PROGRAMME
Shame

18.06 we 19:00
Shame

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William Shakespeare. King Lear
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House of Music (Shpagin Factory, Building A)

a cross-genre performance

Director: Elizaveta Moroz
Conductor: Evgeny Vorobyov
Set design: Sergey Kretenchuk
Lighting design: Alexander Romanov
Video art: Maria Varakhalina
Costumes: Elizaveta Moroz and Sergey Kretenchuk

Featuring:
Soloists of the musicAeterna choir and orchestra
musicAeterna Сhoir
Yanina Lakoba, actress

16+

“Marina Tsvetaeva’s Evening Gathering” is a special project by musicAeterna and Dom Radio, where contemporary academic music and sound art meet poetry and drama. The performance is built around premieres of new musical works based on Marina Tsvetaeva’s poetry, composed by Dom Radio’s resident composers: Andreas Mustukis, Alexey Syumak, Yegor Ananko, Viktoriya Kharkevich, Kirill Arkhipov, as well as Vangelino and Teodor Currentzis. These pieces, written for unusual vocal and instrumental combinations, are woven into a dramatic monologue.

Poems, letters, and diary excerpts by Tsvetaeva are performed by theater and film actress Yanina Lakoba, creating a confessional narrative of life and love from the perspective of a tragic poet. Soloists and a chamber ensemble of the musicAeterna choir, under the baton of Evgeny Vorobyov, act as “sympathetic strings” in the performance — responding to the drama, resonating with it, and provoking its further development.

The production was directed by Elizaveta Moroz, head of the new theatrical platform “Atheatron” at Dom Radio: “The scale of Marina Tsvetaeva’s personality and creativity is immense. She is a true genius whose work cannot be confined to conventional forms. In this project, we explore the boundary between reality and the subconscious world of her lyrical heroine — a figure who splits, multiplies, merges, and drifts apart. She arrives at a meeting where no one expects her, where no one wants to listen. She’s an antagonist, a provocateur in relation to both the audience and the musicians. This heroine is constantly searching for a place of peace — in a world where there is no place for her, both literally and figuratively.”

This production continues a series of musicAeterna’s tributes to major poets and composers, launched in 2020. Previous performances in the series — presented at the Diaghilev Festival — have honored Paul Celan, Charles Baudelaire, and Kurt Weill.
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Perm Academic Theatre-Theatre

Concept, director, and choreographer — Anastasia Peshkova
Set designer — Yulia Orlova
Composer — Kirill Arkhipov
Sound-artist - Andrey Vorobyov
Lighting designer — Kseniya Koteneva
Lighting technical designer - Natalya Tuzova
Sound engineer — Denis Odum
Playwright — Olga Potapova
Technical director — Alexey Bondarenko
Executive producer — Daria Tretyakova

Performers:
Daria Pavlenko, prima ballerina
Olga Komok — vocals, hurdy-gurdy, organetto
Aisylu Mirkhafizkhan — vocals

Dance company: musicAeterna Dance
Aigul Buzaeva
Timur Ganeev
Evgeny Kalachyov
Maxim Klochnyev
Savva Korotych
Elena Lisnaya
Aisylu Mirkhafizkhan
Alexey Slutsky
Daria Tagiltseva


12+

Shame is a dance-based exploration of one of the most painful and complex emotions in human experience. This is a wordless conversation — a physical language that gently opens up the nature of shame as a social, personal, and physical feeling.
Prima ballerina Daria Pavlenko’s character goes on an existential journey through encounters with shame. Society imposes this emotion on her from the outside, while her own actions bring it as an inner torment.

In Anastasia Peshkova’s new choreography, every viewer becomes both witness and judge, observer and observed. Watching over the performers is another silent presence — history itself. The creators take a step back from modern-day concerns and look at shame through the lens of time. Composer Kirill Arkhipov weaves 13th-century Spanish ballads (Cantigas de Santa Maria) into his electronic score, while the cycle of shame-filled stories spins like the wheel of the hurdy-gurdy — a medieval instrument known for its tense, resonant sound.
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Stage Molot

Drama performance

Russian translation by Boris Pasternak
Directed and designed by Denis Bokuradze
Costume designer — Elena Solovyova
Lighting designer — Evgeny Gansburg
Composer — Arseny Plaksin
Body plasticity director — Pavel Samokhvalov

Cast:
Lear, King of Britain — Denis Evnevich
Regan (Lear’s daughter), Fool — Yulia Bokuradze
Goneril (Lear’s daughter) — Elena Golikova
Cordelia (Lear’s daughter), Oswald (Goneril’s steward) — Vera Fedotova
Edmund (Gloucester’s illegitimate son), Earl of Kent — Arseny Shakirov
Edgar (Gloucester’s son), Duke of Cornwall, King of France, Courtier — Kirill Sterlikov
Earl of Gloucester, Duke of Albany, Duke of Burgundy, Curan (courtier) — Maksim Tsygankov

Premiered: December 10, 2016
Revival premiere: April 29, 2025


18+

“The Gran” Drama Theatre from Novokuybyshevsk returns to the Diaghilev Festival. “Gran” rose to nationwide fame in the 2010s when director Denis Bokuradze took the helm. His bold interpretations of classical works regularly made it into the long and short lists of the Golden Mask — Russia’s top theatre award — and earned multiple nominations and wins. Despite gaining official state status, the theatre has preserved its experimental spirit and studio energy.

This time, the troupe presents a revival of King Lear, which received four Golden Mask nominations in 2018 and won one. In his production, Denis Bokuradze closely follows Shakespeare’s plot but puts a strong focus on human relationships under the pressure of absolute power and control: “A state, the power to shape others’ fates, absolute belief in the rightness of one’s choices — even reckless ones — all of this was once in Lear’s hands. But it slips through his royal fingers, and the man who once ruled the world can no longer manage a simple meal. Lear embarks on a painful journey, accompanied by the Fool — the king’s second self, the one who tries to protect Lear from himself. But once Lear descends into madness, the Fool vanishes, because the king himself becomes the fool. Having lost everything — his mind, his home, his loyal followers, even his daughters — Lear begins to live a life he had never truly known. He begins to feel what it means to be human.”
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Macbeth on foreign land

19.06 th 23:30
Macbeth on foreign land

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House of Music (Shpagin Factory, Building A)

An adaptation of Shakespeare's Macbeth
with the integration of original cinematic material.

Directed and Performed by Sofia Hill
Film Direction, Cinematography, Editing, Music Supervision:  Angelos Hill
Costume Design:  Hussein Chalayan, Loukia
Lighting Design:  Kostas Bethanis
Sound Design:  Vasilis Drougas

Running Time: 60 minutes

18+

The moral law within me
The starry sky above me.

Man, nature, and the echo of evil — these are main subjects in the new performance of Sophia Hill, the permanent co-author of the Greek director Theodoros Terzopoulos and the leading actress of the Attis Theatre in Delphi.

Macbeth wanders through foreign land — an inner exile where memory and morality give way to fear and thirst for power.
Man forever stands at the threshold: between the nature that gave him life and the nature that he threatens to destroy; between his inner morality and his thirst for dominance. His detachment from the moral and cosmic rhythm of nature is an act of hubris that inevitably leads to downfall.

In Macbeth, destructive rage reveals an inner fracture. Evil is not a law of nature but the result of a consciousness that refuses to accept the measure and frailty of mortal existence. The insatiable hunger for power, control, domination, knowledge, and immortality leads to alienation from the natural body — the body bound by time and memory. Will man merge with the machine? Will the post-human emerge — rootless, timeless, memoryless, bodiless — stripped of all tragedy?
Who will survive this struggle?
Nature is true time — eternal and indestructible.
Man is nothing but a fleeting deviation.
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