PRESENT

Flashes can be natural (for example, a flash of lightning) and human (violence, passion, tenderness). They are accompanied by the release of a large amount of energy. This is one of the motives of the performance. But not the main one. Much more important for us is what is called a "flash of consciousness". This is when the faces and events of the past sweep past with the brightness and speed of lightning. Maybe that's why we decided to combine choreography with fragments of films of the 20-30s and the music of the "Tangerine Dream", which sometimes seems nostalgic to us.

Concept and choreography: Sasha Kukin
Music: Tangerine Dream
Costumes: Ekaterina Radkova

Put down all your weapons.
Let me in through your open wounds.

Choreography: Sasha Kukin
Music: Son Lux
Costumes: Ekaterina Radkova

Музыка Боба Дилана и фильм Тодда Хейнса "Меня там нет" легли в основу идеи спектакля. Мы выбрали восемь песен и одну инструментальную композицию, стараясь танцем соответствовать музыкальному нон-конформизму мастера. Поэтому наш спектакль - о спонтанно возникающих изменениях, о нежелании плыть по течению, о стремлении одного изменить многих или многих одного. И, конечно, о жизни, смерти и звездах - всего, что вмещают в себя песни Боба Дилана.

Concept & choreography: Sasha Kukin
Music: Bob Dylan
Costumes: Alina Latipova

Идея спектакля возникла из суммы впечатлений от фильмов Вима Вендерса "Небо над Берлином" и "Небо над Берлином 2" и музыки Лори Андерсон. Протяни руку и ее пожмет ангел. Но если этого желания нет, то и крылья ангела перестанут быть крыльями желаний. Он останется просто наблюдателем, если вообще не покинет тебя навсегда.

Choreography: Sasha Kukin
Music: Laurie Anderson
Costumes: Alina Latipova

A bench is primarily designed for resting. But it may also be found in stadiums, courts, churches, schools, and universities. There it is used for sports, education, legal practice, and religious purposes. In English, the "defendant’s bench" is called a "dock". A "dock" is also a landing area and a dead end. In shaping the performance, we kept these and other aspects of the bench in mind. We placed it at the center of our space, and it began to guide us. We present the final result of this process to the audience.

Concept and choreography: Sasha Kukin
Music: Fred Frith, "Can", John Zorn, "The Cloud Carpets" and Robert Wyatt
Costumes: Anna Yurchuk

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This work is about freedom in dance. In one sense, one wants to see dance as free, that is to say, natural, easy, and effortless. This is when addressing technique and execution. But there is another aspect to freedom in dance. It lies in the relative balance between chaos and order, improvisation and text.

Choreography: Sasha Kukin
Music: Steve Reich, Trent Reznor, and "Plaid"
Costumes: Irina Alekseeva

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An attempt to “dance” the Concerto for Two Violins in D Minor, BWV 1043. In order to somehow match the power and beauty of Bach’s composition, an approach was developed: the dancers almost never look at each other, orienting on indistinct outlines and on the sounds heard (breathing, steps, and the music itself).

Choreography: Sasha Kukin
Costumes: Sergei Larionov

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A performance about children and their vulnerability in the world of adults and their right to control children, which almost always results in exploitation.

Choreography: Sasha Kukin
Music: Scottish post-rock band "Mogwai"
Costumes: Sergei Larionov

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