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The Stanislavsky Electrotheatre continues it's program of streaming theatre performances, and lectures of the School of Contemporary Spectators and Listeners. The new contingent opens with Heiner Goebbels Week, which will offer archival footage of meetings and conversations with the director, as well as the presentation of his book The Aesthetics of Absence, the installation Fading Apocalypse, and his production, Max Black, or, 62 Ways of Supporting the Head with a Hand. In the last two weeks of April, we will offer streams of Boris Yukhananov’s multi-part performances — The Blue Bird and The Golden Ass. Streaming will take place on the Afisha website, the Culture.ru portal and VKontakte on the theatre’s page.

Boris Yukhananov: This frightening new Spectacle has certain properties – for one, it is an anti-world from within the carnival. But where the carnival simply flips the hierarchy, elevating the low to the high, and bringing down those on top, what we are experiencing now defines a completely different type of horizontal development.

Boris Yukhananov's production of Pinocchio has premiered on the stage of the Stanislavsky Electrotheatre. The theatre considers that the work gestated for 48 years, while the set design was developed in sixty versions, the number of costumes exceeded 150, and rehearsals lasted almost three years.

The new issue of MIT (International Theatre Institute) journal offers several materials about the rehearsals of Pinocchio, and about discussions dedicated to the premiere. The first shows take place quite soon: November 21 to 24 during the NET (New European Theatre) festival. In the meantime, you can read an article by Olga Fuchs about Pinocchio.

Octavia. Trepanation has been written up in numerous features, reviews, interviews, &c, and recently a talk about this opera was delivered at the International Co-production conference. The organizers were the Stanislavsky Electrotheatre and the Territory International Festival of Contemporary Art with the participation of the Aksyonov Family Foundation, with the support of the Goethe Institute, and the Embassy of the Kingdom of the Netherlands in Moscow. Theatre critic Olga Fedyanina moderated the talks and papers that were delivered, and the entire event was coordinated by Irina Tokareva.

The Stanislavsky Electrotheatre will host showings in the Assays in Non-adaptive Theatre project that will run from September 10 to October 6, 2019. Over the course of nearly a month, graduates of the Studio of Individual Directing-5 will present their directorial works. Boris Yukhananov describes his understanding of non-adaptive theatre.

Dmitri Kourliandski's opera Octavia. Trepanation, staged by Boris Yukhananov, premiered in 2017 in Amsterdam at the Holland Festival. The libretto is based on Lev Trotsky's essay about Vladimir Lenin (1924), and on fragments of a play attributed to Seneca about the Roman emperor Nero. The stage is dominated by an enormous head of Lenin, and centaur skeletons. It is a complex, multivalent work, in which the theme of tyranny is projected onto the contemporary world. The Russian premiere, for which the Electrotheatre has announced an audition for volunteers to participate as soldiers in a Terracotta army, will take place on the stage of the Stanislavsky Electrotheatre on October 17 to 19 as part of the Territory festival. Dmitri Kourliandski speaks about his dissection of the revolutionary song “Varshavyanka,” and about the trepanation of tyranny.

The new issue of the international magazine The Scenographer, an in-depth examination of Boris Yukhananov's work over the years, has gone on sale. It may be purchased both in print and in digital versions.

The archive publishes exclusive photographs by British photographer Ken Reynolds, who attended performances of The Garden in Edinburgh in September 1995.

Boris Yukhananov and composer Dmitri Kourliandski met with students of the Institute of Liberal Arts and Sciences of the Moscow International University, where they talked about the principles on which work at the Stanislavsky Electrotheatre is based — new processualism and the open-circuited work space. They also presented Fading Apocalypse, an installation devoted to reflections on the role of the director, and how art is possible in the modern world.