At the center of one of the most important artistic circles of the first decades of the young revolutionary country of the Soviet Union was Lili Jurjevna Brik. Icon of the left-wing art movement LEF, active co-creator of artistic guidelines in the 1920s in her thirties, but above all a mentor, friend, lover, muse, editor, defender, guardian of the poet Vladimir Mayakovsky.

Lili is the axis of two completely different artistic destinies - the self-burning Volodya, who directs his excess energy into public and intimate excesses and Sister Elsa Triolet, for whom time and space seem to have no influence. Theirs diametrically different destinies seem like two sides of the same coin.

The complexity of the inner and outer world of the protagonists calls for the use of all available expressive means of modern theaters. Play as a solid foundation of communication is equivalent to dance-movement communication and visual-graphic passages with which the wider social environment is represented. The play Lili thus becomes an album of postcards, through which dance and theater etudes are read by an excited audience.