The Stanislavsky Electrotheatre’s project, Orphic Games. Punk-macrame is an example of how 100 directors (that’s how many participants from the Studio of Individual Directing [MIR-5] worked on the myth of Orpheus for two years) demonstrate an unusual manner of education. In fact, we are talking about a model, in which a future director is not trained on the example of a master. A young person is not asked to emulate his Master’s image, style or method. But education awakens the student’s own consciousness, providing knowledge about the art of composing, the state of contemporary academic music, the particulars of perception, and so on. Coming out on stage, the 100 participants of Orphic Games were surprised to find you can remain yourself, and at the same time - or precisely because of this - you can win the affection and electro-charged interest of the public. The diverse elements of the six-day performance, threaded into an intricate macrame, and coming into contact with one other, have the effect of a fractal. Numerous sketches and performances, directly and indirectly based on the myth of Orpheus, formed a kaleidoscopic corridor in which one pattern instantly replaces another.