– A cappella performances by women exploring Russian punk music sound both intriguing and unusual. How did the creators choose to tell the story of the Russian punk movement through this format?
– A director often considers how broad contexts can shape an experience. The aim is to create a sense of aesthetic pleasure and comfort by pairing disparate phenomena in a single performance, letting contrasts breathe side by side.
Can you share a bit about what the production includes and who the central figures are?
– The project centers on individuals who pursue freedom of expression, freedom in creativity, and liberation from certain life norms and systems. It captures a youthful rebellion that has filtered into a fashionable subculture. The texts reflect experiences common to many people at a pivotal life moment. In essence, it analyzes the needs of the human soul. It is not rebellion for rebellion’s sake, but rebellion as a fundamental human impulse.
— The announcement notes that the project draws on memories from people connected to the punk culture. Which rockers contributed to shaping the script?
– The founder and leader of a prominent post-punk band played a significant role, though he chose to remain anonymous. Thus, his group and name cannot be disclosed. What can be shared is that he studied extensive, well-regarded books. The script was developed by examining diaries and memoirs, mostly from 1980s figures who are no longer with us. These were people who lived intense lives in their twenties and thirties; few survive to old age amid such a busy era.
– Performing with pure vocal energy and filling space without instrumental accompaniment is more demanding than singing along to music. How do the actresses describe this experience?
They express bright pleasure. The production will feature performers performing well-known punk-era pieces, arranged in a way that offers a fresh take on the genre for this culture.
– The company recently presented True Crime, a rap performance with representatives of the contemporary Russian-speaking scene including NEDRY, LIZER, SEEMEE, and SQWOZ BAB. How did it go?
– The project was framed as a staged inquiry, even featuring a mini-series about a girl investigating her own murder as part of the narrative.
– The organizers noted that the True Crime rap opera could be seen live only once. Why wasn’t it planned for multiple performances?
– That was intentional. The event gathered busy people at a premium, making it a unique moment rather than a repeatable show. The opportunity to bring these talents together in a single theater project—even if it isn’t financially lucrative—made it a one-off experience.
– The series “The King and the Jester” boosted interest among youth in punk culture, with the group’s songs climbing music charts. Does punk rock endure, in your view? What draws young audiences?
The audience responds emotionally when something familiar or relatable appears. It’s hard to predict the exact makeup of viewers in terms of punk background, yet meaningful themes tend to resonate. Teenagers also value aesthetics, and visual content plays a key role. Punk imagery persists in youth culture across borders, so iconic looks like leather jackets remain part of the visual language, even beyond this scene.
– Several series have shone a light on specific topics and scenes, including the latest runs like “The King and the Jester,” “Actresses,” and “Ballet.” Might there be a series focusing on the editing of performances themselves?
– The creator has spent substantial time across different cultures, including the circus, hip-hop, and theater, and is developing additional series centered on circus culture.
– As a former chief director of the Russian State Circus, what issues would you want to explore in a series about the sector?
– The approach centers on heraldic dynamics within the circus. Family lineages in the circus shape a network of well-known names. It can be difficult for outsiders to enter, much like a Game of Thrones scenario but with a distinct aesthetic. Ownership of tradition matters, but so does the possibility of renewal through new collaborations.
— How should a modern circus look? Can you name foreign circuses that align with your ideal?
– The circus is a vehicle for total art. The aim is to craft multi-layered works where no single form holds all the weight. There is no ultimate version of circus, opera, theater, or performance; instead, there are movements and experiments that may push the audience toward fresh discoveries. The ideal circus is open—one that absorbs influences from other cultures and shares them in return.
What is the current state of contemporary Russian theater?
– In a time of change, theatergoers’ appetite has shifted. Interest in traditional theater has cooled as new rules and needs emerge. The scene feels quieter, observant, and waiting for a spark to drive improvement. It’s a moment when artists can lay groundwork for future shifts and experiments.
— Where do ideas for unusual performances come from, and are there global trends guiding this work?
– The more one creates, the more intricate the creative knot becomes. More tools, richer experiences, yet a desire to avoid repetition drives experimentation. Finding new methods and moves can be painful, yet creating premieres with like-minded teams is deeply rewarding, even when the road is thorny.
– How can non-standard performances appeal to audiences?
– Nothing is predictable. Trust in the team, in oneself, and in a sense of destiny keeps the art moving forward.
— What guidance would you offer to people who are curious about modern theater but aren’t sure where to start?
– Afisha magazine’s critics, like Pavel Rudnev, highlight notable performances. Even watching certain works on video can help form a picture of what kinds of performances exist. A recommended starting point is Eugene Onegin at the Vakhtangov Theatre. For a sense of traditional theater, seek Theater.doc. For practical exploration, visit Praktika to see “Chapaev and the Void” and the Pushkin Theater to view “The Good Man from Sezuan,” then consider a visit to Konstantin Raikin. A week-long plan can begin there.
– What are the near-future plans?
– On September 29, a documentary play about Chekhov, “The Curtain,” will premiere at the Moscow Art Theatre, coinciding with the theater’s 125th anniversary. Several festivals in Nizhny Novgorod and Moscow will showcase upcoming performances, and the punk premiere is scheduled for July 7 in Moscow.