Olena Nikolaeva

Olena Petrivna Nikolaeva was a trained actress who became one of the first three television presenters in the history of Ukraine, coming third in succession after Novela Serpionova and Olga Danylenko. She was a pioneering figure in the history of Ukrainian television broadcasting, training many of the presenters that would come after her. Alongside Olga Danylenko, she formed the foundational voice and face of Ukrainian television in its earliest decades. After her career in television, Nikolaeva moved into to the film production industry.

Career in theatre Before her entry into television, Nikolaeva was an actress at the Kyiv Youth Theatre. Olena Nikolaeva began her professional career as a dramatic actor after graduating from a theatre institute in Kyiv. She was initially assigned to the (TYUG), where she performed travesty roles, portraying a variety of characters such as boys, girls, and comedic animals in children's productions. Joseph Stalin had authorized 43 million rubles to complete the structure – but since all contact with American TV companies had ceased shortly after the beginning of the Cold War (including the company that had won the contract to construct the Moscow TV Center), a Russian immigrant and electronics engineer named Vladimir Zvorykin had to design everything in the building himself. Nikolaeva's original broadcasts were conducted using many of Zvorykin's inventions. These broadcasts were largely viewed on KVN-49's, where by 1951, there were 661 in the city of Kyiv.

Ukrainian television was still in its formative years and all broadcasts were conducted live, due to the absence of recording technology. Nikolaeva's early role involved a variety of tasks, including reading announcements, introducing performances, including those by opera singer , and hosting concerts. In the 1960s, she also began delivering television news. During the later part of her television career, Nikolaeva was known as blonde-haired, and her appearance contrasted with her Olga Danylenko, who wore black hair. At the start of her career as a television announcer, her monthly salary was only 55 rubles, despite the high public visibility and expectations associated with the role. Announcers were expected to maintain a polished on-screen appearance, but were provided with minimal institutional support for clothing, hair, or makeup. Because of to the lack of support, Nikolaeva frequently had to negotiate with the Rosa Luxemburg Garment Factory to provide clothing and pushed for institutional help with styling. Eventually, announcers were permitted to have their hair professionally styled before broadcasts at the Cheremshyna hair salon. She directly confronted the Soviet Ukrainian Culture Minister , questioning whether he could live on such a low wage while meeting the demands placed on announcers. Following this, their salary was slightly increased to 75 rubles, and later set at 125 rubles, though support remained limited.

Due to intense studio lighting required for early television cameras, working conditions in the studio were physically demanding, with temperatures often exceeding 30 °C. Despite this, Nikolaeva was still expected to appear composed and professional on screen. Nikolaeva and her colleagues had to be resourceful. She wore a limited wardrobe, consisting of a few Ukrainian embroidered blouses, a shirt with a guipure-trimmed collar, and a dark jacket. To vary her look, she creatively modified a plastic collar, adding flowers and adjusting its shape and positioning. She also styled her hair into a braid wrapped around her head, later cutting it and dyeing it blonde to visually differentiate herself from her colleague, Olga Danylenko, who also wore a braid.

The announcers prepared for broadcasts in inadequate physical conditions. Initially, they waited in poorly ventilated rooms or control areas with no windows. It was not until 1960 that dedicated facilities for announcers were introduced, improving the basic working environment. Olga Danylenko (left) and Olena Nikolaeva (right) had to completely memorize their lines before broadcasts. Nikolaeva often appeared on-air wearing traditional Ukrainian vyshyvanka, which became a distinctive feature of her television persona. These garments were hand-embroidered by her grandmother and included a small selection of blue, white, and orange-toned shirts. Her appearance played a dual role—serving as a visual anchor for viewers adjusting television receivers in the pre-test pattern era and reinforcing national cultural imagery.

In 1966, Nikolaeva's departure from broadcasting was precipitated by a conflict within the television station. According to her daughter, she was forced to choose between her role as a television announcer and her marriage to a television cameraman, Arkady Derbyanyan. She chose to preserve the marriage, eventually leaving the station. The marriage lasted about a decade before ending in divorce.

Her co-host, Danylenko, was thought by her Soviet superiors to be too old to be on the television anymore, and was forced to return to radio. Danylenko died in 1970.

Career as a film producer After leaving her position as a television presenter, Nikolaeva began working as an assistant director at Ukrtelefilm, the Soviet state film studio responsible for television productions in the Ukrainian SSR. There, she participated in a range of productions, including television films and concert recordings.

The same year that Nikolaeva went to Urktelefilm, Volodymyr Shcherbytsky assumed the post of First Secretary of the Communist Party of Ukraine. Nikolaeva was tasked with assisting during the filming of one of his public addresses due to her background in broadcasting, which made her a trusted figure. While preparing Shcherbytsky for his televised appearance, he recognized Nikolaeva and initially struggled to place her. After being reminded of her previous work on television, he reportedly expressed surprise and admiration, lamenting her absence from the screen. He issued a direct order that she return to television immediately, even instructing his deputy to ensure compliance. However, due to prior filming obligations in Sevastopol, Nikolaeva could not fulfill the request. This incident occurred during a filming session overseen by Volodymyr Bortko, the Soviet and later Russian film director known for works such as The Heart of a Dog and The Master and Margarita.

During the preparation of a remake of the film Natalka-Poltavka, Nikolaeva played a decisive role in casting the lead role. Upon seeing a young actress, Nataliya Sumska, then newly employed at the Ivan Franko National Academic Drama Theater, Nikolaeva strongly advocated for her selection as the title character. Despite the director having chosen a different actress, Nikolaeva insisted on casting Sumska, reportedly declaring that she would leave the production team if her recommendation was not accepted. Her insistence ultimately led to Sumska securing the role.

Nikolaeva also worked on a televised concert featuring popular Yugoslav singer Đorđe Marjanović. After the filming, during a celebratory dinner, a waiter made an unusual request for Marjanović to become the godfather of his child. The singer agreed, on the condition that Nikolaeva would become the child's godmother. The two thus became "Kum and Kuma," (godparents). Marjanović subsequently invited Nikolaeva to visit Yugoslavia multiple times, though she never made the trip.

When Nikolaeva experienced difficulties regaining a telephone line after an apartment exchange, She sent a written request to the Central Committee in Shcherbytsky's name shortly before the Chernobyl nuclear disaste r occurred in April 1986. Despite the national crisis, her issue was resolved, and she was notified within a month that a telephone line would be installed.

Despite her pioneering contributions, she, like many early Ukrainian broadcasters, did not receive significant official recognition—no formal awards, pensions, or honors.