Theatre
NEW YORK, USA
2024
THE MERCHANT OF VENICE
The Merchant Of Venice
by Igor Golyak
Classic Stage Company, New York
October 2024 - December 2024
Composer, Sound Designer, Musician, and Actor
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Composed original music that seamlessly blends classical and contemporary styles, utilizing orchestral instruments and synthesizers to create emotionally rich, multi-layered soundscapes that elevate each scene and enhance the overall theatrical experience.
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Delivered live musical performance throughout the production, playing guitar, drums, and piano. The live music became an integral element of the performance, creating a dynamic atmosphere and drawing the audience into the musical narrative. Additionally, took on a significant role as an actor, contributing to the emotional depth and energy of the production.
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Led the creation of the sound design, carefully crafting how the music should be perceived and interact with the on-stage action. Through innovative sound processing techniques and atmospheric elements, designed a distinct acoustic environment that enhanced the emotional tone of the performance. Inspired by the energy of a late-night talk show, developed a concept that ensured each performance was memorable and engaging.
BOSTON, USA
2024
THE DYBBUK
The Dybbuk
by Igor Golyak
The Vilna Shul, Boston
April 2024 - June 2024
Composer, Sound Designer, Musical Director, and Actor
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Composed original music and designed the sound to create a deep, mystical, and spiritually rich atmosphere that enhanced the emotional depth of the production.
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Led the sound engineering process, managing the technical setup and ensuring high-quality audio in the unique acoustics of the Vilna Shul synagogue.
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Worked with the actors as the musical director, integrating their voices into the performance and treating them as a musical ensemble to create a cohesive and immersive sound experience.
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Performed a role in the production, enhancing the performance with his presence on stage.
NEW YORK, USA
2024
IN THROUGH THE DOORWAY OUT
In Through The Doorway Out
by Anna Zicer, Dimitri Koan
Teatro Circulo, New York
May 2024
Composer, Sound Designer
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Creation of the Sound Concept
In close collaboration with the directors and the musical director, I developed the sound concept to support the dramatic structure and emotional dynamics of the play. We meticulously crafted the sound design to complement the visual and acting elements, enhancing the key themes of the production.
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Original Music and Sound Texture
I composed original music and developed an intricate sound design to deeply reflect the inner world of the characters and the emotional tensions that arose during their journey. The musical solutions accompanied the complex path of the young immigrants fleeing war and helped convey the themes of migration, illusions, and the realities of life in a new country.
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Working with Young Actor
A key element of the project was working with the young actors. We used music and sound as powerful tools to enhance their performances, which allowed for deeper character development and created the necessary atmosphere. This interaction between the auditory and acting components heightened the emotional engagement of the audience, providing them with a unique theatrical experience.
MOSCOW, RUSSIA
2019
THE TALE OF THE LAST ANGEL
The Tale of the Last Angel
by Andrey Moguchiy
Theatre of Nations, Moscow
April 2019 - Current
Composer, Sound Designer, and Musician
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Composition and Arrangement of Avant-Garde and Experimental Music with Odd Time Signatures
Worked on creating original musical pieces in the genre of avant-garde and experimental music, using unconventional and odd time signatures. These compositions are characterized by unusual structure and an unconventional approach to musical form.
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Use of Special Musical Effects to Create Unique Sounds
Applied various musical effects such as sampling, sound processing, and experimental recording techniques to create unique and distinctive sonic textures. This allowed for standout compositions and added depth and atmosphere to the pieces.
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Demonstrating Multi-Instrumental Skills, Playing Four Different Instruments, and Participating in the Performance as a Musician and Actor
Played four different musical instruments (e.g., guitar, drums, keyboard, and bass guitar), demonstrating a wide range of performance skills, which allowed for the creation of more multifaceted compositions and supported diverse sonic solutions in each piece. Also participated in the performance not only as a musician but also as an actor, which allowed for the integration of music with acting and enhanced the overall expressiveness of the production.
MOSCOW, RUSSIA
2022
LIFE UNDER THE ICE
Life Under The Ice
by Dmitry Serdyuk
Moscow International House of Music, Moscow
December 2021 - April 2022
Composer, Sound Designer, Musical Director
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Performance with the Radio “Orpheus” Symphony Orchestra
This project was a unique theatrical production dedicated to the complex relationship between art and authority in the Soviet era. At its core was the story of composer Alexey Zhivotov, whose life reflected the struggle for creative freedom during a time of severe censorship. The production explored how composers, writers, poets, and artists of that period found ways to preserve their self-expression, despite the pressures of the state.
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Collaboration with the Symphony Orchestra
As part of the project, the composer created original music that combined classical and contemporary elements to convey the spirit of the era and the internal struggles of its characters. This integration of styles created a profound emotional backdrop, emphasizing the drama of the stories connected to Zhivotov and his work. The musical score was performed by the Radio “Orpheus” Symphony Orchestra, whose outstanding musicians brought the vision to life. The orchestral performance enhanced the emotional depth of the work, producing a powerful sonic landscape that complemented the theatrical narrative.
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Exploration of Unconventional Rhythms
The use of non-traditional rhythmic structures in the musical score highlighted the tension and ambiguity of the era. These rhythmic experiments added dynamic complexity to the storytelling, creating a rich, multi-layered auditory atmosphere that amplified the production's dramatic impact.
MOSCOW, RUSSIA
2022
CANARI
Canari
by Dmitry Serdyuk
Theatre of Nations, Moscow
April 2022 - Current
Composer, Sound Designer, and Producer
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Combining academic and modern instruments, as well as experimenting with synthesizers, strings, and piano to create a unique sonic atmosphere
Fedor masterfully combines academic and modern instruments, creating multilayered and rich musical landscapes. He actively experiments with synthesizers, string instruments, and piano, expanding the sonic palette and introducing new textures that support and enhance the atmosphere of the performance. This allows him to craft a unique sonic space where traditional and modern elements harmoniously interact and complement each other.
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Creating a unique sound for each character
In his work, Fedor pays special attention to creating a unique musical language for each character. He selects specific instruments, tempos, and sound textures that reflect the character's personality and inner state. This approach allows him to deeply reveal the character's nature and emphasize their development throughout the performance.
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Producing all musical arrangements, recording, and preparing scores for the performance
Fedor is fully responsible for the musical arrangements of the performance, including developing the main themes, recording, and preparing the scores. He integrates music with other elements of the production, creating sonic solutions that organically fit into the dramaturgy and enhance the emotional experience. This helps to deepen the atmosphere of the performance and contributes to the audience's full immersion in every moment on stage.
MOSCOW, RUSSIA
2020
IN THE BEGINNING WAS THE WORD
In The Beginning Was The Word
by Dmitry Serdyuk
Moscow Concert Hall Zaryadye, Moscow
September 2022 - November 2022
Composer, Sound Designer, and Producer
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Performance from the Gospel Story with the Participation of the Moscow Synodal Choir
This groundbreaking performance reimagines the Gospel narrative through the exquisite artistry of the Moscow Synodal Choir. The choir’s timeless vocal traditions, paired with an original musical score, create a profound and immersive musical-theatrical experience. The composition was conceived as a way to tell this timeless story in a contemporary musical language that resonates with younger audiences. -
Fusion of Gospel Chants with Contemporary Genres
At the heart of this project lies a unique musical composition, written to unify the ancient and the modern. Combining the sacred harmonies of the Synodal Choir with contemporary genres and orchestration, the work introduces the cello for emotional depth and the electric guitar to symbolize innovation. This fusion bridges tradition and modernity, offering a fresh perspective on the Gospel narrative. -
Electric Guitar, Cello, and Original Music as Symbols of the 21st Century
The electric guitar and cello stand as symbolic pillars of the performance. Alongside the original music, they represent the fusion of classical traditions with the artistic spirit of the 21st century. The cello offers timeless elegance, while the guitar embodies bold modernity. Together, they create a dynamic and harmonious reflection of the evolving musical landscape, making the story accessible and meaningful to today’s audiences.
MOSCOW, RUSSIA
2020
TURGENEV.
METAPHYSICS OF LOVE
Turgenev. Metaphysics Of Love
by Dmitry Serdyuk
Theatre of Nations, Moscow
March 2019 - Current
Composer, Sound Designer
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Creating a Unique Soundscape and Musical Solution
Fedor Zhuravlev develops the sound concept for the play "Metaphysics of Love", blending 19th-century piano compositions with a modern romantic interpretation of the era and characters. The music and sound design highlight the atmosphere of the relationship between Ivan Turgenev and Pauline Viardot, creating a deep emotional palette that enhances the inner world of the characters and their experiences on stage.
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Technical Implementation, Sound Design, and Quality Control
The sound design of the play includes not only musical compositions but also a comprehensive development of sound effects and textures that create a cohesive soundscape. All elements—from the recording and processing of music to the integration of sound effects—were carefully considered and implemented with the acoustics of the theater in mind, ensuring high-quality sound and full immersion for the audience.
MOSCOW, RUSSIA
2020
AKHMATOVA. WITNESS
Akhmatova. Witness
by Dmitry Serdyuk
Theatre of Nations, Moscow
September 2018 - Current
Composer, Musician
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Composing original music for acoustic guitar: He composed pieces that not only reflected the atmosphere of the performance but also deepened its emotional impact. Each composition was carefully thought out with the context and script in mind, using unique harmonies, original melodies, and innovative approaches to arrangement. The music complemented the development of the plot, helping to reveal the characters' traits and enhance key moments, while maintaining the necessary tempo and being created with attention to detail, ensuring that the sound always adapted to the needs of the scene.
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Demonstrating fingerstyle technique: He masterfully used fingerstyle techniques, including plucking and complex rhythmic patterns, to create rich sound textures. This added depth and variety to the compositions, making each part of the performance more expressive.
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Creating unique sound effects: He actively experimented with various sound effects, such as tapping on the guitar’s body and using his fingers to produce whistling and percussive sounds. This brought unconventional sound elements to the performance, adding brightness and originality to what was happening on stage.
LONDON, UNITED KINGDOM
2024
BRODSKY: THE END OF A BEAUTIFUL ERA
Brodsky: The End Of a Beautiful Era
by Dmitry Serdyuk
Tabernacle Theatre, London
January 2024
Composer, Arranger
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A musical and dramatic journey: The play tells the story of Joseph Brodsky’s life and work, his fate, and his reflections on culture, freedom, and eternity. The music became not just an accompaniment but a central character, seamlessly blending the dramatic action with Brodsky’s poetry into a unified whole.
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From ensemble to orchestra: The music was originally performed by a live ensemble of musicians, including guitar, bass, drums, piano, violin, viola, saxophone, trumpet, and accordion. Each instrument contributed to a unique sound that fused Russian musical traditions with Western influences. Later, the play was adapted for performance with a full symphony orchestra, enhancing the depth, drama, and emotional power of the music.
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Integrating music with poetic rhythm: The compositions closely followed the rhythm of Brodsky’s poetry, emphasizing its energy and meaning. The music reflected the play’s key themes: loneliness, emigration, inner struggle, and hope.
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A soundscape of the era and the man: The music captured the spirit of St. Petersburg, the jazz undertones of Brodsky’s American years, and the nostalgia inherent in his work. The accordion evoked street scenes, the saxophone added a touch of jazz, and the strings infused the performance with emotional depth.
LONDON, UNITED KINGDOM
2024
JEAN AND BEATRICE
Jean and Beatrice
by Dmitry Serdyuk
Tabernacle Theatre, London
January 2024
Composer, Arranger
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Composition of original music:
The music for the play "Jean and Beatrice" was created with a special focus on the atmosphere and emotional tone of the production. Drawing inspiration from minimalism, avant-garde, and electronic music elements, Fedor crafted a sound palette that perfectly complemented the dramatic progression. The use of quiet yet deep harmonies and smooth transitions between tension and silence enhanced the perception of the scenes and supported the internal dynamics of the play.
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Integration of electronic and acoustic music:
The compositions seamlessly blended electronic sounds and acoustic instruments, creating multilayered, atmospheric soundscapes. The use of delicate synthesizers, soft rhythms, and textural effects alongside live instruments like strings and keyboards resulted in a sound that was both minimalistic and emotionally rich, much like the works of composers who actively combine electronic and classical elements.
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Creation of unique musical accents:
Inspired by a style that combines elements of Japanese minimalism, avant-garde electronic music, and contemporary classical, Fedor employed unconventional sound processing techniques and innovative musical approaches to create a unique atmosphere. This included using synthesizers to craft textures that ranged from transparent and ethereal to tense and dense, as well as emphasizing musical intervals that evoked feelings of uncertainty and introspection, perfectly aligning with the emotional essence of the play.