The baroque eclecticism of The Constant Principle is woven together out of two classic works – Calderon's drama The Constant Prince and Pushkin’s little tragedy A Feast in a Time of Plague. The director slyly denotes the genre as "a play in three acts, two cemeteries and one concert." Yukhananov weaves the cosmogonic network of his new production as Indra might. The key fragments of the three acts of Calderon's text – the so-called "three acts" (chronologically: the first, third and fifth acts of the performance) – form the structural "line" associated with the figure of the sacrificial Fernando, who chooses captivity and death over life and freedom in exchange for a holy Christian city.