2024-01-13 19:30:00
On January 14, Anastasia Voznesenskaya (1943-2022) passed away, surviving her husband Andrei Myagkov (Andrei Myagkov) by only 11 months.
Literally immediately after her death, that beautiful fairy tale about the swan couple, which both had been creating all their lives, began to collapse.
Now it becomes obvious that Myagkov’s strategy to go underground and not let anyone near him turned out to be wrong (“It always seemed to him that someone wanted to harm or rob him.” Recluse Andrei Myagkov.). It’s understandable that he doesn’t want to talk about things that weren’t painted in any way; well, that’s how others talked about them, blah blah blah, without analyzing feelings and situations. But you should have told it yourself, like, say, Mikhail Kozakov. He hardly trembled with pleasure, revealing the ins and outs of his collaboration with the KGB of the USSR, the man simply understood that his silence gives way to other versions, and who knows what they will screw up (ACTOR-KGB SKILL MIKHAIL KOZAKOV).
After Anastasia’s death, zealous journalistic pens created three tragedies for the poor fellow: childlessness, alcoholism, and stroke.
But first things first.
Anastasia Voznesenskaya in the film “Major Whirlwind”
Anastasia was five years younger than Andrey. They met at the Moscow Art Theater School, where they both studied. They signed in 1963.
Vladimir Menshov recalls that Myagkov got from his student days to the theater at Sovremennik, since Oleg Efremov took into the troupe all the actors of the course play “Of Mice and Men,” where Andrei shone.
It turns out that this was not the case, and Myagkov himself left unequivocal evidence on this matter. Efremov invited Voznesenskaya to the troupe. The course leaders hinted – but she has a husband, Myagkov. Efremov said: “This is worse, there are a lot of men in the theater, we weren’t going to hire anyone. Okay, let him come with his husband.”
That is, already at the beginning of a career, a matrix of relationships is built in which spouses push each other. For now, Voznesenskaya is acting as a pusher, but this period will be very short-lived.
In 1967, Voznesenskaya appears in two film adaptations by Yulian Semenov. Voznesenskaya gets into the film “No Password Needed,” which tells about the adventures of the young Stirlitz, played by Rodion Nakhapetov, by accident – the leading female role, Ariadna Shengelaya, recklessly became pregnant, and she was removed in the middle of the filming process.
“No password needed” passed across the screen unnoticed, but the television series “Major Whirlwind” made a name for the actress. In Sovremennik, where young and cruel people have gathered, the acting couple is instantly renamed “Voznesensky”.
In general, Myagkov’s position in the troupe was not smooth. He took the place of Oleg Tabakov’s shadow. As Tatyana Bronzova argued:
“Efremov didn’t need a second Tabakov. It is no coincidence that Myagkov in Sovremennik was the second cast in Tabakov’s performances, for whom it was convenient. Having a replacement, Tabakov could leave for filming.”
But Myagkov gradually gained weight in the film world, but Voznesenskaya was stopped filming in one fell swoop.
“Garage”
She got a second chance when her husband, after “The Irony of Fate, or Enjoy Your Bath!” reached star status. Here Myagkov began to lobby his wife for roles in his films. Together they appeared in Myagkov’s iconic films “You wrote to me” (1977) and “Morning round” (1979). Eldar Ryazanov took Voznesenskaya on a par with Myagkov in “Garage” (1979), where she played a bitchy market director. Already without her husband, he directed Voznesenskaya in “Station for Two” (1982). Aida Minasarova, after “Morning Round,” also decided to entrust Voznesenskaya with the main role in the tough problem drama “Look Back!” (1983), which told about the internal war between a son and his mother.
By an evil irony of fate, Voznesenskaya, who had no children, often played mothers on screen. She portrayed a married couple with Myagkov raising a child in films such as “Sit down next to me, Mishka!” (1977), “Accept a telegram on credit” (1979), “Somersault over your head” (1987). She played the mother of the main character in the blockbuster “Accident – the Cop’s Daughter” (1989).
“Accident is the cop’s daughter”
By the way, about children, or rather their absence (we remember about the three tragedies, right?).
Myagkov and Voznesenskaya did not blame their childlessness as a tragedy, as they spoke about more than once.
Husband: “Own (children – author’s note) I didn’t have a chance to have it precisely because of my profession.”
Woman: “We did not build our life outside the theater and without the theater. We wanted, of course, but obviously not to the extent that people want and have. I can’t say that this somehow traumatized us, because I don’t know any other life, I have nothing to compare with.”
But the mother of her son Boris Korchevnikov, who holds the post of deputy director at the Moscow Art Theater, makes these significant adjustments to the words: «Asya once said that they had lost a child. Not aborted, but lost at a certain age. That’s why she treated her nephews and my Borka with maternal kindness…”
In order not to get up twice, let’s dwell on the second tragedy, alcoholism, especially since it was drunkenness, according to Boris Krishtul, that put a powerful barrier on Voznesenskaya’s acting path.
“She was terribly jealous of her husband’s fame. She simply destroyed him. She was even less jealous of women, of whom Myagkov had many. She started drinking out of jealousy. She was not invited to the cinema because she was out of shape, unstable, and in those years no one needed drinking artists. Drinking Dahl is one thing (see entry by tag – Oleg Dal), drinking Voznesenskaya is another matter. It definitely could have been replaced.”
Here we note that from 1976 until the collapse of the Union, Voznesenskaya acted regularly, another thing is that she never received star roles.
They didn’t bet on her at the Moscow Art Theater either, where Oleg Efremov lured Myagkov from Sovremennik in 1977, taking Voznesenskaya along for the company.
We will consider the relationship between Efremov and Myagkov in a separate post, but for now we will mention Efremov in connection with Myagkov and Voznesenskaya.
Actor Evgeny Novikov remembered the following story, which turns the idea of the unearthly love of those involved from feet to sitting position:
“One day Oleg Nikolaevich decided to look after Nastya. This has happened to him. The actress has been working in the theater for many years, and suddenly something seems to him, she seems to open up for him in a new light. Nastya was very good then, what can I say, a spectacular woman. Efremov, as you know, was always particularly drawn to other people’s wives; there was a certain passion: to conquer, to take away! And so, at one of the feasts at Oleg’s house, Efremov and Voznesenskaya retired. And Andrey was sitting at the table in the kitchen with everyone else. I approached him and asked: “Why are you sitting and doing nothing?” – “What should I do? – answered Myagkov. “This is Efremov…”
The couple demonstrated their loyalty to Efremov again in 1988, when they took his side during the division of the Moscow Art Theater.
On the stage of the Chekhov Moscow Art Theater, Myagkov and Voznesenskaya lost until 2013. In 2008, the play “White Rabbit” was staged under them. She had to end her career because Anastasia had a stroke and could no longer work at full capacity.
In 2018 I had a second stroke.
In 2021, my husband, who had been sick a lot lately, left.
Eleven months later, Anastasia also died.
This is the not very funny story of this actress.
We will remember her again as we continue our conversation about Myagkov.
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