Dear Spectators!

We are cancelling nothing. Throughout the period from October 28 to November 7 we will perform, screen films, and host all concerts as planned.

However, beginning on October 28, spectators will be admitted to performances and events at the Electrotheatre only by presenting a QR code and an ID. The QR code may be presented as a printout or on a smartphone screen.

For those who have not managed to receive a QR code, we will have a free express testing point.
If you wish not to visit the theatre between October 28 and November 7, then, until November 1, you may receive a refund of the full cost of any tickets you purchased in advance. For more information, call us at +7 (495) 699-72-24, or by writing to

Before Sunset

An Open Performance Based on Motifs from a Play by Gerhart Hauptmann
Director: Vladimir KosmachevskyWatch the trailer
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Duration: 3 hours 30 minutes with two intermissions

The premiere took place in 16 December 2016.

A family catastrophe against the backdrop of an agitated world.  Gerhart Hauptmann’s play, written in 1932, gives us an opportunity to consider the place of the individual in the contemporary world. What prevails, the personal or the socially accepted? Control or freedom of choice? These are the questions Hauptmann asked of himself and of society just as fascism began to rise. Today they take on new significance. Hauptmann’s play centers on the historical tragedy of “non-freedom” facing the 70 year-old Matthais Clausen, who falls in love with the young Inken, but who is hindered on all sides by those around him, his family most of all.

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Vladimir Kosmachevsky:

“Hauptmann grasped what this century had in store for us. He saw how, in times of great convulsions, the individual human is turned into a ‘nothing.’ The dignity and freedom of the individual, his or her uniqueness and individuality, would perish in gas attacks and death camps. The only unconditional freedom given the individual is the freedom to dispose of his or her own destiny. The main protagonist here revokes his own biography. But his very own children will not let him rewrite his life anew or relive the emotions of his first and last loves”.

Действующие лица спектакля с самого начала больше похожи на фантомы, призраки прошлого, чем на реальных людей. Художник-постановщик Юрий Хариков превратил сцену в пепелище, где старые ценности уничтожены. Уже нет ни того дома, ни той семьи, ни прежней Германии (пьеса была написана в 1932 году незадолго до прихода к власти нацистов). От прошлой жизни остались только воспоминания (Анастасия Плешакова, 28.12.2016, Комсомольская правда).
Ученик Петра Фоменко Владимир Космачевский рассказал печальную историю любви тайного советника предфашистской Германии к юной девушке, используя все возможности театра: свет, звук, сцену.У героев вместо лиц — маски, грим, вместо голосов — ритмичные звуки, похожие на электронную музыку, вместо волос — парики. С первой и до последней сцены дом Маттиаса Клаузена (Владимир Коренев) — замок, который населяют монстры, призраки (Анжелика Заозерская, 21.12.2016, Вечерняя Москва).
Этот почти загробный мир населен то ли призраками, то ли зомби – и Клаузен-Коренев с чудаковатыми лохмами «под Эйнштейна» выглядит единственным, кто стоически не поддается разложению, у кого в жилах еще течет кровь, а не серая слизь (Вадим Рутковский, 17.12.2016,