Produced by Masterskaya theatre
Maxim Didenko and Dmitri Egorov
Set designed by Evgeni Lemeshonok
Duration 4 hrs with an intermission
Produced by Alexandrinsky Theatre
Directed by Maxim Didenko
Set designed by Galina Solodovnikova
Duration 1 hr 30 minutes with no intermission
Produced by ContArt Center
Co-produced by Alexandrinsky Theatre
Directed by Alexei Iankovski
Duration 2 hrs with an intermission
Produced by the Theatre Next to Narva Gates
Directed by Iana Tumina
Set designed by Iuri Suchkov and Kira Kamalidinova
Duration 1 hr and 10 minutes with no intermission.
Produced by Alexandrinsky Theatre
Directd by Krzysztof Garbaczewski
Set designed by Jan Strumillo
Produced by Malyshchitsky Chamber Theatre
Directed by Pyotr Shereshevski
Set designed by Alexander Mokhov
Duration 2 hrs 15 minutes with no intermission
Produced by Karsson Haus
Directed by Ekaterina Lozhkina
Set designed by Daria Lazareva
Duration 40 minutes with no intermission
Produced by Bolshoi Puppet Theatre
Directed by Denis Kazachuk
Set designed by Irina Titovets
Duration 50 minutes with no intermission
Produced by Theatre on the Vassilievski
Directed by Denis Khusniarov
Set designed by Elena Dmitrakova
Duration 50 minutes with no intermission
Produced by Tovstonogov Bolshoy Drama Theatre
Co-produced by Anton Is Over Here Foundation
Directed by Boris Pavlovich
Duration 1 hour with no intermission.
Produced by Uppsala Circus
Duration 1 hr with no intermission
Produced by Post Theatre
Directed by Dmitri Volkostrelov
Duration 2 hrs with no intermission
Very young people, the schoolguys of yesterday, who in the time of Second World War established in the town of Krasnodon an underground anti-Nazi organization, were later turned into true idols by the official propaganda of the Soviet Union. The novel by Alexander Fadeyev, a suicide soon after Stalin's death, was an obligatory reading for every Soviet schoolchild. Young Directors created a performance in two parts. Maxim Didenko researches the myth of the Soviet "Young guard", dissecting it by means of synthetic music and drama. Dmitry Egorov turned to documentary theater, based on archival materials. A particular relevance can be heard through the unavoidable associations with the current war in the Donbas.
Young St. Petersburg theatre irector Maxim Didenko, working both in visual and physical theatre that includes pantomime, dance, singing and recitation, here in this performance, turns to the great screenplay of the film by Alexander Dovzhenko "The Earth". Dovzhenko raised the story of conflict between supporters and opponents of the Soviet authority in a village to the level of cosmogony. In Didenko's work the story also acquires the features of a timeless parable. The struggling parties turned into two rival basketball teams. Dramatic play is full of brutal energy and imbued with images, resembling how about the expressionism of the 1920s and the totalitarian art of the later period
One of the Anatoly Vasiliev's most talented followers Klim uses to create confused and long-winded monologue plays, partly philosophical treatises, partly prayers, or meditations, or confessions, or poems in prose. In "Tao" his character reflects on the ancient Chinese treatise "Tao Te Ching", jumping from topic to topic, erring and apologizing, building reasoning only he knows on what. After many long term cooperations with Klim Alexei Yankovsky, a director together with actress Gala Samoilova create after Klim's play a so-called "theatre of voices" (Hans-Thies Lehmann's term), where that important is not the meaning of the words but the intonation, the music of sentences, the cascade static acting of her poses. The Director and the actress are having a demonstration speaker actor's body, independent from the theatre rules, existing by its own mysterious laws.
Director Iana Tumina is widely known after her collaboration with the Engineering theatre "AKHE". This time she came to a small children's theatre, remote from the center of St. Petersburg, and staged here an unusual and original children's play based on the book by Antoine de Saint-Exupery. Dramatic play is combined here with the puppet theatre and object installations, shadow theatre is replaced by a video projection, and small theatre's certain technical scarcities are compensated by the excess director's imagination. It is especially interesting that the experimental performance employs not only young people but also actors of the senior generation.
A leading young Polish director created the mysterious enisgmatic play at the New stage of the oldest theater in Russia. The play simulateously draws the viewer into the space of difficult-to-read, esoteric symbols and juggles popular characters of mass culture. Here Duncan is a middle-aged lady, suddenly tearing with her routines. Macbeth and Banquo are similar to yard bullies, and torn by fatal convulsions the body of lady Macbeth seems to suffer for all the characters of the play. On top of all, Garbaczewski is doing his favorite trick, offering the audience a good half scenic time to look at the screen a live video stream of the action from behind the scenes. As if by some magic, the movies look more realistic phantasms that go live. Controversial, and modern. To see.
Chief director of Malyshchitsky Theatre Pyotr Shereshevski, lately better known in the Russian provinces than in the capitals, opens the unusual performance with his chamber troupe. In the text of Shakespeare's Hamlet, he is interested in the motive of the game with the gamble as its attendant, the exchange of roles, transformation of reality. The tragedy of the Danish Prince turns into a tragedy of modern man, preparing himself to light fields, but involved in a bad infinity of a sinister virtual quest. The performance used images of the films of David Cronenberg, and the distinction between actors and spectators is erased intentionally.
In recent years baby theatre is a devastating craze in the Russian children's theater. Performances for pre-school children, babies and pregnant mothers are everywhere and produced in industrial quantities, but only few creators know the laws of baby theatre. One of them is a student of the veteran of puppet theatre Ruslan Kudashov Ekaterina Lozhkina, whose show dispenses intelligently the simple story plot (based on a fairy tale by Samuel Marshak), a sincere conversation and series of rides in different theatrical techniques. Chick simultaneously pays tribute to the important subject of attachment of mother and child, introduces babies with the habits of animals and acquaint children to the theatre.
Another example of baby theatre, created Ekaterina Lozhkina’s mate at famous Ruslan Kudashov’s course Denis Kazachuk. The show, a genre of which is designated as "puppet ballet", has such a chamber aura as Chicken has. It is spectacular instead and evenmore grandiose. A series of perfective pieces the show includes plastic acting and shadow theatre, puppets (very nice ones, a propos) and props. Thematically these are images of nature seen through the eyes of a young traveler getting acquainted with the fauna and flora. Not the least important advantage of the performance is the irony that however can hardly be recognised by a baby spectator but their adult companions will appreciate.
Young but already an awardee theatre director Denis Khusniarov acted leaving no opportunity of compromise with the play by Marius von Mayenburg, satirically outlining the history of Germany over the past 80 years. Infinite, even annoying chronological jumps, transporting the action from the 1930s to the 1950s, the 80s or the 2000s, so important for Mayenburg, are almost ignored by Khusniarov. Five actors are sitting around a table reminding a boulder in static postures giving their speeches from different eras but the action endlessly and hopelessly returns to the events of the Holocaust. Khusniarov is about to deny the importance of all future history – that which followed the closed door of the gas chamber.
Following great Peter Brook history knows lots of tries to stage Farid Attar of Nishapur's sufi poem The Conference of the Birds. Yound director Boris Pavlovich is an exeption here. His appeal to the play is not an arty gesture, it is a clever choice of material for inclusive theatre. During a few months, he was rehearsing the sketches on the themes of the Conference with non-professional actors – people with down syndrome. Pavlovich elegantly imposes the Attar's topic of the "soul-birds" getting free on the social message of the play and allows the people with sometimes not an easy quotidiannity to make themselves and their usefulness. The cast will also attend the young actors of the Bolshoi drama theater.
A unique for Russia, the inclusive theater group tries to give to the wayward youth its way in art via "new circus". Yesterday's patrons of the dark doorways turn into clowns, jugglers and gymnasts. In 2000, when the project was created, their shows were rehearsed directly next to the metro stations, where they homeless spent their nights. Uppsala’s new show combines the sketches and improvisations incurred by its participants in respect of such simple and mundane object as a ping-pong ball. Together, these circus miniatures amount to the impressive and dynamic musical show.
Petersburg theatre diirector Lev Erenburg calls himself the heir of Stanislavski, although some experts prefer remarking his connection with André Antoine’s tradition of naturalism and the theatre of cruelty given by Antonin Artaud. Actors in Erenburg’s theater have no embarassment to express themselves. Among the most preferabe methods here there becomes an adventure of human body suffering presented in almost grotesque way. The premiere Lev Erenburg and his theatre are going to play within the framework of the Mayshowcase, will present young artists, still students of Erenburg’s acting course. They are the ones to play the great novel by Dostoevsky, a pinnacle of Russian literature.
One of the most talented and the strangest directors of younger generation of Russian theatre Dmitri Volkostrelov is a radical fighter with sham on stage. As to him, theatre represents itself a space cleared from sences distilled from everyday life. He avoids the usual theatrical conventions and dispells the immutable dogmae of theatrical conventions like "actors being in role". In the Field staged after Volkostrelov’s adherent Belarusian playwright Pavel Pryazhko, a random number generator becomes a director’s companion. The generator is what defines the course of the play in a spontaneous manner.