Marina Zudina, the widow of Oleg Tabakov, has publicly explained on social media why she is not collaborating with the new artistic director of the Tabakov Theater, Vladimir Mashkov. The discussion follows Tabakov’s long association with the theater and the symbolic weight of his memory. According to reports from kp.ru, Zudina’s remarks aim to clarify a personal stance rather than to comment on the institution as a whole.
In a recent post, Zudina reflected on the values that defined Tabakov’s era at the theater—joy, freedom, love, friendship, humor, and a readiness to laugh at oneself. She noted that these qualities propelled the company forward and kept its artistic spirit alive. Some followers interpreted her message as a suggestion that she had not been invited to the theater’s anniversary celebration. Zudina responded by underscoring that there has never been a working relationship between them during Mashkov’s tenure and that she has not collaborated with him in this capacity.
The media overview emphasized that since Tabakov’s passing, Zudina has not premiered a production in the theater where she once held a contract. She did appear in several performances under Tabakov’s direction in the past, especially during his leadership of the Tabakov Theater. Currently, the repertoire does not feature a single Tabakov-era production in the theater that bears his name, while the Moscow Art Theatre, Chekhov branch, under Konstantin Khabensky, is actively presenting several titles connected to Tabakov’s legacy. This shift reflects ongoing changes in leadership and the evolving artistic choices of the company, including works that resonate with Tabakov’s spirit and the broader stage tradition he helped cultivate.
There is also a note that Zudina’s public statements regarding Oleg Tabakov remain a personal position rather than a formal stance of the organizations involved. The evolution of the Tabakov Theater under Mashkov has sparked discussion among audiences and critics about how memory and leadership intersect in major cultural centers. The current artistic program at Chekhov Moscow Art Theatre, which now includes three titles that relate to Tabakov’s influence, demonstrates how a legacy can continue to inspire new interpretations and collaborations while respecting the past.
In summary, Marina Zudina’s commentary reflects a deliberate boundary between personal relationships and professional engagement with the theater’s new direction. Her messages acknowledge Tabakov’s enduring impact while clarifying her own choices about participation in contemporary productions. The ongoing conversation around Mashkov’s stewardship highlights the living nature of theatre—where memory, artistry, and institutional evolution constantly interact. As the community observes these transitions, audiences are encouraged to consider how pioneers like Tabakov shaped a national stage and how successors reimagine that heritage for future generations. These developments are reported with context and attribution from contemporary coverage, ensuring readers understand both the personal and institutional dimensions involved. (Source: kp.ru)