During a recent segment of the Legend show on RTVI, TV host Oskar Kuchera spoke in defense of actress Liya Akhedzhakova, in the context of performances featuring her that were removed from the Sovremennik Theater repertoire. The discussion highlighted a broader debate about the rights of artists to express themselves and the consequences such expressions might bear within the cultural sphere.
Kuchera offered a personal perspective on Akhedzhakova, acknowledging that he may not be fully aligned with everything she has said or written. He noted that there have been instances where she has been cited or scrutinized, and he admitted he has not kept up with every detail of the material. Still, he rejected what he characterized as unfounded or overblown criticisms, calling the surrounding discourse excessive and unwarranted in his view.
In the same vein, Kuchera directed sharp remarks at actor Dmitry Nazarov, criticizing him in strong terms and accusing him of engaging in blasphemous statements. He expressed a stance of not sympathizing with Nazarov, who is widely known for his role in the television series “Kitchen.”
Earlier this year, Nazarov and his wife, Olga Vasilyeva, were dismissed from their positions at the Chekhov Moscow Art Theater. Media reports linked the dismissal to Nazarov’s public criticisms of a government operation in Ukraine. The reports also indicated that prosecutors filed an administrative offense case under Article 20.3.3 of the Code of Administrative Offenses for discrediting the armed forces. The materials included videos featuring poems that Nazarov had posted on his YouTube account, which were cited in the appeal.
The broader cultural conversation reflects tensions between artistic freedom and state expectations, as well as the consequences performers may face when their public commentary intersects with current geopolitical issues. Admirers of Akhedzhakova have argued that her work and her outspoken positions remain important to the cultural landscape, while others have raised concerns about the boundaries of permissible public expression. In this climate, institutions like Sovremennik and Chekhov Moscow Art Theater are navigating shifts in casting, repertoire, and staff loyalties as public opinion and official scrutiny continue to evolve. The situation underscores the volatile relationship between art, politics, and accountability in contemporary Russian theater and media culture.