Miklashevskaya, Augusta Leonidovna

Augusta Leonidovna was born in 1891 in Rostov-on-Don. Her father, Leon (Leonid) Sergeyevich Spirov (originally Spiro, 1869-1930) ^[2] , a native of Tiflis of Greek origin, was in charge of the blacksmith shop of the Rostov-Vladikavkaz railway station , he himself was known as an excellent craftsman and received, like his father, “ personal "(that is, not hereditary) nobility for" selfless and faithful service. " Mother, Augusta Andreevna Spirova (nee Budzinskaya, 1868—?), A hereditary noblewoman, was born in Staraya Russa in the family of landowner Andrei Stepanovich Budzinsky.

Twelve children were born in the family, four of them died in their childhood. Earnings of the father allowed to maintain a large house, to give children an education, including music. Augusta studied at the drama school at the Rostov Drama Theater , where her teachers were the famous artist of the Moscow Art Theater Vera Popova and a talented director Nikolai Sinelnikov ; Here she played her first role as Sofia Famusova in the play " Woe from Wit ." Later, the younger sisters, Alexandra (married Lebedinskaya) and Tamara, will also attend the same school. Alexandra's daughter is Natalya Kachuevskaya , a participant in the Great Patriotic War , awarded the title of Hero of the Russian Federation (posthumously).

In 1910, she married Ivan Sergeyevich Miklashevsky, the son of Rostov notary Sergei Mikhailovich Miklashevsky (1860—?), Who had his own office ^[3] . In the same year, leaving her husband and family, she went to Moscow to continue acting training. I entered the Shore Theater School, but almost immediately she was invited to the new one organized by him - the “ Chamber Theater ” Alexander Yakovlevich Tairov . And then the case helped: Kalidasa , the leading actor in the Sakuntal , got sick - the wife and associate of A. Ya. Tairova Alisa Georgievna Koonen, and Miklashevskaya was urgently introduced in her place. Successful was her next title role in "Princess Brambill" by Hoffmann , which has long become the hallmark of the Chamber Theater. A year later, she gets the role of the Athenian princess Arikia in “Fedra” by Rasin, a play in which Fedron was played by Koonen. Again, the success of the audience and rave reviews from critics. The young actress became the second after Koonen the main performer of the main roles in the performances of Tairov. She was noticed by Russian cinema - “The Young Peasant Woman” (1916), “The Fruits of Enlightenment”, “Stolen Youth”, “Psyche”, “Monk's Love” (all - 1917). Fulfilling his dream of a synthetic theater, Tairov poses “The Marriage of Figaro ” by Beaumarchais and “Girofle-Girofl” by Lecoq , and invites the dancer and choreographer of the Bolshoi Theater Lev Aleksandrovich Lashchilin, famous for creating “ Nadezhdinojsambl ” together with Nadezhda , to teach drama actors. Augusta is fond of a young charming tutor, especially since her marriage with Miklashevsky actually turned into a formality, when he, having already moved to Moscow, informed her that another woman had entered his life. May 30, 1918 her son was born. Having drawn up a divorce from her ex-husband and not waiting for the same from married Lashchilin, she, with the consent of both, calls her son Igor Lvovich Miklashevsky .

In 1923, the Chamber Theater went on a long foreign tour. Not wanting to leave her five-year-old son for a long time (and she was not allowed to take him with her ^{[ clarify ]} ), Augusta refused the trip. She continued to be in the troupe, but finding herself without work and, accordingly, without earnings, she was forced to look for a new place. The restaurant-theater, or rather a night cabaret under the playful name "Nerdy", became a temporary haven, on the tiny stage of which its versatile talents came in handy - from the spoken genre to the dance. At the same time, she gets a job in a small theater called “Sharp Corners”, the name of which corresponded to his genre - it contained small satirical content of plays, miniatures, sketches, impromptu with the participation of spectators. And in that, and in the other hall, Moscow artists liked to meet, communication with which to some extent brightened up her then position.

In August 1923, Miklashevskaya met with Sergei Yesenin , while his marriage with Isadora Duncan was already approaching decay. The cycle of lyric poems “The Love of a Hooligan ”, which began literally the day after they met, is one of the most soulful in Yesenin’s poetry . Seven poems of the cycle are dedicated to Miklashevskaya ^{[4] [1]} . In the fall of 1976 , when the actress was already 85, in an interview with literary critics, Augusta Leonidovna admitted that the affair with Yesenin was platonic, and she did not even kiss the poet ^[5] .

When the Chamber Theater returned from a long tour of European cities, Miklashevskaya did not see her last name in the lists of people employed in the repertoire. Tairov did not forgive her for the unjustified, in his opinion, refusal of the trip, which put the theater before the urgent need to introduce new performers. Finding out nothing, she filed for dismissal.

Together with Augustus, Augustus goes on tour in the cities of the country, now with his son and sister Tamara, also accepted into the troupe. Upon returning, she moved to the newly opened Satire Theater, but served in it for only one season of 1924-1925 - the unpretentious repertoire at first was no longer suitable for her.

In November 1925, she last saw Yesenin. In December, she was informed by telephone that Sergei had died.

Dissatisfaction with the creative life and the disorder of the personal led Miklashevskaya to the acting "exchange". In 1926 she was sent to the newly opened Bryansk Theater , but it didn’t work out here either, she was drawn to the capital’s environment. She soon returned to Moscow, got a job in the so-called Mobile Theater - without a permanent troupe, without her own stage and original repertoire. Basically, they copied the productions of the capital's theaters and traveled with them to provincial cities.

In 1930 he was arrested and on November 13 of the same year, on the false charge of cooperation with the tsarist secret police , Miklashevskaya’s father was shot.

Unable to withstand a nomadic life, Miklashevskaya returned to Bryansk. It was remembered by the audience in the role of Panova in the play by Trenev, “Love of Spring”, in the performances “Her Way”, “The Jester on the Throne”, “ At the Bottom ” and others. There she became close to the director of the theater Boris Alexandrovich Pikovsky. Together with him, then briefly worked in Krasnoyarsk and Tula , in 1936-1938. in the Ryazan Drama Theater , where Pikovsky was appointed chief director. Moving directors from one theater to another was a common occurrence at the time. At the Ryazan Theater, famous for its traditions, Miklashevskaya finally found creative satisfaction, having played in two years a number of leading roles in the classical repertoire (Larisa in The Bride , Anna Andreevna in The Inspector General , Lady Milford in Cunning and Love , Marina Mnishek in Boris Godunov, Baroness Strahl in Masquerade , Lyubov Yarovaya and Anna Karenina in the same productions). She managed to try herself as a director in the musical theater created by Boris Pikovsky. Together, they staged Eugene Onegin, The Queen of Spades , La Traviata , Carmen .

Meanwhile, the son Igor, who remained in Moscow, chose a sports career, achieved good success in boxing . In 1938 he was drafted into the army and sent to Leningrad , where he married almost immediately. He participated in the Soviet-Finnish and World War II . Demobilized in 1947, before retiring, he worked as a boxing trainer in the sports reserves "Labor Reserves".

In 1938, Pikovsky was transferred to the Izhevsk Russian Drama Theater, Miklashevskaya followed him. Successfully played several roles already familiar to her in the performances transferred by Pikovsky from Ryazan (Masquerade, Anna Karenina), and at the end of 1940 she was already enrolled in the Kirov Drama Theater (again Anna Karenina). With the outbreak of war, the theater moved to the small town of Slobodskaya , several tens of kilometers from Kirov, freeing up the stage for the Bolshoi Drama Theater evacuated from Leningrad. Here she played Kruchinin in “ Guilty Without Guilt ”, Masha in “Lift” by B. Lavrenyov .

In 1943, when the evacuated Moscow theaters began to return to the capital, Miklashevskaya also managed to return - in September, by agreement with Tairov, she was again enrolled in the troupe of the Chamber Theater. She successfully made her debut in the role of Arkadina in the Chekhov's "The Seagull ", speaking as an equal partner of Konon - Nina Zarechnaya. She successfully resumed one of her main roles - the Princess of Bouillon in the legendary performance of the Adrienne Lecouvreur Chamber Theater, held on June 14, 1944, for the 750th time. In January 1945, in connection with the 30th anniversary of the Miklashevskaya Chamber Theater, among other awards and titles, the title of Honored Artist of the RSFSR was awarded.

Another notable role is Mrs. Sybill Burling in John Priestley 's play “The Inspector Came,” staged in the Chamber called “He Came” (1945). The enthusiastic reception of the play, at the premiere of which the author of the play was present, did not stop, however, very soon to make him an object of criticism of Tairov on the wave of the struggle against "cringing before the border."

In the future, new interesting roles were not offered to her, and participation in the opportunistic and therefore not particularly lingering in the repertoire plays “The Fate of Reginald Davis”, “Friends and Comrades”, “Life in the Citadel”, “John the Soldier of the World”, “Lion in the Square” ”, Etc., did not bring creative satisfaction.

In the late 40s, ideological pressure on art workers intensified. Just four months after the appearance of the article “On an Anti-Patriotic Group of Theater Critics” in Pravda on January 29, 1949, Tairov was relieved of his duties as the artistic director of the theater, and on August 9, 1950, the Chamber Theater was transformed into the Pushkin Theater .

Miklashevskaya remained an actress of the A.S. Pushkin Theater for eight years. In addition to several “transitional” roles, already at the end of her theatrical career, she got her last significant role - Mary in the play-satire “Dr.” of the Serbian classic Branislav Nusic , the author of the well-known “Madame Ministers”. In 1958, sixty-seven years old, Miklashevskaya completed work in the theater as a personal pensioner of republican significance. In 1960, she starred in the film "Kievite", in 1962 in the short film "Cuban short story." She played the role of fr Alvig in G. Ibsen ’s drama "Ghosts" in the Literary Theater.

In 1960 , her memoirs about Yesenin were written, almost never published completely anywhere ^[1] .

In 1965, all charges were dropped from her father Leonid Sergeyevich Spirov, he was rehabilitated.

The last years of her life, the actress lived with her sister, chamber singer Tamara Leonidovna (1900-1983), in the Moscow district of Tushino at 12 Donelaitis Street, Building 2, Apartment 110. In this two-room apartment on October 13, 1976 Miklashevskaya gave the last big and an unusually open interview at that time with the writers G. Morozov and B. Guchkov, where she recalled the rare, never before published details of her life and relations with Yesenin ^[5] .

Died June 30, 1977 at the age of 86 years. Her testament: “Burn the body, and scatter the ashes through the meadows and forests” was only half fulfilled. On the last journey, the actress and the muse of the great poet were escorted by hundreds of fans, Yesenin verses dedicated to her were read. The last address of Miklashevskaya is the columbarium of the Vagankovsky cemetery , not far from the grave of Sergei Yesenin ^[6] .

Son Igor Lvovich Miklashevsky died in 1990 .

Igor Miklashevsky’s son in the 1930s studied at the same school number 86 on Krasnaya Presnya together with his son Yesenin Konstantin ^[7] .

After a divorce from Augusta, Ivan Sergeyevich Miklashevsky married her younger sister, 25-year-old Tamara Spirova (married to Miklashevskaya). Soon, a son was born to the spouses - Sergei Miklashevsky.

S. A. Yesenin planned to write and publish a book about A. L. Miklashevskaya, about which an informational ad is written in the RSAI written by Yesenin on one of the sheets of the composite layout of the book “ Moscow Kabatskaya ” ^[8] . However, no documents were found on further work on the monograph.

• 1916 - Young Lady Peasant
• 1917 - Monk's Love - Valeria
• 1917 - The fruits of enlightenment
• 1917 - Psyche - Ira, the granddaughter of Tikhonov
• 1917 - Stolen Youth - Girl
• 1960 - Kyivanese - Teresa Santos, mother of Miguel
• 1962 - Cuban short story (short) - an elderly Cuban woman on the street

• In 2016, the Uppercut for Hitler series was shot in Russia, in which Tatyana Aptikeyeva played the role of Augusta Miklashevskaya.

• Vaksberg A.I. Love and perfidy. Theatrical detective. - M: AST: Russia-Olympus, 2007 .-- 378 p. - ISBN 978-5-17-045516-4 .
• Khmelnitsky Yu. O. From the notes of the actor of the Tairov theater. - M: "GITIS", 2004. - 212 p. - ISBN 5-7196-0291-7 .
• Ustimenko N.M. The Don Muse of Sergei Yesenin // The Don Temporary. Year 2016 / Don. state publ. b-ka. Rostov-on-Don, 2015. Vol. 24, pp. 106-114.