"...Now there are different rules, different needs. At this moment the theater is quiet and watching, I have this feeling. He is just watching and waiting for some impulses that will tell him how to develop..."

The absurd is always a response to events happening outside the window. Absurdity developed rapidly after World War II, after the Holocaust, when people simply could not answer some questions, and then absurdity appeared as an attempt to throw out emotions and find non-existent meanings.

I used to think that looking for new languages, combinations and genres was an indispensable condition for the existence of theater. But it turned out that everything had already been invented, and for a person who is well versed in contemporary art, every “innovative” project consists of references.

When I entered the Moscow Art Theater School. I've been living here since then. And every time I return to the capital from another city or come from a dacha, I experience a strange feeling, as if in the heat I am plunging into a cool river. This is the feeling when you come home.

— For each performance I try to find a current artist, musician, author. This is how my theater connects with reality, through people.

The Russian State Circus is a whole universe, a model of the state. There is everything here: heroes, geniuses, villains. The Russian State Circus is, first of all, people. And a lot of real estate.

As always, it is the unknown and hope. And the performance itself is born in public. Many things will appear depending on how the viewer perceives them.

“We need to let people into this conservative environment who can see the situation with fresh eyes and offer their own solutions.” A theatrical plot is one of the possible components for a circus performance.

— One of the key points in directorial decisions is the amplitude of contexts. When in one performance a symbiosis of certain phenomena that are as far as possible from each other is created, a feeling of aesthetic pleasure and comfort arises.

We follow trends, and today it is modern composers who shape the theatrical agenda and become trendsetters. And our global goal is to make the Praktika theater interesting to them.

The sound design of the performance confronts each viewer with a choice: the opportunity to listen to the action itself is not the only one;