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Scenic Version, Direction and Set Design Nikolai Roshchin
Music Ivan Volkov, Dmitri Volkov
Light Artem Prikhodov
Technical Director Sergei Danilenko
Cast Sergei Savitsky, Alexandra Streltsina, Michael Whiton (Canada), Cho Ha Sok (Korea). Alexander Komissarov, Ivan Volkov, Natalia Voloshina. Julia Shimolina, Oleg Gerasimov. Dmitri Volkov. Dmitri Arosiev
The biomechanical etudes Of V. Meyerhold
Teacher on biomechanics Alexei Levinsky

Nikolai Roshchin was born in 1974. In 1997 graduated fr om the acting department of RATI (course of A. Borodin). During his (raining he founded the creative group "Ship of Fools", which included his classmates and actors of the Youth Theatre. He staged Beekeepers ("Ship of Fools". 1998). K. Gozzi's The King Stag' (Russian Yoftm Theatre. 2001), Don Juan' based on A. Pushkin and A. Tolstoy (Tadashi Suzuki's Centre for Performing Arts. 2002): School of Fools (2003) and Sophocles's Philoctetes' (Meyerhold Centre, 2004). In 2003 he studied Tadashi Suzuki's actor's training methods at the Shizuoka Centre for Performing Arts in Japan: in 2003 he studied the method of Theodoros Terzopoulos (Greece) and played the role of Darius in Terzopoulos's production of Aeschylus's Persians (Meyerhold Centre). In 2004 he created the Actors' and Directors' Theatre Society (A.R.T.O.).

... Roshchin has shortened the play and transformed it from a historical into a philosophical drama, adding an epilogue: the last part of Nietzsche's philosophical treatise ‘Thus Spoke Zarathustra'. Here Zarathustra meets nine wanderers and invites them to supper, which becomes similar to the Last Supper. Nietzsche has not misled the director: the reference helped Roshchin to create an unusual show. The history about the destruction of two separate tribes has turned into a parable about the last days of mankind. Roshchin (again the author of the set) has created a space that reminds of phantasy about the end of the world.
Roshchin inherits that theatrical tradition wh ere the attraction converges with mystery, the mechanics collide with lyrics, without forming any backlashes at the joints. This organic theatre does not place the spectacle on the first place, but guarantees an incomparable pleasure from pure theatre.

June 10, 11
Meyerhold Centre