Lab Information

About the Laboratory of Modern Drama.

Every generation of theater goers  discovers a theater for themselves. They are looking not only for timeless values, but also for the answers to the problems of contemporary society. This theater is developing with us, by trial and error. And people in the audience are equally participating in this process. Some productions they awe and it's always a full house, some we have to eventually cancel since no one comes to watch them. This is how we establish a criterion for choosing our next production. The theater tries to pinpoint the tastes of today's audience. If you only take the money aspect in the account, it's easy to spiral down in a rut, where creativity is not a priority, to destroy the fundamental principle of the theater and eventually find yourself in a vicious circle. Artists are bored by making audience-proof productions all the time. To create something new, you should move on, experiment, be one step ahead of the audience. You need to challenge yourself to difficult tasks. Our Laboratory provides you with such opportunity.

Here we gather everybody who is involved in a production process - playwrights, directors and actors. All of them have their own vision of the theater. A playwright thinks behind the scenes, in his imagination, according to his own rules. A director comes up with his own interpretation of the story. Actors embody the characters, give them flesh and voice. These are the secret features of every "play well-made".

But doesn't always go so smoothly. In many cases the original script is not what it the actual play will look like on stage. Quite frequently the director has in mind a different, sometimes completely opposite version of a play. This is why he only takes a fraction of the script as a basis for the production. Sometimes he has to discard most of the text, because it is  either unpronounceable,  not fitting well with his view of the play or  slows down the action. Actors, as they create their characters,  give them qualities that are often  not outlined by the author.

Up until the moment when all their efforts are put together  on stage, each of them is sure that their  idea on how the play should look like is impeccable. But when you see the final result its virtues and shortcomings become apparent.

This is the reason why most of the theaters prefer to stage tried-and-true classics. Staging a contemporary play is a hard decision to make.

Our Laboratory functions as a fringe theatre, an "off Broadway", so to speak. We put together a basis for a new production, analyze the flaws and mistakes made by a playwright and polish the script. Therefore, we have two sections - playwright and director - where the creators of the play compare their notes and work out a single system of staging a production.

The work process includes making theatrical "sketches" with actors to help visualize a future play. 

The main goal of the Laboratory is to make plays that pass that test into productions staged by professional theaters, to introduce a playwright to the theater.

We have been successful in doing this for three years already.  With the money we receive from The Ministry of Culture (two Grants every year) we have staged five plays of our playwrights:

  • "To the Last Man" by Elena Yerpileva (Kogalym) in The Omsk State Drama Theatre,
  • "I'm leaving" by Anna Vedernikova (Omsk)  and "Execution by a Firing Squad" by Aleksey Prosekin (Irkutsk) in the theatrical boutique "Nachalo" in Moscow
  • "Maizinger" by German Grekov (Samara) in A. Kazantsev and M. Roshin Centre for Dramaturgy and Theatrical Direction in Moscow
  • "Yesenya" by Andrew Ivanov (Krasnoyarsk) in the "Fifth Theatre" (Pyatiy Teatr) in Omsk

 Olga Malinina, laboratory coordinator