Art Under Siege: The Leningrad Symphony of Dmitri Shostakovich and 'The Conductor'

Joseph Skelton, one of the actors in the company performing The Conductor, explains the history and journey behind the concert-play.

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In 1942, conductor Karl Eliasberg wrote in his log:

"Rehearsal did not take place. Srabian is dead. Petrov is sick. Borishev is dead. Orchestra not working."

Left in the devastation of the Leningrad Siege, the music stopped. Starvation gnawed at the city. Surrounded by the Nazis for over two years, the siege would claim the lives of more than one million men, women, and children.

Some months after Eliasberg wrote this entry, a plane carrying supplies from Kuybyshev airlifted a composer's 252-page score into Leningrad. It was the seventh symphony of Dmitri Shostakovich; his 'Leningrad Symphony'.

The first rehearsal in March 1942 was intended to be three hours long, but had to be stopped after 15 minutes because the 30 musicians present were too weak to play their instruments. Eliasberg himself had to be dragged to rehearsals on a sledge. Over the next weeks, three performers died in the room.

Before the performance, Eliasberg announced on the radio that "this performance is witness to our spirit, courage, and readiness to fight. Listen, Comrades!" He uses the vocabulary of war and the tone is rallying for resistance. Presumably the motives behind the Soviet government's decision to perform the symphony were more about psychological warfare than art — indeed speakers were put up around the city, and the piece was played out to the Germans and across the front lines.

However, we wonder what the motives were for these starving musicians and the conductor who dragged them through. The higher food rations could have been an incentive; some perhaps felt intimidated by government pressure; some perhaps were ideologically indoctrinated to believe in sacrificing themselves for their country. And yet it seems there must have been another motive; the one which provided the fire and the heat and the light — the true dignity of their endeavour. The burning belief in performer and audience, which meant that the concert received an hour long ovation. The belief that they were reaching towards something beyond themselves, beyond their situation. Beyond war.

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Right now we are immersed in battles. We are immersed in wars across the globe, wars that are driving people from their homelands to travel treacherous journeys to uncertain refuge. We are engaged in battles of politics, race, and gender as an old world dies to a new one, and as old ideologies of violence and scapegoat tactics have another go at gaining public popularity.

Sometimes I question art in a time like ours. As an actor I question the value of my place in society and whether I'm not just engaged in a mercenary, self-serving, and egotistical industry.

To the people of Leningrad, music didn't feel like a futile response to their situation. It wasn't a solution, but it was a response — and one which perhaps carried with it something that reached beyond a solution. A solution would have been rooted in context; their statement reached past their context. It needed to be more foundational. Because any solution to the context would be flawed. In a world where truth is written by the powerful, then as now, when solutions are so often compromised and corrupted, art returns us to the bedrock, to the heart.

Our concert play The Conductor contains two actors and a pianist, and with words and music and silence we have been sharing this story for the past three years. It has been a journey of wonder for us in our company to live with this story as we developed the piece, travelled with it, played it to people across Europe, in different languages and with different scripts and scenes and energies and technology and moods. We've played in Gothenburg to three people, and under the open Roman sky, speaking out in Italian over ambulances and aeroplanes. Now we're bringing it back to London, where we first did a ten-minute extract in a cafe three years ago.  

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I am deeply grateful to have been able to walk with this story and be allied with it; to share it in our way and to bring our own desire to share a message into contact with the desire of these musicians almost eighty years ago. And to realise, that although the contexts are incomparable, the adversity incomparable, the road incomparable; the fire is the same fire, the light the same light. It is inspiring to consider that the same power of the human spirit, the same impulse to create and perform and share what we feel most sacred and potent about life, is within us, as it was in them, and is in all people.

Although art may feel futile in the face of war, or in the face of multi-billion dollar companies, or maverick presidents, it allies itself with the greatest power there is — the power which has cradled us for millennia and will continue to pulse long after we are gone — the creative power of life itself. For me, to ally ourselves with this is to be allied with a true power which cannot be silenced. Because it dwells in silence itself. In Shostakovich's words, ‘something that cannot die’.

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The Conductor is taking place at The Space Arts Centre,  London.

March 26 - April 13, 2019


Tickets can be found here.

Obscure History: The 1906 loan that paved the way for the Entente Cordiale

Avram Liebenau recounts an unorthodox financial deal that decisively shifted European geopolitics

Sergei Yulyevich Witte in 1905

Sergei Yulyevich Witte in 1905

Entente Cordiale, Russian poster, 1914

Entente Cordiale, Russian poster, 1914

In April 1906, with the Tsarist state buckling under the fiscal strain of maintaining the gold standard, mounting political turmoil after the ‘revolution’ of 1905 and defeat in the Russo-Japanese War, Sergei Witte, Chairman of the Council of Ministers, secured funds in the form of a bond issue from a group of French and British banks which kept alive the ailing regime. Witte passed away just weeks later, but his loan came at the end of a masterclass in international diplomacy and manipulation. British interests, French desires and German grand plans were played off against each other to secure Russia as good a deal as they could get: 2.25 billion Francs, approximately 900 million roubles or £90 million given in bonds with rates of between 4 and 5% (just less than £11 billion in today’s money).

Witte had realised from the start of the war that European credit was the surest route to sustaining the military effort. He travelled to Paris in 1904, securing a bond issue which, despite the French foreign minister insisting on Russia buying French armaments, was favourable to Witte. After successive Russian defeats to the Japanese, Witte decided more funds were needed. He travelled to Berlin in early 1905, leveraging his favourable standing with the French financial elite against the competing German bankers to secure another bond issue of 231 million roubles.

Vladimir Kokovtsov, the assistant Finance Minister at the time, accompanied Witte but went on to Paris since, as the war reached its unpleasant conclusion for the Russian Empire, the Parisian markets had to prop up Russian bonds which had lost 15% of their value in the space of a few months. Suddenly, with the war lost, close to a hundred thousand soldiers dead or injured, the navy obliterated, and unrest in the capital, Witte sent Kokovtsov back to Paris to secure, by any means necessary, the funds that would sustain the regime. Kokovtsov lobbied the French bankers and harried and bribed the press while Witte went to London, trying to find a bank which would issue the bonds on the London Stock Exchange.

Of particular interest in the formation of the 1906 bond issue is the involvement of British banks. French banks’ relations with Russia had a long history, with various loans given to the Tsar’s coffers and close historical ties between the Russian Empire’s francophone aristocracy and Parisian high-society. Britain, however, was a rival. In the Middle East, British supremacy in Baluchistan (modern-day Afghanistan, Iran and Pakistan) was at odds with Russian interests in northern Afghanistan and Central Asia. Britain was an aggressor in the Crimean War and London, the world’s financial centre until the First World War, was a happy hunting ground for Japanese loans during their war with Russia.

“British strategic gain seems to be the most compelling explanation for their participation”

The impact of these political events on the course of financial history cannot be understated. Much literature revolves around the questions of where British capital went and why it went there - few scholars disagree that the influence of politics was always present. This loan presents us with an interesting puzzle. To what extent was politics driving the world of finance, or vice versa? Why did Britain help an unfriendly state, to paraphrase historian Olga Crisp, stave off the financial collapse of their government?

The possible explanations include pressure from the French and indeed Russians. Witte is known to have gone to London multiple times to try to secure loans, and the French wanted their Russian and British allies to reconcile, tempting Britain with the opportunity of suppressing the growing threat of Germany. When it comes to finance, profit is never far from the equation. The French media, taking bribes from Russian officials, consistently exaggerated the performance of Russian bonds, but, even before this, French loans to Russia had performed well in the markets.

British strategic gain, however, seems to be the most compelling explanation. Months later, Britain and Russia signed a treaty protecting the status quo in Persia, and two years later the Entente Cordiale was codified between Russia, France and Britain. In their involvement in the seemingly unprofitable loan, the British banks paved the way for the thaw between the two empires. The Foreign Secretaries of the period, Sir Edward Grey and his predecessor Charles Hardinge were well aware of the opportunity presented by the loan. Grey even personally promised that British banks would participate in the 1906 bond issue, presumably sensing the political and economic possibilities of the loan.

A 1904 cartoon of the Russo-Japanese war, by American cartoonist Bob Satterfield

A 1904 cartoon of the Russo-Japanese war, by American cartoonist Bob Satterfield

At the time, however, the loan was bandage on a severed artery. The funds allowed the Tsarist state to limp on by rebuilding their military and plugging holes in the haemorrhaging state coffers. Nevertheless the loan came too late to aid the war effort with Japan, and the next Minister of Internal Affairs, Pyotr Stolypin, fumbled the state’s assets in his attempts at reform, focussing his attention on the peasantry, strengthening the internal repression framework, and his notable ‘wager on the strong and sober’. Gone was Witte’s appeal to the European financial elite and encouragement of capital inflow to stimulate industrialisation and heavy industry. Instead, Stolypin focussed his efforts on agricultural production, already Russia’s primary export westward. Later, the bonds were annulled or ‘repudiated’ by the Bolsheviks.

Sometimes people and organisations do things that are seemingly irrational to pave the way for a change in attitude or policy. Crucially, the line between enemy and ally is slim. When conditions demand it, even your adversary, who helped your enemy in war, who rebuffed your attempts for funds, who two generations ago invaded your land, can suddenly become your saviour. International finance can be a wedge for political reconciliation. Russia and Britain were, briefly, the best of friends.


I'm Avram Altay Liebenau, I've been studying Russian since I was 15 and am in my final year studying BA Russian and History at University College London. I enjoy writing about varying topics, from financial history to football hooliganism.

Avram can be reached at

F*** you, but in Russian [Explicit]

Katrin Scheib describes an unorthodox language class

Image credit: Wikimedia Commons

Image credit: Wikimedia Commons

(Warning: very strong language throughout)

We've got white wine in grandma's fancy glasses. We've got olives in tiny white bowls. We've got toothpicks to take the olives from their bowl. This is going to be a civilised, educational evening for a group of people gathered around a table in a Moscow living room. To start us off, our teacher writes down four words and holds them up: Dick. Cunt. Fuck. Slut.

What can I say: this is about linguistics and about Russian studies. It's about an everyday phenomenon of the Russian language that isn’t part of your typical class. Today, we're learning about mat, the language Russians use to swear. Oh, the jokes we've been making among us before this session: "So what shall I bring to that bloody evening at yours?” - “Hm, maybe some biscuits and shit.” Nice try. We had no idea.

“I love mat, it's incredibly versatile and variable”, says Dasha, who has kindly agreed to be our lecturer tonight. She is Russian, a journalist and a dedicated user of mat. “As a phenomenon, it's not limited to poorly educated people living in the provinces, the intelligentsia uses it as well”, she explains and mentions the name of a fellow boss of ours, from back when we were both working at the Moscow Times. “Remember, he used the polite „вы“ to address me, but at the same time, he would use mat in our conversations.” So while mat is all about swearing, it's not a good indicator of a person’s level of education or of their manners, she argues.

When we arranged to meet for tonight’s lesson, there’s one thing Dasha had made clear from the start: We're doing this right, or not at all. She has bought a small whiteboard, prepared a lecture - 30 minutes, with room for questions after. Her approach to our first round of vocabulary is just as structured, writing them down first in Russian, then transliterating into English, followed by the translation. From “хуй” to “khuy” to “dick”. Seven attentive pupils nod along and take notes.

Khuy, pizda, yebat' and blyad'. Dick, cunt, fuck and whore. For words which, in theory, no journalist in Russia should use in their writing and no musician in their songs. Which, of course, only makes them more interesting for some musical genres. “There are some big hits that have two versions, one with mat and one without”, says Dasha, and even Pushkin is said to have used mat in some of his poems. According to Russian tradition, Dasha shouldn't really know about all this, “because we women are all fragile little flowers, so it's considered inappropriate.” There have been moments when she's sitting in a café with a friend, deep in animated conversation, using lots of mat – only for a man from another table to come over and say something along the lines of “Come on, girls, the way you're talking – that's just not done.”

Dasha doesn't care, not in a café and not during our little crash course tonight. She wipes the whiteboard clean and continues, because each of the four basic parent terms has countless progeny. Take khuy, for example:

  • poshol na khuy: literally “go to dick”, it means something like “piss off”

  • mnye pokhuy: “I don't give a dick”

  • nakhuy: “to the dick”, meaning “to hell with it”

  • nakhuya: a sweary “why?”, as in “Why the dick is it raining again today?”

  • nikhuya: a sweary “nothing”, as in “I'm waiting for the phone call, and what happens? Not a dick.”

  • khuyovy: shitty

”And now for the best part”, says Dasha as she gives us a grin. “As well as using these four words to express something negative, they will equally work for the opposite.” Okhuyenno, for example, means “excellent”, and okhuytelno means “great”. Still, any Russian will notice the word at the core, so when she's visiting her in-laws, Dasha makes sure to use the standard Russian terms for “great” and “excellent”, rather than those where you can still hear the “dick”.

So we work our way through all of them, the four core terms and their varieties. Guided by Dasha, we learn how to avoid actual swearing – Russian has it's own versions of “darn” or “effing” - and how to replace curses with rhymes. Never mind the literal meaning, if you come up with a rhyme for it, people will still recognize the original dirty phrase. And so, yobanny v rot (fucked in the mouth) first becomes yobanny krot (fucked-up mole) and then zhovanny krot (chewed-up mole).

Time for the grand finale, for what Russians call “three-floor swearing” - as if a great curse was a house built from different mat terms. And since you can conveniently turn them from verbs into adjectives into nouns, they are also easily combined. “Piz-da-blyad-sko-ye mu-da-yo-bi-she”, Dasha dictates slowly as we all write it down. It's a bit of a diversion from the four core curses because here, the somewhat milder mat term “mudak” (asshole) also gets its chance to shine. The result, in all its four-part glory, translates as “whorecunting assholefuckery”. You'd use it, Dasha says, if you really disapprove quite strongly of something, when someone seriously gets on our nerves, or when you just banged your elbow against a piece of furniture. We nod. We have another olive. We take notes.

A German version of this text first appeared on the author's blog,


Katrin Scheib is a German journalist and blogger. Since moving to Moscow in 2014, she has worked for The Moscow Times, Coda Story and recently covered the Football World Cup for She also writes a monthly newsletter on football in Russia.

The 1920 'Mass Spectacle' which blurred the lines of the October Revolution

Dr Peter Lowe investigates a staging of the storming of the Winter Palace, and the way it was used by the Soviet state to alter history.

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The recent exhibition ‘History Was Made Here’ at the Hermitage in Saint Petersburg (the documentary film of which will be screened at Pushkin House on 28th November) showcased the museum’s unique place in the story of the Russian Revolution. As the home of the Provisional Government, the Bolsheviks saw the Winter Palace as a symbol not only of the Tsarist order discarded at the start of 1917, but also of the ineffective administration that held power in its place. When Red Guards forced their way into the Palace on the evening of 25th October (7th November in the revised calendar) and arrested the ministers they found inside, they delivered the final blow to a regime that was no longer in control of the events unfolding around it.

That the Palace was itself less than heavily guarded and occupied mostly by those inclined more towards surrender than resistance were things the Soviet state would choose to overlook in the years that followed.  For the purposes of commemoration the storming of the Winter Palace would be the crucial, defining episode in the glorious narrative of ‘Red October’.

The 1918 celebrations that marked the first anniversary of the Revolution were structured around a series of street parades and rallies. The city of Petrograd (as it was still named) was decorated for the festivities but the Winter Palace itself had no direct use at this symbolic time other than providing a venue and accommodation for delegates attending the Northern Oblast Congress of Committees of the Village Poor, which was taking place alongside the Revolutionary commemorations.

Things changed significantly in 1920, when it was decided that the third anniversary of the Revolution should be marked with a ‘mass spectacle’. This form of large-scale pageant, with hundreds (sometimes thousands) of ‘citizen-actors’ taking part, had been used before, particularly in Petrograd, as a symbolic event to collectively ‘re-live’ and remember the Revolution’s success.

On 1st May 1920 the steps of the city’s Stock Exchange had hosted the ‘Mystery of Liberated Labour’ (directed by Yuri Annenkov) in which workers were seen trying unsuccessfully to ascend and gain entrance to the ‘Kingdom of Freedom’ at the top. Symbolically claimed by the workers after centuries of struggle, the Kingdom of Freedom became the site of a tower decked with red ribbons, around which participants and spectators joined in the singing of the ‘Internationale’ at the end of the evening.

For the actual anniversary of the Revolution, however, Nikolai Evreinov, the theatre director who had been employed to manage the spectacle, chose to use the Winter Palace itself as the stage set. With the documents and photographs collated in Inke Arns, Igor Chubarov, and Sylvia Sasse’s book The Storming of the Winter Palace (2016) we can appreciate how Evreinov worked with a creative team to realise his vision for the crowds who gathered to watch.

Attendance figures are disputed, and the cold and damp weather may have played a part in this, with figures between 60,000 and 150,000 cited in different sources, but there were certainly more people in Palace Square that evening than had been there in 1917. In an interview by the newspaper Zhizn’ iskusstva ten days before the performance, Evreinov spoke of how “the Winter Palace itself has been included as a performing actor, as an immense character with a body language and inner emotions of its own.” Using lighting effects and “cinematographic language” to turn its upper-storey windows into ‘screens’ he hoped that the audience in the Square would be able to see events occurring inside the Palace in the crucial moments prior to its capture, allowing its “stones to speak” as he put it.

An edited photograph of the ‘dress rehearsal’ for Evreinov’s 1920 spectacle. Source: State Central Museum of Contemporary Russian History / Inke Arns, Igor Chubarov, and Sylvia Sasse (eds.),  The Storming of the Winter Palace,  (Zurich: Diaphanes Press, 2016)

An edited photograph of the ‘dress rehearsal’ for Evreinov’s 1920 spectacle. Source: State Central Museum of Contemporary Russian History / Inke Arns, Igor Chubarov, and Sylvia Sasse (eds.), The Storming of the Winter Palace, (Zurich: Diaphanes Press, 2016)

And so it was that in 1920, as in 1917, armed revolutionaries raced across Palace Square when a salvo fired from the cruiser Aurora provided the signal for action. Prior to its denouement the spectacle featured tableaux of scenes building up to the Palace’s capture, reminders of the Provisional Government’s failures and the crisis that precipitated Bolshevik action. Two stages – named ‘Red’ and ‘White’ in front of the General Staff Building on the southern side of Palace Square – represented the opposing sides in the revolutionary struggle. On the one stage, spectators saw scenes of bureaucratic confusion and incipient autocracy from Prime Minister Alexander Kerensky and his followers: on the other the masses resisted attempts to repress them and organised themselves into the crowd that would ultimately make its way across the Square and into the Winter Palace itself. 

Eye witness accounts, like that of Nikolai Shubski, a Muscovite who was in Petrograd and witnessed the spectacle, recalled the singing of the ‘Marseillaise’ and the ‘Internationale’ as the crowds gathered, the rumbling of motor engines, and the rattling of machine guns fired by those attacking the Winter Palace and those engaged in its defence. Shubski remembered watching the signs of struggle inside the Palace, seeing figures fighting behind its windows and, finally, seeing the news of the assault’s success conveyed to the crowds outside. At that crucial moment, he wrote, “the banner of the victors floats out of the dark heavy and purple… A rain of sparks sprays off the waterfall of fireworks. The ‘Internationale’ resounds, and a victory parade starts up to its tune, illuminated by spotlights and rockets.”

The 1917 seizure of the Palace had not culminated in a firework display, but in 1920 the outcome was never in doubt, and as such the struggle could be made more intense, the resistance more stubborn, and the heroism (of its conquerors) more visible. Recalling his impressions of the re-enactment in the 15th November 1920 issue of Krasnyi Militsioner, Evreinov invoked the mood as the struggle for the Palace reached its climax in “a deafening symphony of decisive battle” of some two or three minutes “of continuous noise” that seem[ed] like an eternity” to the “overstrained nerves” of those looking on. The fact that he could measure the tension of this event in minutes indicates how carefully controlled this re-enacted ‘storming’ actually was. Not everyone was convinced by the result, however. Shubski’s account ends with his overhearing another spectator, a man who was genuinely a veteran of the Palace’s capture, noting that “they fired less in 1917 than today!”

The same photograph before editing, showing the ‘control tower’ in the centre, and spectators in the Square. Source: State Central Museum of Contemporary Russian History / Inke Arns, Igor Chubarov, and Sylvia Sasse (eds.),  The Storming of the Winter Palace,  (Zurich: Diaphanes Press, 2016)

The same photograph before editing, showing the ‘control tower’ in the centre, and spectators in the Square. Source: State Central Museum of Contemporary Russian History / Inke Arns, Igor Chubarov, and Sylvia Sasse (eds.), The Storming of the Winter Palace, (Zurich: Diaphanes Press, 2016)

In the years that followed, photographs of Evreinov’s spectacle would find themselves reproduced on posters and in Soviet history books as if they were indeed records of the original event. One particular image, showing the ‘Revolutionaries’ racing across Palace Square was passed off, sometimes unconsciously and sometimes knowingly, as documentary proof of the crucial moment in Soviet history.  This overlooked the fact that the photograph was clearly taken in daylight. It was not, of course, an image of the 1917 seizure of the Palace, or even of the 1920 re-enactment – both events taking place at night when such photography would have been impossible – but was in fact a photograph of the dress rehearsal for the 1920 re-enactment, which had been held a few days earlier.

Comparing two versions of the same image allows us to see the ‘control tower’ set up near the Alexander Column to allow Evreinov to co-ordinate events in the Square, along with a host of onlookers who would surely not have been standing around on the night of 25th October 1917. Given the ease with which the Soviet state was able to manipulate and restructure its own history in the 1920s and 1930s, however, this fabrication of the historical record was entirely in keeping with the need to give formative events a sense of historical inevitability.

The effect of Evreinov’s ‘Storming’ of the Palace was to replace, in the Soviet imagination, the actual event with something spectacular enough to make the Revolution’s origins seem much grander than they may once have been. A few years later the film director Sergei Eisenstein would capture the drama of those 1917 days in his film October, commissioned to mark the tenth anniversary of the Revolution. Eisenstein was given full use of the Winter Palace for his film, which provides one of its most famous sequences as the massed ranks of Red Guards seize the Palace after a pitched battle with its numerous defenders. So intent was Eisenstein to extract the greatest possible sense of drama and spectacle from this scene that he famously did more damage to the Palace in the filming of his re-enactment than had been caused in the original seizure. By then, however, as Evreinov’s 1920 spectacle had already demonstrated, historical ‘reality’ was not really the issue. The Soviet state was happy if its re-enactments were accepted as authentic records of a Revolution that could never be too dramatic for the regime’s taste.

The Winter Palace and the Hermitage in 1917: History was made here is screening at Pushkin House on 28th November at 7pm. Tickets are available here.


Dr Peter Lowe teaches classes in English Literature at the Bader International Study Centre, East Sussex. His interests are in the culture and history of the early 20th century in Russia and in western Europe, and he is currently researching the nature and uses of 'nostalgia' in the early Soviet period

World Homeless Day: 'This is Not a Hat', applied theatre, and homelessness in Russia

Natalia Jafar-Biglou describes her work creating an interactive drama performance with marginalised women in Russia

Artwork by Charlotte Ager

Artwork by Charlotte Ager

For the past six months I have been running an applied theatre project, working with women experiencing homelessness in Russia.

Broadly speaking, applied theatre is the use of theatre and performance for social change, often as a response to social or political challenges. It involves using theatre techniques with people who don’t consider themselves to be artists, creating work outside of traditional theatre spaces in order to discuss, educate or heal. All participants are involved as active theatre makers in the process and the aims of the project are dictated by what the community thinks they need.

I’ve worked with more than 30 women over the duration of the project. Some are affected by war, including the ongoing conflict in the Donbass region of Ukraine and South Ossetia in the Caucasus. Many have left violent and abusive partners and some have been defrauded out of their homes. Others have disabilities and ill health which prevent them from working, and they do not receive any support from the state. I’ve even worked with a participant from Cameroon, who came to Russia during the World Cup as a refugee using a Fan ID.

Their routes to homelessness are multiple. What they share is one thing: the way homelessness disempowers, makes invisible – the way they are by and large, silenced.

one of the biggest barriers to dealing with homelessness is the belief that people are homeless because of their choices

Homelessness is a big problem in Russia. Official government statistics say 3.4% of population is homeless – but it isn’t clear whether this includes ‘invisible’ people who aren’t registered. By way of comparison, 0.46% of the UK population is homeless. The problem has a particularly sinister way of affecting women, who face having a period without access to supplies, the risk of sexual assault, and being pregnant without access to services.

One of the biggest barriers to dealing with homelessness in Russia is the stigma that surrounds it: the belief that people are homeless because of choices they have made. This is a common belief across cultures, though the reality is homelessness is not a choice and safe, secure housing is a right for everyone.

applied theatre can use exercises or games to uncover essential truths about societies

My project culminates in a one-off performance of our play ‘This is Not a Hat’ on 10 October, World Homeless Day, in partnership with Russian theatre company Teatr.doc. The formidable creative team includes dramaturge Anastasia Patlay and designer Shifra Kazhdan. Our aim is to use theatre as a discourse and facilitate a dialogue about the stigma surrounding homelessness. The performance will feature both audience members and project participants.

Throughout the process of creating the play, I have used ‘exercises or games designed to uncover essential truths about societies without resorting to spoken language’, to quote Adrian Jackson, founder of the UK’s first theatre company focused on homeless people. The performance will feature a number of these exercises too.

For example, in one exercise, participants are asked to identify two other people in the room and label them ‘bomb’ and ‘shield’. Participants have to walk around the room keeping their ‘shield’ between themselves and their ‘bomb’. Discussing the response to this exercise as a group can help shed light on what it feels like to be someone’s ‘bomb’, what it feels like when someone avoids eye contact and rushes past you.

In another exercise, I ask participants to stand in a circle facing outward. I give them a word as a prompt (for example a dragon, a boat, the colour red) and they have ten seconds to turn in to the circle and use their bodies and faces to create a still image in response to the word. During one workshop I ran this exercise and prompted with the word ‘home’. In response, Kristina, a 34-year-old mother of one who has been defrauded out of her home in the far east of Russia, mimed being asleep. When I asked what she was dreaming about she said, “A world of love and safety. My family around me, around the table, with freshly baked bread and a glass of homemade wine in my hand”.


Natalia Jafar-Biglou is a British Theatre Practitioner of Polish and Iranian descent. She uses theatre techniques to create spaces for conversation, empowerment and transformation in communities. For more information about Natalia’s work in Russia visit her theatre company:

For more information about ‘This is Not a Hat’, being performed at the Fergana House in Moscow, see the event’s Facebook page.

For more of Teatr.doc’s work, Pushkin House is hosting a reading of a new play about the deaths of the group’s founders, next Friday 19th October. Tickets are available here. Also, on 20th October we are showing video excerpts of the company’s most significant performances. More information here.