F.M. Dostoevsky Russian Dramatic Theater
(Kazakhstan. Semey)
“Mozart and Salieri” is a laboratory experiment exploring the compatibility of genius and villainy. By naming his cycle “Little Tragedies, ” Alexander Pushkin conducted a dramatic study of this theme, and the creators of the production, following the author, also examine this paradox of the universe through a kind of laboratory method — though now by musical and dramatic means.
After all, the genre of the production is a SOUND TRAGEDY, and music — including the music of Alexander Pushkin’s poetry — is not merely a background element, but the very foundation of the performance, the living environment of both the characters and the audience.
Shalva Dadiani Zugdidi State Drama Theater
(Georgia. Zugdidi)
Frankenstein by Mary Shelley is a tragic story about the absence of love among people.
In the production, Victor Frankenstein creates a being who finds itself in a world of loneliness, rejection, and fear. The Creature is initially filled with a longing for love and acceptance, but society’s rejection awakens in him hatred and a thirst for revenge.
Theatre “PURA”
(Turkey. Istambul)
A young lawyer takes credit card debt files from a bank in order to collect the debts for a fee. However, handling such a large number of cases alone proves impossible. He decides to assemble a team of call center employees who will “politely” inform debtors about their situation by calling them one by one.
Eventually, a sullen and hardworking man named Mükerrer joins the team. Yet the spiral of resistance — beginning with Mükerrer’s naïve “preference not to” — gradually pulls the young lawyer into inescapable situations.
The play is staged using various narrative tools supported by artificial intelligence and the actor’s performance. The foundation of this one-act, dialogue- and action-driven narrative is the main character — a walking lamp (Mükerrer). In this way, the character of Bartleby from Bartleby, the Scrivener by Herman Melville acquires a new identity as “Mükerrer, ” which in Turkish means “recurring” and functions as an adjective.
M. Utemisov Atyrau Regional Academic Drama Theater
(Kazakhstan. Atyrau)
What is the reason that a lonely and weary soul, exhausted by the drowsiness of this world, seeks eternal peace with its mother at the end of its life?
Is it peace? Or is it fate?
V. Adjemian Armenian State Drama Theater
(Armenia, Gyumri)
A satirical production created in the spirit of the absurd, the play centers on a family of four: a husband, a wife, a father-in-law, and a mother-in-law. They live quietly and steadily; their life is harmonious, yet monotonous. One day, however, everything changes. Representatives of an international organization arrive at their home and announce that, due to circumstances, the house has ended up on the disputed border between two states. After negotiations, the house is divided into two parts: one half lies within the territory of one country, the other half within the second. From that moment on, moving from room to room is possible only with a permit and the permission of border guards. The mother-in-law dies — but her death is declared “lawful, ” since she crossed the border without a pass. Later, the father-in-law is also killed “within the framework of the law.” All of this leads the spouses to realize that their sovereignty and their right to their own home have been violated. Therefore, they must fight to restore the integrity of their house and reclaim their right to live under this sun. The play *“The House on the Border”* was written by Sławomir Mrożek in 1967, inspired by the events of 1934–1939, when Poland effectively ceased to exist as an independent state. In September 1939, Nazi Germany implemented *Plan Weiss* and invaded Poland. After more than a month of warfare, the campaign ended in defeat and the division of Polish territory between Nazi Germany and the Soviet Union.
N. Bekezhanov Kyzylorda Regional Kazakh Academic Musical and Drama Theater
(Kazakhstan. Kyzyzlorda)
“Nayzağai” (“Thunder”) is the story of a hopeless, fragile soul. It is a tale of a woman’s love — a woman left without protection in a helpless male-dominated world. A young woman, dreaming of light and inner strength, longs for freedom. On this path, she makes difficult choices and commits a sin. This mistake deeply wounds her soul. Will her wounded soul be able to find a way out of the dead end?
Theatre 705
(Kyrgyzstan Bishkek)
The performance is an attempt by two Kyrgyz women — actresses — to explore, understand, “get to know, ” and “discover” their own bodies. One of the most closed and sensitive topics in society — and even in the art of our region — is the subject of the BODY. There are many different socio-cultural reasons for this. The taboo surrounding the human body, especially the female body, constrains us not only physically but also psychologically.
East Kazakhstan Regional Drama and Operetta Theater
(Kazakhstan Ust-Kamenogorsk)
The production, which brings together works by A.Chekhov and L.Tolstoy into a single storyline, tells of the tragically burdened lives of people who find themselves daily at the mercy of fate and gradually fall into decline. They live in hope for tomorrow and believe that their remarkably happy life will one day begin again.
Nazarov Workshop Theater
(Russia. Moscow)
A performance based on verbatim texts, whose characters are ordinary people with complicated destinies.
Mogan Honar Group
(Iran.Tehran)
A suitor has come to Tara, the youngest daughter in the family. Her two stepsisters want to force her into marriage, but Tara is in love with a young man who is waiting for her.
M.Yu. Lermontov Russian Academic Drama Theater
(Russia. Khakassia)
The performance is devoted to the themes of emotions, longing, social inequality, and freedom.
