Opus No. 7

Once, I watched all of Balanchine’s one-act ballets. I really liked the form, and I immediately watched to do two such works myself. In them, the dancers dance something out, then relax, and afterwards – they do it all over again.

It was assumed that the first act would be dedicated to the genealogy of Jesus Christ. But in the rehearsal process, the accents shifted around. I started to feel a strong link between ourselves and Christ. More appropriately, between Christ and everyone who came before us – regardless of nationality! For instance, you look at a family photo album – and you already don’t know many of the faces in it. And you never had time to ask. Turns out that Christ knew his family tree, and we don’t. And that’s a shame. Therefore we’re doing something about THEM, and through them, about US.

The second part is dedicated to Dmitry Shostakovich. He’s like Charlie Chaplin. In him, there’s something funny, something scary, something tragic. His appearance, behavior, even the dirty rumors about him are funny – for he only turned himself into this clown, sad to say, after after a serious beating, a real danger. He put on a fool’s mask, behind which stood all the drama of his relationships not just with power, but with life itself.

Dmitry Krymov

The show has been performed as part of festivals in Germany, Poland, France, Finland, Estonia, Great Britain, the United States, Georgia, Brazil, Australia. 

In 2009, for his work with “Opus No. 7,” Dmitry Krymov was awarded the Crystal Turandot and the “Person of the Year” award of the Federation of Jewish Communities of Russia, for “Cultural Event of the Year.”

In 2010, the show was honored with two Golden Mask awards: in the Experiment category and for the best design work (Vera Martynova and Maria Tregubova).

In 2013, Dmitry Krymov was awarded the “Theatrical Art” prize by the City of Moscow (in the literature and art category) for “Opus No. 7.”

Part 1. “Genealogy”

Do you remember Tsylia?

Performed by: