Boris Yukhananov’s path has been anything but the usual story of a common career in theatre. Today he is the artistic director of the Stanislavsky Electrotheatre, one of the most prominent playhouses in the center of Moscow. He is arguably the most successful former student of legendary Russian directors Anatoly Vasilyev and Anatoly Efros. But everything that happened between his student years in the 1980s and his present tenure as the head of the Stanislavsky Electrotheatre happened entirely on his own terms. For three decades Yukhananov forged a rich life in the Russian counter-culture, the artistic underground, flexing his muscles as a director, film-maker, designer, poet, novelist, teacher and theoretician. He founded the first non-government ballet theatre in Leningrad in the 1980s, and his MIR, the Studio of Individual Directing, was Russia’s first independent theatre school and production company. Yukhananov is drawn to large-scale work, as is witnessed by his video project The Mad Prince video novel in 1,000 cassettes (1986-93) and his most recent piece at the Electrotheatre, Orphic Games. Punk-macrame, officially described as “a single work in 33 acts, presented in 12 productions over a six-day period.” Orphic Games is the director’s seventh major work since he was named head of the old Stanislavsky Drama Theatre in 2013 and transformed it into the Stanislavsky Electrotheatre, which re-opened to the public, completely renovated and completely reconsidered in 2015. Here Yukhananov continues to forge his own unique, often spectacular, artistic vision that conjoins drama, music, dance, design, installation and literature in a hybrid form of theatre for the 21st century.