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 kassir@electrotheatre.ru.

Иллюстрация к «Книге Тэль»

The Book of Seraphim

Based on William Blake's poem
Directеd and composed by Alexander Belousov
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Duration: 1 hour, 20 minutes

The premiere took place on 20 February 2020.

Based on William Blake's poem The Book of Thel and a fragment of Fyodor Dostoevsky's novel Demons. The libretto uses Konstantin Balmont’s Russian translation of Blake’s poem (1921), and an English translation by Virginia Woolf (and Samuel Kotelyansky) of Dostoevsky’s novel Demons (Stavrogin’s Confession, 1922).

This new opera by Alexander Belousov (Maniozis and Maniozis-2, Stanislavsky Electrotheatre) combines two works.

First there is William Blake’s first prophetic poem, The Book of Thel (1789), which narrates the tale about the daughter of Seraphim, who, in search of the reason for her ennui, turns to Lilia Dolins, then to the Cloud and the Worm, and finally falls into the bosom of the Earth, where she discovers the source of human suffering.

Then there is the chapter “At Tikhon's” from Dostoevsky’s novel Demons, where the main character, Nikolai Stavrogin, conducts a conversation with Bishop Tikhon, presenting him with written evidence of his past sins.

Both pieces explore the topic of desire. Desire is given to mankind. But in Dostoevsky, Stavrogin says: "I am always master when I feel desire." Where Blake (a century before Freud) discovers desire only as a source of human movement, Dostoevsky offers a way to consciously work with it.

The title The Book of Seraphim refers to the name of the absent narrator - the one with whose eyes the spectator sees and hears the story, that fantastic Old Testament creature whose image Blake places on the last page of his own edition of his poem. 

The opera, musically resolved in a minimalist manner, and similar to one big mantra, begins with a prologue in the lobby, continues in the hall and ends again in the lobby. As such, this interpretation of the texts of William Blake and Dostoevsky takes its spectators on a true journey through space.

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“Belousov’s opera is called The Book of Seraphim. It combines two texts, in Russian and English, in symmetrical translations and they merge together amazingly. Everything comes together here: the auteur art of the director/composer as the creator of the Gesamtkunstwerk, the skill of the singers of the N'Caged vocal ensemble who perform along with dramatic actresses, videos, dance, soundtrack and lighting," — Pyotr Pospelov in Vedomosti. 

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