Even before the start of the large-scale aggression against Ukraine, the withdrawal of the occupied Crimea from cultural life at the global and regional levels was obvious.
The aggressor’s attempts to buy, in order to imitate the “sustainable development” of the occupied peninsula, the visits to Crimea by “authoritative world-class cultural figures” were increasingly tragicomic in nature, and all kinds of fake “international festivals” gathered only groups from Buryatia and Udmurtia.
Under these conditions, one of the key achievements of the aggressor was considered by Russian propaganda to be the conclusion by the invaders in 2018 of an agreement with the Austrian architectural bureau Coop Himmelb(l)au for the construction of an opera and ballet theater in Sevastopol on Cape Khrustalny.
The “theater”, according to the invaders’ promises, was to be built as a component of the “cultural cluster”; at the same time, the presence of a number of slow, long-term construction projects in Sevastopol for last five years has made the very word “cluster” in the city a form of sarcastic abuse.
This project was personally lobbied by Putin and despite the indignation of Ukraine and the world’s civilized countries, the aforementioned Austrian architects promised to complete the construction of the “theater” in 2023. In January 2022, Ukraine imposed sanctions on the owners of the architectural bureau and on the firm itself.
“Independent bloggers” and social media channels controlled by the Russian special services are spreading “sensational information” that the “Sevastopol theater will be headed” by choreographer Igor Zelensky, who will replace “director” Sergei Polunin.
Polunin is a ballet dancer of Ukrainian origin, but since 2014 he has consistently supported the criminal policies of the Kremlin, and even got himself a tattoo in the form of Putin, for which he apparently received the “Sevastopol position” in 2019 as a “reward”.
However, after several years of pro-Russian rhetoric, Polunin from Kherson left for Dubai with his family in February 2022 and took a wait-and-see position regarding large-scale Russian aggression.
Unlike Polunin, Igor Zelensky has much more connections with the “world of presidents”, and not because he is the namesake of the Ukrainian leader, but through a common child with Ekaterina Tikhonova, Putin’s own daughter.
This Putin “son-in-law” worked until April 2022 at the Munich State Ballet, where he stopped working due to support for Russian aggression.
However, we dare to say that the position of “chief in ballet” in occupied Sevastopol has been retained by Igor since 2018, when his “father-in-law” on the occasion of the birth of his granddaughter began to lobby for the construction of a Sevastopol theater of dubious architectural quality, and Polunin from Kherson was just a occupiers’ temporary propaganda trick.
After all, it was Igor Zelensky who, since 2018, was included in the board of observers of the Moscow National Cultural Heritage Foundation, under whose auspices the Sevastopol theater was to be built at the expense of the “Rosneftegaz” joint-stock company, with an initial budget of $ 450 million, which was constantly increasing, and, of course, was plundered for “diapers for the respected person’s granddaughter”.
In addition, the specified “man of art” has a character and abilities that are well understood for his “father-in-law”, because, as his subordinates reported about him, “Igor Anatolyevich speaks first of all by obscenities”.
It is this “obscene musical” performed by Putin’s “son-in-law” that will obviously become the main “cultural event” on the occupied peninsula in the summer of 2022.
However, Russian propaganda is now massively reporting another story in the style of “star” choreographers, because according to a “leak” from the Moscow police, the French Embassy in Moscow allegedly received a “package from Crimea” allegedly from the Italian film producer Pietro Notarianni, who died in 2006.
It is reported that the message “from the next world” allegedly had a “spy format” in the form of a set of various items, including plastic bottles, shoe covers and bones, as well as a note about “souvenirs from the Crimea” of incomprehensible content.
It is still unclear whether this message is the work of a sick person or the “fun” of the Russian special services, but in general, the “cultural life” of the occupied Crimea is very similar to the content of this “package” allegedly from a long-dead producer.