The Garden was both an artistic and research project in which I developed my understanding of "new directing," and "new-processual art" as a whole. The Garden was created on the basis of Chekhov's play, The Cherry Orchard, which I chose to approach from a completely new angle, as if it were a Russian mystery play. I treated it as a sacred text written by "Mahatma Chekhov." I submitted Chekhov to deep analysis, extracting new meanings from each line, sometimes from each letter. At the same time, the work of understanding itself was connected with an ancient approach: I read into this text the myth of the Indestructible Garden, and I chose to create a performance not about people, but rather about "garden creatures." In fact, we simultaneously were the creators of this myth, and the participants in it. This affected us in our personal, creative and professional lives. We removed Chekhov's tale entirely from the salon, from psychology, from the theme of the destruction of beauty, and we transferred it to a place of indestructible happiness. In essence, it was a project about happiness. This is precisely what was needed in the 1990s, for the country then was in dire straits. In this project it was as if we "flew up" over reality, and we spent ten years in this "flight." Upon completing the first stage of analysis, we moved into a second stage, and into new artistic practices, offering actors new manners of existence, new energies and forms. As such, in the course of a decade we experienced eight such “regenerations.” We created many objects d'art, such as the greenhouse gallery where the artists were characters not people. It housed objects "from Petya Trofimov," or "from Ranevskaya," and so on. For example, there was the "indestructible Grishechka," who constantly drowned in the river and rose from the dead again. We launched a whole exhibit of these objects, all the while changing and developing them over the course of six months. In general, "new-processual art" is associated with the understanding of art as something that comes into being. This is a special kind of evolutionary design, wherein we are involved in a project that comes into being over an infinite period of time. Along the way traces are left behind; they remain as fixed performances or objects that are fully completed and analyzed. This is a new universal territory, where participants are not honed down to a narrow professionalization, but rather open up to their universal potential and realize their full potential in very different ways. This is quite natural for our times. Nowadays we can establish ourselves as artists in objects, in film, or in television, in short, in completely different professions. At the same time we must not part with our own natures, we must master a number of different technologies, even as we engage in theatre. In this sense, theatre is truly an integral, universal phenomenon, located at the center of "new-processual art.