The Brothers Karamazov novel is the epitome of Fyodor Dostoevsky’s creative work, the acme of the philosophic investigation carried out by this colossal and restless mind throughout his life. World renowned choreographer Boris Eifman offers a remarkable vision of the core ideas within the novel, expanding upon them though body language as a way of exploring the origins of the moral devastation of the Karamazovs; creating through choreographic art an equivalent of what Dostoyevsky investigated so masterfully in his book, the excruciating burden of destructive passions and evil heredity.
The play unfolds in the memory and imagination of Pushkin’s characters. The images are split between past and present, between reality and imagination.The scale of the production constantly shifts from noisy celebrations to secluded contemplation, from crowd scenes to lonely recollections, all of which are drawn together from the past just like the fragments of Tatyana’s love letter, framed and hung on the wall, looming next to and above Onegin’s arm-chair.
Written during the abortive Russian Revolution of 1905, Maxim Gorky's brilliant darkly comic "Children of the Sun" depicts the new middle-class, foolish perhaps but likeable, as they flounder, philosophize, and yearn for meaning, all while being totally blind to their impending annihilation. Multi-award-winning director Timofey Kulyabin's (Three Sisters, Onegin) modernized production, set in 1999 at Stanford University, focuses on the interplay between the characters, the relationships formed and broken, sparring over culture and the cosmos, barely sensing that their own privileged world is in jeopardy. Directed for the screen by Kulyabin and filmed from his Red Torch Theatre in Novosibirsk, Russia.
Directed by Lithuanian choreographer, Anzelica Cholina, this multiple award-winning Vakhtangov Theatre production of Anna Karenina tells the story of Tolstoy’s classic novel entirely in contemporary dance. In this way, Cholina succeeds in finding the equivalent of Tolstoy's words in harmony and movement, with every gesture holding meaning. The distinctive music of Alfred Schnittke helps to reveal the inner turmoil of the characters and their depth.
The Moscow Operetta Theatre's "Count Orlov Musical" is a remarkable tale of love and betrayal based on one of the most dramatic episodes in the history of the Russian Empire. Brilliantly told by renowned playwright and poet July Kim with music composed by Roman Ignatyev (the same team behind Anna Karenina Musical and The Count of Monte Cristo), the lavish production is set in the second half of the 18th century during the reign of Catherine the Great. Count Alexey Orlov, who had once contributed to Catherine’s rise to power, falls out of favor and is sent away in disgrace to Italy. While there, he meets a beautiful young woman, Elizabeth, supposedly the granddaughter of Peter the Great, who has aspirations for the Russian crown. In an attempt to win back Catherine's affection, Orlov reveals Elizabeth's plans, setting in motion a series of events that lead to an unimaginable end.
The rich inner world of the renowned Georgian screenwriter, artist and puppeteer Rezo Gabriadze is as fantastic as the animation into which he has poured this story of his life. Rezo’s director son, Leo Gabriadze, who previously made the hit horror film Unfriended (2014), leaves it to his father to talk about a life suffused with magical thinking. The movie is an autobiographical animated documentary questioning ideas of deep humanity, kindness and survival during the uneasy times after the 2nd World War.