Chuk and Gek is the second performance directed by Patlasov at the New Stage. The first one is Noise based on a documentary play by Ekaterina Bondarenko.
The new performance by Patlasov is based on the Chuk and Gek novel by Arkady Gaidar, the writer’s diaries, and documented memories of those who have been prosecuted for political reasons and survived through Stalin’s camps. Those memories were documented by Andrei Sovlachkov and Alina Shklyarskaya, the playwrights of the project.
An Anxious Box Keeper’s Sketch-Book - one-man performance directed by the Distinguished Artist of the Russian Federation Igor Volkov is the second piece of the Monologues at the Tsar’s Lobby cycle opened by the Monologues performance (currently named Faces and Roles) directed by the Honoured Artist of the Russian Federation Nikolai Marton and based on pieces of the classic repertoire.
The performance is based on the novel of F.M. Dostoevsky - Crime and Punishment - the first work on the Stage of Alexandrinsky Theatre of one of the most prominent stage directors of the contemporary Eastern Europe, the artistic director of the Hungarian National Theatre, Attila Vidnyansky.
Nowadays only a few pieces are staged without Nikolai Marton who also cooperates with Saint-Petersburg State Capella – he participates In unique music-and-drama pieces. However, Nikolai Marton has not yet played many roles any artist dreams about playing.
One part of the Fairy Tale’s Birthday performance belongs to the action, i.e. quest genre, which is very popular now, and the other one – to the multimedia reading genre combining academic acting, classic Russian folk tales, the best pieces of Russian and world culture, as well as multimedia technologies.
The performance is based on Daniel Keyes’ novel Flowers for Algernon. A short story titled Flowers for Algernon was published in The Magazine of Fantasy and Science Fiction in 1959 and received the 1960 Hugo Award (a readers’ choice award given at annual science fiction conventions). The author not only introduces new narrative and plot development techniques, but makes these innovations appear natural. This is, first and foremost, a wonderful story.
Director Andrei Moguchy teamed up with Kostantin Filippov to create a modern fairy-tale based on the works of the Belgian playwright Maurice Maeterlinck.
The Macbeth is the Russian debut of Krzysztof Garbaczewski, a young leader of new Polish directorship. This staging by a student of Krystian Lupa, one of the top directors of our age, was a significant milestone for the New Stage of Alexandrinsky Theatre on its way towards the evolution of the scenic language and searching for a new theatric lexicon.
The performance was the winner of the GOLDEN MASK Russian National Theatre Award in the Best Artist’s Work (Semyon Pastukh, Scenic Design) and Best Supporting Actor (Nikolai Marton as the Stranger) categories.
This large-scale project created by the Alexandrinsky Theatre Artistic Director, Valery Fokin, was the opening event at the 8th International Theatre Festival, which was also the year of Mikhail Lermontov’s 200th anniversary.
My Being an Actor is a one-man performance by the Honoured Artist of Russia Vladimir Lisetsky. It continues the Monologues at the Tsar’s Lobby cycle.
New Times is the second Saint Petersburg premier by Marat Gatsalov. Like in his first Alexandriysky Theatre performance Telluria based on the novel of Vladimir Sorokin, he again performs the double role of the director and scenic designer. New Times was created by the familiar Telluria production team – costume designer Lesha Lobanov and composer Vladimir Rannev. The play was specifically commissioned for the New Stage to a young Saint Petersburg playwright, scriptwriter and director Tatiana Rakhmanova. The complex choreography of the performance was created by Tatiana Gordeeva.
Distant future, the year AD 4015, Earth calendar. As a result of a reincarnation experiment, three sisters – Masha, Irina and Olga, deceased in 1900, find a new life in the new world.
The third one-man performance of the Monologues at the Tsar’s Lobby cycle
As Russia’s oldest national theatre, the Alexandrinsky stage has always been the place to perform the works of the important contemporary writers. In that respect, the new performance of Marat Gatsalov of a latest novel of a famous Russian contemporary writer continues this Alexandrinsky Theatre tradition.
A family show, or, to be more exact, one aimed for ‘grown up children and little grown ups’. Director Veronika Shakhova defines the genre of the performance as a ‘non-fairy tale’ and uses different techniques – from role playing and clownery to verbatim and psychological theatre.
The Double performance by Valery Fokin is the first stage version of the Saint-Petersburg novel by Fyodor Mikhailovich Dostoyevsky in the history of the theatre. The novel is the most enigmatic and mysterious work by the writer.
In The Dream of a Funny Man the director continues exploring the paradoxes of the human essence, the agonizing duality of human nature that the Dostoevsky characters feel so acutely.
This performance by Maxim Didenko is an important milestone for the New Stage of Alexandrinsky Theatre in terms of the extension of the limits of the scenic language and the search for new theatre lexicon.
This performance based on The Endgame play by Samuel Beckett, a classic author of the 20th century, is directed by the world-famous director Theodoros Terzopoulos, the founder and the head of Attis Theatre (Athens).
The Alexandrinsky Theatre presents a show for children aged 7 to 12 and their parents.
Valery Fokin, who is rightly considered one of the best contemporary authorities on Nikolay Gogol’s works, turns to The Inspector General for the third time. This Alexandrinsky Theatre project, however, is special. This is the stage where Gogol’s comedy first premiered on April 19, 1836, with Nikolay Gogol himself taking an active part in the staging of his play.
The Noise by playwright Ekaterina Bondarenko is also based on a true story that happened several years ago in a Chelyabinsk region village – a teenage computer game-addict murdering his classmate with a sawn-off shotgun for putting an ink stain under his nose.
The prose of Tadeusz Różewicz often takes origins in his poetry. The Old Woman is Hatching, according to the author’s own confession, grew out of his poem A Tale About Old Women. Its poetic beauty combines the tragedy of life’s end with the grotesque absurdity of life.
This is not Nikolai Roshchin’s first attempt to stage a play by Gozzi. Back in 2011 he staged The Raven at the A.R.T.O. theatre, turning down the festive design characteristic of commedia dell’arte purposefully. In 2001 Nikolai Roshchin put on the play The Stag King (Russian Academic Youth Theatre, Moscow, 2001) which was recognized as one of the best Gozzi’s performances on the Russian stage. This rendering brought the director the Smoktunovsky Award and the Moscow Critics’ Association Award.
The Sunstroke is Irina Keruchenko’s second work in the Alexandrinsky Theatre. In her new work, the director follows Bunin’s idea that love is the essence of earthly happiness and the short moment of ultimate concentration of a man’s life force that burns him up. She continues to explore the philosophy of the feeling.
...The performance is about creativity, it is about creating the relationships we want. We may call the Sun the Moon, yet it will still be the Sun. In other words, the what is more important than the how. The play teaches us that the true dreams of our heart may come true. That’s it. After all, like any other work of art, theatre is a dream…
Valery Fokin’s performance based upon the play by Leo Tolstoy called The Live Corpse continues the series of the director’s current research into the tragic relationship of a man and the soulless reality that drives the character to escaping from the real world.
Saint-Petersburg, i.e. Petrograd, is the main character of the performance. Director Anton Okoneshnikov, Scenic Designer Elena Zhukova, and Video Designer Maria Varakhalina have created the stage solution and visual environment for the performance. The audience find themselves amidst the happenings, and the situation develops around them.
Today. 2016 is Valery Fokin’s first performance on the New Stage, so one of his goals was to make its unique high tech potential serve his artistic goals.
This performance is a combination of antipodal approaches that Stanislavsky and Meyerhold used when staging Chekhov’s plays. On the one hand, we are surrounded by an unrealistic environment representing real life – the action takes place on the stage and at the theatre. We find ourselves in a theatrical reality as advocated by Meyerhold. On the other hand, we tried to adjust acting according to Stanislavsky’s standards. For him, real-life authenticity was crucial. Taking those things into consideration, in terms of contradiction between the artistic fiction and authenticity, the question of What is a theatre? remains open”, Andrei Shcherban,
Willing to live is a one-man performance by the Honoured Artist of Russia, Sergey Parshin.
Xenia. The Story of Love - performance by Valery Fokin continues Alexandrinsky Theatre’s Saint-Petersburg cycle of performances based on literary images, facts and legends of the world’s most malicious city.
The earthly story of Saint Xenia has inspired the Theatre to create a performance in which a different period of the history of our city would interlace facing the need for spiritual truth and redemption.
The new performance is Valery Fokin’s new rendition of the 2011 performance, which used to be given on the seventh tier of The Alexandrinsky Theatre Historical Stage.
This performance is based on one of the most popular works by F.M. Dostoyevsky – the Gambler.
Dostoyevsky is one of the authors that Valery Fokin’s artistic career is inextracibly connected to.