actress, at some point they realized that they could no longer live without each other. Zudina was ready to lay her career on the altar of love. “If at that moment Oleg Pavlovich said:“ You won’t play anything, but we will live with you, ”probably, I would choose“ live, ”Marina admitted. However, true love does not require self-sacrifice. The master did not put Zudina any ultimatum, and the girl appreciated it.
Love for all ages
The age difference for lovers has always been conditional. When the actor left Krylova, Zudina turned to her mother for advice. “Then I myself expressed doubts: they say, we have a 30-year difference, to which my mother replied:“ Yes, and you are also quite a few years old. That was such an exhaustive dialogue, ”said the artist. According to her, parents appreciate and respect Oleg Pavlovich very much, so they did not have any questions. And what questions can there be when you see how a serious and self-fulfilling man treats your only daughter?
Understand and forgive your father
When Tabakov left the family, his wife and children stopped communicating with him. Krylova could not forget the betrayal, her daughter took her side. However, the son eventually forgave the artist. “Mom and Sasha are offended not because it happened. They are offended by how it happened. After the divorce of my parents, I didn’t communicate with my father either. "I quickly forget insults, I try to think about the good. It's easier for me to exist. And my mother ... She lives with us. Her female happiness is children and grandchildren," Anton explained.
Idyll comes with time
Zudina admitted that at the beginning of their life together, she and Tabakov quarreled almost every morning: “Everything I did caused discontent. Then they found a way out. He got up and did something himself, I woke up later, and we couldn't fight." In the first place, Oleg Pavlovich had work, but his vocation did not make him forget about the need to love and be a man. The actress stressed that she was always present in the life of her husband, no matter what he did.
hurry to love
In an interview, Tabakov expressed concern about how long he would be able to see his children. The artist said that with the birth of their son, Pavel and Marina, he began to feel younger and more cheerful. Improvement in health status was also noted by doctors. "Our vitality does not dry out because we are physically worn out. They dry up when we cease to be necessary. And while this factor is in effect, our possibilities are almost limitless," the master assured.
"I have two of the happiest days in my life. The first was when I enrolled in a course with Oleg Pavlovich. Apparently, this day determined my entire future fate. The second is Pavlik's birthday, when, after many hours of pain and horror, relief came, and I saw the eyes of a loved one - a husband," Zudina stressed. There is not a single reason to doubt that the artist was truly happy next to Marina.
