Theodoros Terzopoulos's "Mauser" — Theatre of the Body, Live on Air

Thank God I never got round to complaining that broadcasts have no immersion in them. The Alexandrinsky streamed Theodoros Terzopoulos's premiere live today, and it turned my idea of theatre on video around completely.

Beautiful close-ups, and an unusual way of being on stage built on the breath — I can't imagine how they do it, but you barely need to follow what's being said: something invisible simply holds you to the screen.

I'd be curious to know how it feels in the room, because my understanding currently sits at around twenty per cent and there's a great deal left to decode in this Greek phenomenon. I was sceptical at first about Terzopoulos praising actor-driven theatre in interviews — but this is really a theatre of the body, of what it can do and what it looks like. Worth dropping any prejudice about the vulgarity of the male or female figure: it's an instrument, one some people can play and others should walk past with their conservative preferences intact.

I'm not ready to go into the meanings yet. I'll note my favourite, Marton: excellent, impossible to look away from. The cast is very male and unbearably light on its feet, and for all the difficulty of the subject it handles revolution with surprising vitality. Oddly enough, you can feel the form here — and without form theatre is worth nothing, whatever is said by the people trying to convince us that narrative spectacle is the unavoidable foundation of Russian culture.