All Roads Lead to the Kurski Station, a loose adaptation of the first postmodern novel in Russian, Moscow Circles by Venedikt Erofeev, follows a poet-drunkard called Vienya, as he traverses Soviet Moscow in an attempt to catch a train to visit his beloved in the distant suburb of Petuskhi. Along the way, he is haunted by fantastic visions, and two mysterious women, seemingly determined to frustrate his plans.
“All Roads Lead to the Kurski Station is a Russian odyssey, in which, unlike Homer’s tale, Ithaca does not exist, because Russia lives by the past and the future only. By myth and dreams,” Emil Varda.
In the tradition of anti-theater more popular in New York City in the 70s and 80s, and the works of artists such as The Living Theater, Bread and Puppet, Grotowski, Kantor, etc., All Roads Lead to the Kurski Station rejects naturalistic forms of narrativization and storytelling. Instead, a sequence of maniacal fever dreams explore Soviet life through the lens of Vienya’s troubled mind. Experience and emotion fuse with references from religion, art, history, and more in a psychotic chorus, creating poetic and surreal images and hallucinatory episodes reminiscent of the strange logic of the unconscious.
In these times of revived Cold War tensions, widespread alienation, and looming threats of authoritarianism emerging across the globe, All Roads Lead to the Kurski Station is an urgent warning, and bitter prophecy. The stylistic fusion of European avant-garde theatre, performance art, Dadaist aesthetics, satire, and montage invites the viewer to experiment with interpretation within the intellectual and emotional opulence of Vienya’s phantasmagoria.