Konstantin Binkin

Lighting Designer

Born in St Petersburg in a theatre family. In 2014 he graduated from the Russian State Institute of Stage Arts, specialising in stage design technology; it was there between 2012 and 2014 that he also undertook a correspondence course specialising in lighting design under Vladimir Lukasevich.

Has taken part in seminars given by Max Keller and Luc Lafortune. Finalist at the IV Annual Lighting Design Competition run by Martin by HARMAN.

At the Russian State Institute of Performing Arts’ Teaching Theatre he took part in productions of The Last Term (directed by Leonid Pshenichny), I, Iago and Phantom Pains (directed by Andrei Zagorodnikov), Silent Night (directed by Alina Nikolskaya), A Play about Macbeth (directed by Maria Seledets) and Diaboliad (directed by Yuri Vasiliev). He made his debut at a major drama theatre in 2015 with The Forest (directed by Andrei Cherpin at the Novokuznetsk Drama Theatre).

Works include the lighting for the ballets Before Sunset (choreography by Oleg Gulyaev) and Tom Sawyer (choreography by Maria Kyashkina, both at the St Petersburg Music Hall), the operas Iolanta and Aleko (directed by Valeria Maximova at the Hermitage Theatre) and the production Ceasefire (directed by Elena Berdak at the Skorokhod venue in St Petersburg), the ballets Moon across the Way (choreography by Anton Pimoniov, 2016) and Kreutzer Sonata (choreography by Robert Binet, 2017) at The Ballet Moscow Theatre, the ballet Her Name Was Carmen (choreography by Olga Kostel, 2016), presented by the St Petersburg Ballet Theatre at The London Coliseum, the ballet Enoch Arden (choreography by Donvena Pandoursky, 2017) at the Münster Theatre, Germany.

As a lighting designer at the Mariinsky Theatre he has designed the ballet Le Divertissement du Roi (choreographed by Maxim Petrov, 2015), Russian Overture (choreographed by Maxim Petrov, 2016), Violin Concerto No 2 (choreographed by Anton Pimonov, 2017), Paquita (choreographed by Yuri Smekalov, 2017), The Cat on the Tree (choreographed by Anton Pimonov, 2017) and pieces for the Creative Workshop of Young Choreographers in 2016 and 2017.

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