Three things are required for a project to have universal potential, for example, in the theatre. First, you must reach to the farthest limits of the dramatic, as such. Second, you must reach to the farthest limits of performance, as such, and, further, you must try to remove the opposition between the two. Presence and execution are very timely these days. Presence may be briefly defined as the performative - execution as the dramatic. It is impossible to remove opposition between the two entirely, and in the work of even the most outstanding artists you will always see where we have the performative, and where we have the dramatic. Except for the act of performance itself, which is paradoxically a performative act, the performance exists right before the viewer’s eyes; aside from this moment, everything else is the dramatic, where there is no performance and there cannot be. How do you come up with a territory where the performative and the dramatic can be implemented, can exist side by side, or interact? This is where the meaning of a project’s universal potential is revealed to us. You can easily remove this opposition only if you define the mythological territory in which the performative and dramatic come together. Keeping in mind that a myth, even a canonical myth, is familiar to all...

Orphic Games. Punk-macrame is the latest stage in a new-processual venture that I have unveiled at the Stanislavsky Electrotheatre with a company of extremely gifted friends and students. The work here by composers is extremely interesting. Everyone participating is akin to a human-amphibian; they worked as directors, actors, and designers. This is a very complex, finely-tuned artistic, scenographic, and technological project consisting of 33 performances that run over a six day period.