The performance "Labour.May" staged by choreographer and director Sergey Larionov is a study of "a person in the interior" – here, in the interior of an assumed factory or a sewing workshop. The narrative is based on real interviews with seamstresses and costume designers, and its main theme is the life of a woman creating, who is inconspicuous, but extremely passionate about her work. 

Female dancers are looking for their place among sewing machines to the music of the Symphony of Sewing Machines, specially written by composer Anton Yakhontov, as the stories of love and tenderness for the profession are drowning in clatter and rattling.

The performance "Labour.May" staged by choreographer and director Sergey Larionov is a study of "a person in the interior" – here, in the interior of an assumed factory or a sewing workshop. The narrative is based on real interviews with seamstresses and costume designers, and its main theme is the life of a woman creating, who is inconspicuous, but extremely passionate about her work. 

Female dancers are looking for their place among sewing machines to the music of the Symphony of Sewing Machines, specially written by composer Anton Yakhontov, as the stories of love and tenderness for the profession are drowning in clatter and rattling.

Breathing is the protagonist of the new production by choreographers Anna Garafeeva and Dina Hussein. It becomes the basis for the sound score and choreographic text. During the performance, the sound of the dancers' breathing is transmitted through microphones and transformed while passing through algorithmic schemes. In this way, the choreographers explore the phenomenon of breathing as a means of fixing the emotional and physical states of a person and society, as a new form of sensuality and empathy.

The Soviet myth, the poetic naive and live music will merge in the Dom Radio Cinema Laboratory. On January 26 at 20:00 the film "Why Do We Dream" of the creative association "Manifesto" will be screened. The vocal cycle "Stupid Horse", which is the basis of the picture, will be performed by Ekaterina Dondukova (soprano) and Nikolai Mazhara (piano).

Μοιραι FM is a performance in podcast format. The authors are the Music and Thermos art group that includes composers Alexey Sioumak and Dmitry Mazurov, as well as playwright and director Liza Moroz. An abandoned and destroyed radio station broadcasts from a parallel world only on special occasions. On air there are eccentric ladies drinking tea from a thermos and talking about music, art, life, death, hope, and despair of one chosen hero. As it turns out, these are Moirai — ancient Greek goddesses of fate who dwell beyond the control of time itself. One spins the thread, the second carefully winds it around a spindle, the third is free to cut the thread at any time. But where is she? While waiting for the third Moira, the podcast hosts get carried away with music and poetry that fill the hero’s life, and they are getting younger right in front of our eyes. 

Bride Song is a dance miniature by the Dutch choreographer Nanine Linning. It is set to the composition of the same name by the musicAeterna resident Alexey Retinsky for soprano and chamber ensemble based on poems by Emily Dickinson (2020). Music and movement in the Bride Song performance do not illustrate but mutually enrich each other, have the same weight but different form and content. The fragile charm of Alexey Retinsky’s song plunges into the “objective” space-sound continuum and becomes the culmination of the dance score. Nanine Linning: “The piece feels like a lucid dream. Two women are being lit by ghostly figures, as echoes of their movements, as future echoes of their spirits, placing their femininity and vulnerable sisterhood against a dark and magnetic field of energy. Their innocence is sung by soprano Katya Dondukova, surrounded by musicians of musicAeterna.”

Soulwhirl is a dance performance created by choreographer and dancer Olga Tsvetkova, film and theatre director Vladimir Nikolouzos, and composer Vangelino Currentzis. Soulwhirl refers to the journey of the human experience through which man descends into the depths of the psyche finding the essence to rise above it, and even his own body.

Academic and electronic music, and plastic theatre will merge in two spaces: the Private Philharmonic Triumph, and Hall D1 of the Shpagin Plant.

At the core of the multi-genre programme is the image of destructive love. Love as a remembrance, as a disease, as inspiration and transformation, pipe dreams, scary and seductive nightmares: European avant-garde, new music, alternative genres, sound design and plastic theatre unite around these themes.

If, unexpectedly, the living see the dead, and the dead see the living, will they be able to say anything to each other? If so, what will the talk about and in what language?

Poets: Sappho, Kristalli Gliniadaki, Vittoria Colonna, Paolo Pasolini, Henri de Rainier, Christian Prigent, Boris Ryzhy, Friedrich Hölderlin, Gottfried Benn, Ippolit Kharlamov, Pantelis Boukalas, Sophocles, Paul Eluard, Gerard de Nerval, Paul Celan, Novalis, Teodor Currentzis, Dino Campana, Dante, and unknown authors.

Actresses: Medea Iasonidi, Anahit Kazaryan, Kristina Zaborskikh, Alisa Oleynik, Gala Samoilova, Ulyana Fomicheva, Serafima Krasnikova, Lyubov Tolkalina, Varvara Pavlova, Yanina Lakoba

Performers: Valentina Lutsenko, Anastasia Antontseva

The rhythmic distorted phrase that gave name to the performance sounds like an incantation: in the Uralic Mari language, the irreproducible sound combination means "I'm tired of your old blood."

The author of the performance is an interdisciplinary artist Alexei Taruts, formerly a lawyer, an art critic and a film director. The transmedia performance-ritual becomes a kind of philosophical rave. Here, similar to a rave party, all possible channels of perception are activated. Mixing different media, the artist explores the very concept of "an event". The vivacious, pulsating, continuously self-reproducing texture of the performance is designed to help the audience focus on their individual perception, violating the automatism of their customary behavior and perception. Contradictions, imperfection, non-uniqueness and instability are the working tools of the artist, whose goal is to appeal to the irrational in each of us.

If, unexpectedly, the living see the dead, and the dead see the living, will they be able to say anything to each other? If so, what will the talk about and in what language?

Poets: Sappho, Kristalli Gliniadaki, Vittoria Colonna, Paolo Pasolini, Henri de Rainier, Christian Prigent, Boris Ryzhy, Friedrich Hölderlin, Gottfried Benn, Ippolit Kharlamov, Pantelis Boukalas, Sophocles, Paul Eluard, Gerard de Nerval, Paul Celan, Novalis, Teodor Currentzis, Dino Campana, Dante, and unknown authors.

Actresses: Medea Iasonidi, Anahit Kazaryan, Kristina Zaborskikh, Alisa Oleynik, Gala Samoilova, Ulyana Fomicheva, Serafima Krasnikova, Lyubov Tolkalina, Varvara Pavlova, Yanina Lakoba

Performers: Valentina Lutsenko, Anastasia Antontseva

For more than 50 years Alla Demidova aspired to impersonate Hamlet. In 2001 she succeeded — the Greek director Theodoros Terzopoulos staged the play "Hamlet, a Lesson" at the Athenian theatre "Attis" specially for her. The musical performance "Territory Hamlet" by Katya Bochavar is inspired by the experience of Alla Demidova. 

The online premiere of the play took place at the end of 2020, it is for the first time in Perm that the performance will be presented live.

Created by Gosha Rubchinskiy basing on the poems by Nikita Bobkov, the chamber performance APOLLO THE BLUE GOD is constructed through the synthesis of poetry, music, and pantomime. This is an experiment to combine the cabaret style of the early 20th century and club theatre of the 1970s with multi-channel sound of the 2000s.

Created by Gosha Rubchinskiy basing on the poems by Nikita Bobkov, the chamber performance APOLLO THE BLUE GOD is constructed through the synthesis of poetry, music, and pantomime. This is an experiment to combine the cabaret style of the early 20th century and club theatre of the 1970s with multi-channel sound of the 2000s.