Independent theatre group “theatre post” was founded in 2011 by Dmitry Volkostrelov, student of an outstanding director Lev Dodin, graduate of the Saint Petersburg State Theatre Arts Academy. They employ young actors from Moscow and St. Petersburg and for their performances they chose alternative spaces, such as nightclubs, rearranging them according to the needs of the performance. “theatre post” is not financed by the Russian government and relies entirely on the money donated by private contributors and sponsors. The main goal of the theatre is to combine the most interesting elements of contemporary theatre and visual arts. The artists of “theatre post” use theatre as the means of studying reality and, at the same time, they are trying to find new language for their work. The name of the theatre refers to the theory of post-dramatic theatre by a German theatrologist, Hans-Thies Lehmann.
Their most important rule is to put on stage only plays written by contemporary playwrights. They chose dramas by the most important contemporary authors writing in Russian – Ivan Vyrypayev and Pavel Pryazhko.
As early as after staging their first plays, “theatre post” managed to arise huge interest of the entire theatre world in Russia. They were invited to perform at the biggest theatre festivals, like The Golden Mask Russian Festival of Performing Arts, Thexture Festival, Rainbow Festival and New Art Festival. At the moment “theatre post” is considered one of the most important theatre groups in Russia.

“Dmitry Volkostrelov – is one of few people in our theatre who are trying to find common elements for both repertory theatres and something we call contemporary art.”
(Marina Davydova, artistic director of “NET: New European Theatre”, editor of magazine “Theatre”, member of the jury of the Europe Theatre Prize)

“Performances by ‘theatre post’ are a living proof that we raised directors for whom contemporary plays are not something that appeared out of the blue. It turned out to be a natural environment for them, the language they understand like their mother tongue.”

“Performances of ‘theatre post’ touch possibly the most sensitive places of our society and contemporary theatre”