Today company united more than 30 persons. They are professional dancers, young scholars and about 20 people with special needs having physical and mental illnesses: blind, deaf-and-dumb, people in wheelchair, young people with cerebral paralysis (CP), oligophrenia syndromes, growth disorder, etc. (from 7 to 40).

The activity of the company was always innovational and research.

The eighties were years of almost full isolation from information on world modern dance art.
Lilia Sevastyanova’s company had to search intuitively of their own scenic language. The language had to be striking, modern and deep in its form and source as well.

Youth collective participated with their first experimental performance in festivals and creative laboratories in Uzbekistan and former Soviet Union towns: Chelyabinsk, Omsk, Kazan, Tuapse, Sochi, Pereslavl – Zaleskiy etc.

1990th were dedicated to searching in dance improvisation sphere and as a result there were tens of issued performances, such as:
“One Evening”, “Sin of Silence”, “White Blues” and others

During this time some international projects together with French partners had realized in Uzbekistan and France. Among them:
"Mystery" 1995, "World in the suitcase" 1996, "Station" 1997

On a boundary of centuries they came to understanding about serious duty for the art influencing on public.

Dance, like any other kind of art, serves as a language for actors to express their attitude to the world, people and life.

And it is very important, that these attitude and influence aimed to a truth and spiritual beauty. Such performances as: "Request" (2000), “Nativity” (2001), "Encounter"(2003) had demonstrated real turning off the theatre conventions.

It was alive, intimate dialogue with spectators about moral struggle and spiritual search.

The experience in improvisation movement and orientation toward more spiritual than physical matter of art let Theatre recently be creative and educational in work with people having limited ability.
Composition, themes as well as names of performances such as:
"I dream that I can walk … " (2004), "Rainbow’s Day" (2005), "Improvisations from life" (2006) - weren’t made up, but taken from real life.
Choreography of performances also wasn’t composed, but grown up from nature dance improvisation while spiritual unity all of the dancers, healthy and with special needs, was incarnated into remarkable, content gestures and movements.

2007