As one part in their process of reforming (or "re-forging") class enemies into Bolsheviks, the Soviet authorities devised the gulag to serve as a "museum" where prisoners might be observed for the last time as endangered specimens: the aristocrat, the landowner, the bourgeois and the criminal. Their final transformation was carried out in one of Stalinism’s most Dantesque projects: the Gulag of the White Sea Canal, where thousands of prisoners were forced to dig a mammoth canal into the frozen Karelian land to connect the White Sea to the Baltic. The shock wave generated by the drastic re-forging of human matter opens up a path into the present, to the capture and forced conscription of Russian soldiers, and looks back at the prisoners of the canal from the trenches of the Ukrainian front.
I am the daughter of Soviet diplomats exiled in Barcelona. I am a doctoral student and researcher at Pompeu Fabra University, where I also teach Russian Aesthetics. At the same time, I have developed as an actress and theater director, specializing in documentary theater. Among the latest works, I highlight: Finist, el halcón resplandeciente (Granada, 2023), a controversial play due to the recent imprisonment of its author and director in Russia, and Mujeres en la oscuridad; hombres a la luz del día (Granada 2023, Barcelona 2024), a play that deals with the experience of the inhabitants of Kiev since the beginning of the war and the problems of men who are reluctant to go to the front.