Presnyakov brothers

Terrorism is the duo's best known and most widely performed play.

Synopsis: Six scenes from urban life. Delayed passengers grumble about a bomb scare at the airport. A man and a woman commit adultery. Office workers bicker while one of their number quietly exits to hang herself. Two grannies in a playground complain about their menfolk and make fun of a man seated on the next bench. Policemen in their barracks scrap amongst themselves. The passengers on the plane finally prepare for take off. By the end we realise these apparently random scenes are in fact linked by an almost invisible thread, subtly indicating that we bear responsibility for one another even in our soulless urban limbo.[20]

• It premiered at the Chekhov Moscow Art Theatre in 2002, directed by Kirill Serebrennikov, winning that theatre's annual competition for best new play, an award funded by the Russian Ministry of Culture.[21]
• Translated by Sasha Dugdale, directed by Ramin Gray, designed by Hildegard Bechtler, the Royal Court Theatre in London took the play, where it became a critical and popular success, 2003.[22]
• Terrorism has been performed across Europe, in Germany, Sweden, Poland, Norway, Spain, Ireland, Estonia, etc., and out of Europe, in Australia , Chile, Brazil and Taiwan[23]
• It had its American premiere off-Broadway in May 2005 in a co-production between The New Group and The Play Company in New York. directed by Will Frears; sets by David Korins; costumes by Sarah Beers; Presented by the New Group, and the Play Company. At the Clurman Theater/Theater Row, 410 West 42nd Street, Clinton;[24][25][26][21]
• In Washington, D.C., US, Studio Theatre staged in June 2005. Directed by Keith Alan Baker;[27][28]
• In Canada, The play premiered in Toronto, April 2008. Directed by Adam Bailey; Royal Porcupine Productions.[29]
• Fragments from play in English, English Studies Forum, by Kevin Ewert, University of Pittsburgh at Bradford
• [30]

Playing the Victim was first staged at the Traverse Theater as part of the Edinburgh Fringe Festival (co- produced with the Royal Court Theatre) and Told by an Idiot in 2003. Directed by Richard Wilson.[21]

Playing the Victim revolves around Valya, a student who gets a job playing the victim in police crime-scene reconstructions. Even though they are simulated, his repeated participation in one gruesome end after another highlights the violence and brutality endemic in contemporary life. Meanwhile, in a parallel plot that parodies Shakespeare, the ghost of Valya's father tells him that he was poisoned by his brother who later married Valya's mother. While the finale is inevitable – Valya takes his mother, his uncle and his girlfriend (who has become a bit too insistent regarding marriage) to a final meal – its setting is not: a Japanese restaurant where he feeds them fugu, a fish that's filled with lethal toxins unless filleted perfectly. (The film version of the play, for which they wrote the screenplay, won the Best Film prize at the Rome Film Festival 2006.)

Synopsis: A young man drops out of university and goes to the police. He's done nothing wrong he just wants a job. A particular job. Playing the victim in murder reconstructions. He has a fear from death. Maybe by getting close to death he can manage to cheat his own [20]

In the British version of Playing the Victim, for example, the police captain who reconstructs murders gets bumped off – and his murder gets reconstructed by another captain. Including their rewrites, the brothers can't recall how many plays they have penned. – Time Magazine, Two for the road, interview with the brothers Presnyakov, 2006.[31]

• "Two for the road", Time Magazine, interview with the Presnyakov Brothers, by Yuri Zarachovich,[31]

"A life on the go adds grist to our impression mill," says Oleg Presnyakov.

Not that any of the Presnyakovs' delicious plot twists are ever final, mind you. "We love remaking our works," says Vladimir. "Playing with our characters again and again lets us see how their situations are developing."

"We have often wondered if just one of us exists, while the other is just a figment of his imagination," says Vladimir. "Except," adds Oleg, "we never got to sort out which of us is which."[32]

"People are very informed about what's happening in the world, but it seems to us it's important that people be conscious of the idea and not fence off or partition their fears," Vladimir said.

• The Guardian, by Michael Billington (critic), 5 STARS, 15 March 2003.[33]
• The Times (UK), 20 January 2003, Chekhov's children, An Exciting New Generation of Russia Playwrights Is Coming Here, By Patrick Marmion[34]
• The New Yorker, by John Lahr 6 June 2005.[35]
• The New York Times, by Ben Bratley, 24 May 2005.[36]
• The New York Times, interview with the Presnyakov Brothers, by Erin E. Arvedlund, 29 May 2005.[32]
• The Washington Post, by Peter Marks, 11 June 2005.[28]
• The International Herald Tribune, by Erin E. Arvedlund, 27 May 2005.[37]
• Broadway.com, by William Stevenson, 2005.[38]
• The Internet Theater Bookshop[39]
• Broadwayworld.com[40]
• Theatermania.com, by Brian Scott Lipton · 24 May 2005 · New York[41]
• TLS100, The Times Literary Supplement, Online Review, London, by Sharrona Pearl, 2003.[42]
• THE NEW GROUP Production History[43]
• The Nation, by Pawit Mahasarinand, 11 January 2008[23]

• Vladimir Presnyakov at IMDb
• Oleg Presnyakov at IMDb
• Literary Managers&Dramaturgs of Americas
• http://www.lmda.org/blog/_archives/2006/6/9/2020841.html
• http://www.lortel.org/LLA_archive/index.cfm?search_by=show&id=5010
• http://www.wspolczesny.pl/teatr/rep/of.html
• http://www.kommersant.ru/doc.aspx?DocsID=775769
• http://www.rian.ru/culture/cinema/20070709/68621745.html