Nowadays it`s not easy to find «your» people and make a team of like-minded people. I can say I feel very lucky that such a team — a «gang» — has been created. When one works on a new performance, which is made from beginning till end with people of the same mind, there must be complete trust and agreement with each other of what must happen and how. To create non-verbal versions of works by great writers is not easy but extremely interesting. To find the deep-running meanings of this or that dramaturgy and to translate it to the audience without such a habitual means as words. To make actors your allies and to open their potentials even more. All that really inspires and stimulates to climb up more and more steps on our common way.

Director, choreographer, member of the Union of Theatre Workers of the Russian Federation. He was born in the city of Chelyabinsk in 1980. Graduated from the Chelyabinsk State Academy of Culture and Arts where he got into choreography specialty. He attended master classes of the European and American teachers and choreographers. From 2001 to 2005 he was a dancer of Tatyana Baganova’s Provincial Dances Theatre [Ekaterinburg]. From 2006 to 2014 he cooperated with SounDrama Studio of Vladimir Pankov in Moscow. As a choreographer he staged more than twenty plays in Russian drama theatres. In 2012 he adapted for stage a play «Mother’s Field» in Moscow Pushkin Drama Theatre. Since then he has been working as production director. As of today he has directed 16 stage plays.


Only when we are keeping silence, we aren’t lying. The greatest thing in a theatre is when one stillness replaces another and a minute’s silence becomes a unit to measure eternity. Nowadays when the world around us cannot stop its cacophony even for a minute, we can only really hear a person when he or she is keeping silence. Any author who has ever written a great work of art doesn’t merely want to be heard by the readers. The main aim of art is to express one’s soul. And it is impossible to express a soul verbally, one can only feel it. Working with masterpieces of world literature our team is trying to find a soul of an artist hidden in a work of art and express it for the audience on the level of feelings.


Art Director of the Vakhtangov Theatre

Art Director of the Vakhtangov Theatre, Member of the Artists Union of the Russian Federation, Member of the Theatre Workers Union of the Russian Federation, Member of the International Association of Fine Arts AIAP UNESCO. He was born in 1975 in Tbilisi [Georgia]. In 1998 graduated from The Shota Rustaveli Tbilisi State Theatre, Music and Cinema Institute (Theatre Decorating Department, teachers: Georgi Gunia, Nino Gunia). In 2003 Obrezkov finished his postgraduate studies at The Russian Academy of Theatre Arts (Stagecraft Department, supervisor — S. M. Barkhin). He created scenery and theatrical costumes for more than 100 plays in Russia, Germany, Georgia, Estonia, Latvia, Belarus, Ukraine, Switzerland. He`s a permanent coauthor of projects with SounDrama Studio of Vladimir Pankov.

At the beginning of our Way we See, we Hear, we Feel. From the moment people are born they perceive and form their world through emotions and feelings. And only then they start to express their moods with the help of words. Human feelings are the same all over the world, which means everyone can understand this language. To be able to Believe, to Love, to Forgive one doesn’t need to know how these words sound in this or that language. We try and create such a world, environment and atmosphere in which words written by a great writer will be born in souls of spectators through their feelings and emotions.


Composer, Actor

He was born in 1983 in Kursk. Graduated from the music school where he specialized in chromatic accordion play. In 1993 he entered Russian Academy of Music named after Gnesiny to study as «Head of National Chorus». In 2006 he graduated from actor`s faculty of GITIS Academy, workroom of O. P. Kudryashov. Since 2006 he has been playing in the Theatre of the Nations. Now he is starring in «Swedish Match», «Shukshin`s Stories», «Farce-Majeure Concert for Drama Actors and an Orchestra», «Songs of Military ». He works in cooperation with the production director and choreographer Sergey Zemlyanskiy — making music for all his plays.

The first to appear is a thought. From the thought a text is born. Then the temperature is growing — the text is not enough any more. It can’t express everything that happens with a person. Emotions are overwhelming and at that moment dance is born. In our works we leave the text out and drama actors cannot use their usual expressive means. They don’t get that important step. Here music comes to their rescue. Though sometimes the best scenes are the ones in complete silence. This is our starting point. Silence


Lighting designer

Alexander’s artistic career has been started back in his childhood, in the Musical Theatre of Young Actor. He made light for the workshops for actors and directors leaded by Raisa Nemchinskaya and Alexander Fyodorov in the Russian Academy of Theatre Arts. In 2008 he graduated from the Moscow Art Theatre School, production department under the authority of Honored man of Art Damir Ismagilov. From the 2007 till the 2011 he worked in lighting department in the Bolshoi Theatre (The State Academic Bolshoi Theatre of Russia). Alexander created lighting design for various theatres in Moscow, Saint-Petersburg and other Russian cities. Among them are such well known theatres as Bolshoi Theatre, Mariinsky Theatre, Novosibirsk Opera and Ballet Theatre, Eifman Ballet, Moscow Art Theatre, Pushkin Theatre, Moscow Theatre of Young Spectators, Sovremennik Theatre, Theatre of Nations and many others. He made lighting design for the musicals «Love and Espionage», «Scarlet Sails» and «Everything about Cinderella». In collaboration with the company Stage Entertainment Alexander made lighting for Russian productions of famous musicals — «Zorro», «Sounds of Music» and «Cinderella». He also made lighting design for variety ice shows.

Performances that we create talk with an audience through music, form and movements. Talking about light in theatre space, performance is a perfect field for creativity. Here light can be either a setting for action, or an abstract emotion. The way we make our productions is distinct from work in other genres, as the rules of music and drama theatres are closely intertwined in our works and create its own style and rhythm of lighting design. Light is yet another participant of a performance which interacts with actors, with music and space.



Rasa Bugavichute-Pece is a Latvian playwright with a Lithuanian spirit. She was born on January, 25 1988. In 2013 she graduated from Latvian Academy of Culture with a Bachelor degree in Playwriting and the same year she graduated from Liepaja University. She has two Master degrees - one in Cultural Management, the other in New Media Art. Ms Rasa is the head of the Association of Latvian Playwrights. She taught dramaturgy in Liepaja University (workshop 'Interplay Europe'). She has been working as a playwright in Liepaja Drama theatre since 2015. Her favourite thing to do is writing. Her plays were staged practically in every theatre in Latvia and were nominated in different categories for the National Prize of Latvian Playwrights.

The essence of drama is action! Inner desires, the will to progress towards a specific goal. A word is just a form of manifestation that we are used to as a norm, but in reality, it is just the surface itself for a particular desire. That is why to work on plays "without words", for me - a playwright is a gigantic adventure and opportunity for unexpected kind of a professional development. In such "wordless" story, events, and people involved must be understood at their very core, at their most beginning, as the will and action, rather than the explanations of them, must be the driving force behind unfoldment of the whole narrative. Working with this team is like eating candy, I could talk for hours, but it is just because everyone here is in his/her right place, does their right part of a job and trusts each other. In fact, the cooperation between the participants of a team is almost like "without words", and... it is beautiful.


Аssistant, tutor, teacher

Born in year 1989, Zaporozhye, Ukraine. At the age of 14 moved to Kiev and applied to the Academy of Circus and Variety Arts, to choreography department. Became the finalist of “Dancing Everyone – 2” TV-Show (Kiev, Ukraine) which is the analog of “So You Think You Can Dance” (England). Worked as Assistant of Director at the “Ukraine Has Talent” and at the “Baron Munchausen” plastic play (director – Konstantin Tomichenko). After that she moves to Moscow and applies to Higher Theatre School of Schepkin Studio of V.A. Safronov. In 2016 graduates and starts her work at the Moscow Provincial Theatre under direction of Sergey Bezrukov. From 2016 she is working with Sergey Zemlyansky as the assistant, tutor, teacher.

It was always like that. Near every word there was something “Unspoken”. In every way the word is the important part, one of the main tools, as at the stage, as in life. It has to appear in the situations when it is impossible not to speak. Then it has even more power and value. But there can be moments when it’s better without words. When you want to express all the details and nuances of the things, that want to break out. To show these things, using the language of your body. Plastics, body moves, breath. It all helps artist to speak without using words. “Unspoken” is mysterious, secret. This is the most interesting part of human existence and artist’s work on stage. When you have opportunity to feel, to absorb and to solve. It is very important to push the borders of your body and soul. Trying to tell all the thoughts, wishes and actions – it all turns to speechless performance


Assistant to Choreographer, Dancer, Teacher

She was born in Moscow in 1985. In 2007 she graduated from St.Petersburg State University, faculty of arts, specialty choreographer. From 2005 to 2014 she was the principal performer of the Ballet Moscow Chamber Theatre, modern ballet troupe. As a dancer she worked with such choreographers as Guy Weizman and Paul Norton (the Netherlands), Ann Van den Broek (Belgium), Rezhis Obadja (France), Wan Su (China), etc. She was trained in London by Jasmin Vardimon Company. Since 2012 she has a continuous cooperation with Sergey Zemlyanskiy as an assistant, tutor and teacher.

Expressing the message of a work of art in a nonverbal way one can say much more than just about its main events, mood and emotions. It enables us to express something mysterious, hidden from ears and open for the feelings of the audience. People don’t always have to speak to understand each other. We trust actions more often than words.


Actor, Teacher of Acting

The only certified teacher of Ivana Chabbak technique in Russia. From 2000 to 2002 he studied at the Khabarovsk State Institute of Arts and Cultures at actor`s faculty as an actor of drama. Then since 2002 for one year he studied at the faculty of psychology at the Russian State Social University. In 2007 he graduated from «School Studio» named after V.I.Nemirovich-Danchenko in association with the Moscow Art Theatre named after A.P.Chekhov, actor`s faculty, got the specialty: stage and film actor. Since 2003 he is an actor of Moscow Pushkin Drama Theatre.