Rimas Tuminas in his production of “Eugene Onegin” does not aim at a full scenic adaptation of A.S. Pushkin’s novel in verse. For his main theme, he chooses a story of Tatyana’s love for Onegin, a story with prologue and epilogue. The performance unfolds in the memory and imagination of A.S.Pushkin’s characters. We are transferred from Onegin’s room into his country estate, then into the Larin’s house nearby, then to Moscow – and finally back to his room. The scale of events constantly changes: 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 next to Onegin’s arm-chair.

The great actress Sarah Bernhardt is trying to reconstruct events of the past. In her memories, she is on the stage again, in her childhood, immersed in the conflict with her mother, or in conversations with her lover. Why she needs it all? Yes, she needs it to fill her fading life with emotions and passions, but this time only in memories. She still needs the stage and partners.  Sarah Bernhardt delivers monologues and has imaginary dialogues with her secretary Pitou.

Some important words remain unsaid, so Sara Bernhardt stubbornly continues her one-sided dispute with her late opponents. At the verge of nonexistence, her feelings, suffering, passions, irrationality all come back naturally. This is what life is all about, and what theater is about.

What motivated Jean Anouilh to turn to the tragedy by Euripides? On one hand – our time, when the impending threat of social fall is destroying the personality, the culture, the politics, on the other hand – an attempt to stay in denial craving for entertainment, show and feckless gaiety. The fact that society has no intention to examine its medical history scares, as xenophobia, racism and violence raise their heads. Against the backdrop of the disastrous fall of morality, cynicism, striving for wealth and the increasing power of money the man is gradually destructing. Only the strongest ones will manage to be unlike the others, to defend one’s independence and not to adjoin the stream of the philosophy of wealth, to reject the tempting postulate of “I am like all the others” and to realize that the faceless ruck is ruinous. Anouilh’s “Medea” descended from the Euripides’s buskin and became closer to us, the vocabulary of the play is modern. Dialogues of the heroes corkscrew from past to present and back to the past. The creators of the show tried to distinguish the meaning of the flows of words and actions.

Rimas Tuminas in his production of “Eugene Onegin” does not aim at a full scenic adaptation of A.S. Pushkin’s novel in verse. For his main theme, he chooses a story of Tatyana’s love for Onegin, a story with prologue and epilogue. The performance unfolds in the memory and imagination of A.S.Pushkin’s characters. We are transferred from Onegin’s room into his country estate, then into the Larin’s house nearby, then to Moscow – and finally back to his room. The scale of events constantly changes: 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 next to Onegin’s arm-chair.

Rimas Tuminas in his production of “Eugene Onegin” does not aim at a full scenic adaptation of A.S. Pushkin’s novel in verse. For his main theme, he chooses a story of Tatyana’s love for Onegin, a story with prologue and epilogue. The performance unfolds in the memory and imagination of A.S.Pushkin’s characters. We are transferred from Onegin’s room into his country estate, then into the Larin’s house nearby, then to Moscow – and finally back to his room. The scale of events constantly changes: 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 next to Onegin’s arm-chair.

“This performance is a free interpretation of the well-known fairy tale by the Charles Perrault created by composer I. Rogalev, script-writer and producer A. Maximychev and actors T. Melnikova and E. Ageeva (laureate of the premium “Golden Mask”). The story is a resurrection of the old spirit of home theatre. Performed as a humorous pantomime, children and adults are delighted by the lovely scenery, cheerful music, expressive marionettes made of the wood by means of traditional techniques and the masterly peppering skill of the actress who adroitly handles 21 marionettes. “Cinderella” won two national “Golden Mask” awards in Moscow.

Sonja is an impressionistic miniature about a lonely woman, whose fate has played a mean trick on her, which at the same time has become the biggest happiness of her life.
Sonja is a little dense, a little ugly, a little lonely. But she does have some talents: she is an excellent cook and seamstress, and is great at getting on people’s nerves. Then one day she receives a love letter, passionate and serious, and Sonja’s heart is aflame. Little does she realize that the letter was written by the evil friend Ada. The letter changes Sonja’s life forever.

Until now, the world-famous story simply sparked associations with the ballet by P. I. Tchaikovsky. Now, due to the efforts of the composer I. Rogalev, director A. Maksimychev and Artist T.Melnikova, a new genre solution has been found for the well-known fairy-tale. Thanks to the vocal and recitative, a ballade as the most characteristic genre of the Middle Ages has become the main means of expression. “Sleeping Beauty” in the staging of the Puppet Theatre is a play for children who think that they are already grownups and for adults who understand that essentially they are still children.

One of Chekhov’s most famous works, this classic play distils the eternal themes of joy and sorrow through bitter-sweet moments in ordinary life. Exploring the glowering landscape of frustrated hopes, a meaningless job and a wasted life, the play echoes the sentiments of many people today. Vanya’s outburst, “I have never lived!”, has proved revelatory across a century.

Suspend, surprise and mesmerize you with musical mastery and hilarious visual comedy.
An energetic explosion of flamboyant Flamenco and zany slapstick comedy, created and directed by Paul Morocco, OLÉ is a perfect mix of flamenco, salsa, swing, blues, jazz, and pop.

Three Latin Machos take the comedy to the new level of absurd and funny, playing and throwing their guitars, spitting ping pong balls and inviting the spectators to probably the craziest, loudest and the most engaging celebration they ever had.

In his work ‘Asylum’, Be’er examines concepts such as identity, foreignness, oppression, freedom, belonging, homeland, longing, and home. According to him, these concepts are ones that are relevant to every human being from an existential view, wherever he or she may happen to be situated in place and time. The quest for a place that is identified as a home is part of the human existential experience.

Kibbutz Contemporary Dance Company (KCDC), one of the leading dance companies in the world, is identified with the work of Artistic Director Rami Be’er whose exclusive and unique choreographic character has become the company’s trademark both in Israel and abroad. With its technically strong and physically eclectic cast of dancers and its dynamic sensibility, KCDC characterizes Israeli dance at its best and performs regularly in the most respected theatres and at leading festivals worldwide.

The gloomy sounds of cowbells and ancient instruments, the animal skins, the horns, the cork. The power of the gestures and of the voice, the kinship to Dionysius and, at the same time, the incredible formal precision of the dances and chants. The sullen masks, and the blood, the red wine, the forces of nature tamed by man. But most of all the dark winter. Surprising are the number of analogies between the Shakespearean masterpiece and the variety of masks found in Sardinia. The Sardinian tongue does not limit fruition, but transforms into chant what in Italian might remain mere literature. An empty playing space, animated by the bodies of actors that create settings and conjure up presences. Stones, earth, iron, blood, warrior stances, vestiges of ancient Nuragic civilizations. Matter that does not convey meanings, but primordial forces that act upon the receiver.

Born as a result of a creative cooperation between the producer Elshan Mammadov and director\choreographer Igor Orshulyak the project is unique for the Russian stage.

It was a milestone decision to drive away from a popular “musicians joke” genre and to make a real dramatic show where the story is told by the music, where all genres of artisitc performance are combined: dance, mime, circus. The actors tap dance, roller skate, dance in different styles, make acrobatic tricks while playing live.

Paris De Nuit is taking its audience into the roaring variety life of the 30's filled with its voluptuous desires and beauty. Revealing illusionary moments from the lives of prostitutes and peddlers, down and outs and illicit lovers who lived on the edges of society. An evening of lust, love and loneliness inspired by the characteristic world of the famous Hungarian photographer, Brassaï. Stunning circus artists, dancers and musicians are bringing the decadent but loveable secret Paris nights in the 1930's to life.

There is a woman and a man, who have a complicated relationship. Confused, they stand on a stage, surrounded by clothes. Feelings and thoughts are expressed through the movement of their bodies – and the movement of the clothes, which have a life of their own.

Lähtö / Départ is directed by magician and visual artist Kalle Nio. The performance brings to the stage a couple that has drifted apart from each other and is now floating in the middle of dreamlike imagery and illusions. Inspired by the work of 19th century magicians’ stage illusions, the performance creates a mysterious atmosphere where absurd humor and tragedy alternate. The piece will provide a unique theatre experience in which circus, magic, dance, clothing design and visual arts merge.

The play of the Azerbaijani's satirist-writer, journalist, educator, and a public figure – Jalil Mammadguluzade, widely known under the pseudonym of Molla Nasraddin. In the work of the writer deals with the topic of social inequality.
Kamran Shahmardan's play is an ethno – rock musical. The action takes place in Iran, in the city of Tebriz, narrates against ignorance, fanaticism and the dark forces of the old society.
The performance was commissioned by YARAT Centre for the opening of the 3rd International M.A.P. Theatre Festival.
Kamran Shahmardan is an Azerbaijani theatre and film director, who has been living in Finland for a long time. He also has the Black & White Theatre and Festival there. In 2018, he has been appointed as the artistic director of the M.A.P. Festival.

From what initially seem to be miniature, fragmented episodes, a story is miraculously created like an intricate puzzle. Entirely silent, wordless performances conjure up the explosive conflict between a lonely man and a solitary woman. While they search the earth for love, they switch roles and flit through genres, adopt masks and manipulated puppets. In the end, the happy end never arrives, but the fascinating journey does bring some comfort.

A young man in his thirties, a resident of Podolsk near Moscow is detained and interrogated. The reason for detention is unclear – sober, accurate, he was able to present his documents and his identity was verified. But officers at the police station are determined to carry on with a very emotional interrogation, threaten to plant drugs in the man’s pocket or make him a suspect in decades-old cold cases. A typical situation from crime reports and detective stories... Yet, one should never underestimate an all mighty police force.

Questions raised by the officers are completely inconsistent with the protocol and the laws of human logic. This performance is specifically targeting those of us who are constantly unhappy and complaining about something – a damp climate, boring work, an indifferent husband or wife, or a dull life in general. Perhaps, they should once visit a police station where the “Man from Podolsk” happened to be.

Following the research about objects as a narrative element, the authors of this show tried to dramatize universal history from their own perspective, creating an audiovisual journey through some of the events that constitute the development of humanity. A unique class of history, a brief and unfinished story, through object manipulation, choreographic actions and shadows projection.

Following the research about objects as a narrative element, the authors of this show tried to dramatize universal history from their own perspective, creating an audiovisual journey through some of the events that constitute the development of humanity. A unique class of history, a brief and unfinished story, through object manipulation, choreographic actions and shadows projection.

Following the research about objects as a narrative element, the authors of this show tried to dramatize universal history from their own perspective, creating an audiovisual journey through some of the events that constitute the development of humanity. A unique class of history, a brief and unfinished story, through object manipulation, choreographic actions and shadows projection.

“Salt of the Earth” based on the influential Israeli novel The Road to Ein Harod by Amos Kenan tells the story of a rebel novelist fleeing from a military coup in his country to the last free refuge, Ein Harod, rumored to be the last bastion of resistance. Through the eyes of the hero – a faceless, nameless, Bunraku puppet – the audience sees the tragic cycle of war via a miniature city where plastic tanks barrel down paper streets amid a Middle Eastern landscape created out of one thousand pounds of salt. A specially rigged camera zooms through the tiny sets, simultaneously feeding the footage onto a large movie screen hanging above the city.

A gracefully mechanical dance, Puppet Cinema's “Salt of the Earth” combines live film making and theater, and tells the story of a land that never rests from fighting, and of people in an endless battle to survive. As the show is created, destroyed, and rebuilt live on stage, the audience bears witness to the need for self-preservation and the lengths we go to fight for freedom.