All Roads Lead to the Kurski Station, a loose adaptation of the first postmodern novel in Russian, Moscow Circles by Vienya 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.
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 explores the stylistic fusion of European avant-garde theatre, performance art, and Dadaist aesthetics inviting the viewer to experiment with interpretation within the intellectual and emotional opulence of Vienya’s phantasmagoria.
