Caligula performance. "Caligula": a performance without words based on the play by Albert Camus. Involved in the play

The performance is staged in the genre of “plastic drama”. At the same time, the creation of artistic images occurs not only with the help of body plasticity and bright musical accents, but also with the use of characteristic dance elements, music, scenography, and visual effects. At the heart of the production Sergei Zemlyansky - not only the plot of the play of the same name by Albert Camus, but also historical materials, stories works of art other authors.

Sergey Zemlyansky creates plastic performances with dramatic artists and is essentially the founder of a new direction in drama theater- “plastic drama”. This direction appeared at the intersection of three theatrical genres: dramatic performance, dance theater and expressive emotions of pantomime. The basis of the wordless style, as the director himself denotes it, was the creation artistic image not only with the help of body plasticity and bright musical accents, but also with the use of characteristic dance elements. Sergei Zemlyansky's performances are distinguished by enormous expression, grotesque presentation of character images, and the use of visual and musical effects. Creating plastic performances with dramatic artists, he believes that “nothing can reveal and convey all the edges and crannies of a complex human soul as precise and powerful as body language.”

The value of the new style “Plastic Drama” lies in the fact that translation occurs in it dramatic works in a language understandable in any country in the world. After all, emotions are understandable to everyone. Only the most deep meaning, cleared of the falsehood of words. Depriving the dramatic actor of his most important tools - text and voice, Zemlyansky finds new tools of expression. Music, scenography, and visual effects come to his aid.

This work of the director-choreographer will be the second collaboration with the troupe of the Provincial Theater: most recently, the premiere of Anna Gorushkina’s play based on Arthur Miller’s play “View from the Bridge” took place, where Sergei Zemlyansky acted as a plastic director.

Sergey Zemlyansky: “The idea to stage “Caligula” arose a long time ago. Herself historical figure Guy Julius Caesar still continues to live, being reborn from century to century in literature, cinema and theatrical productions. We will work in our traditional non-verbal manner, depriving the characters of “words”. In the play Hearing-impaired artists will take part. We find it interesting to use the sign language that is familiar to them, to which they will be devoted art form. This joint philosophy will make the work even more multifaceted!

The production is based not only on the plot of the play of the same name by Albert Camus, but also on historical materials and plots of works of art by other authors. We don't want to limit ourselves to one story. We are interested in fantasizing, composing a play together with the actors, creating the world of the hero, the reasons for his actions and desires. We are not interested in who is good and who is bad. We explore the reasons for what exactly makes a person cruel and why people still crave such rulers. What creates fear and the desire to obey? Is this a curse or the only form of existence?”

Sergey Bezrukov, artistic director

“Perhaps the choice of this material for production in our time will cause surprise. It would seem that what do we need in the history of the Roman emperor Gaius Julius Caesar, nicknamed Caligula? The classic question is: what do we need Hecuba? But there is nothing more important and interesting than exploring the nature of man, his passions, ups, downs - “the life of the human spirit” that Stanislavsky spoke about. How does a vulnerable youth grow into a tyrant, whose cruelty was legendary, what happens to him? Sergei Zemlyansky is a talented director with his own unusual theatrical language, and I think for our actors to work with him, to try themselves in a new genre, is a very useful experience.”

Director-choreographer – Sergey Zemlyansky
Scenography and costumes– Maxim Obrezkov
Composer– Pavel Akimkin
Author of the libretto– Vladimir Motashnev
Lighting designer– Alexander Sivaev
Assistant choreographer– Dmitry Akimov
Starring: Ilya Malakov, Stanislav Bondarenko, People's Artist RF Maria Alexandrova, Maria Bogdanovich (ballerina Bolshoi Theater), Katerina Shpitsa, Zoya Berber, Vera Shpak and others.

Address: M. Kuzminki, Volgogradsky Prospekt, 121

Based on the play A. Camus

Version without words

Director-choreographer - Sergey Zemlyansky
Scenography and costumes - Maxim Obrezkov
Composer - Pavel Akimkin
Author of the libretto - Vladimir Motashnev
Lighting designer - Alexander Sivaev
Assistant choreographer - Dmitry Akimov

Gaius Julius Caesar Germanicus Caligula is a famous Roman emperor who remains in history as the most cruel ruler. The image of Caligula still continues to live, being reborn from century to century in literature, cinema and on stage. The production by Sergei Zemlyansky is based not only on the plot of the play of the same name by Albert Camus - the creators of the play also turned to historical materials and interesting facts that will allow us to better understand the reasons and motives of the actions of the emperor with his fears, thirst for power, ability to love and hate.

The performance is staged in the genre of “plastic drama” - without words. At the same time, the creation of artistic images occurs not only with the help of body plasticity and bright musical accents, but also with the use of characteristic dance elements, music, scenography, and visual effects.

Theater explores inner world the hero, the reasons for his actions and desires. What makes a person cruel and why do people still crave such rulers? What creates fear and the desire to obey? Is this a curse or the only form of existence? A topic that remains relevant to this day.

Starring: Ilya Malakov, Stanislav Bondarenko, Maria Alexandrova(prima of the Bolshoi Theater), Ravshana Kurkova, Maria Bogdanovich(ballerina of the Bolshoi Theater), Katerina Shpitsa, Vera Shpak, Zoya Berber and others.

The premiere took place on December 23, 2016 at big stage Moscow Provincial Theater.

Sergei Zemlyansky creates plastic performances with dramatic artists and, in fact, is the founder of a new direction in the dramatic theater - “plastic drama”. This direction appeared at the intersection of three theatrical genres: dramatic performance, dance theater and expressive emotions of pantomime. The basis of the wordless style, as the director himself denotes it, was the creation of an artistic image not only with the help of body plasticity and bright musical accents, but also with the use of characteristic dance elements. Sergei Zemlyansky's performances are distinguished by enormous expression, grotesque presentation of character images, and the use of visual and musical effects. Creating plastic performances with dramatic artists, he believes that “nothing can reveal and convey all the facets and corners of the complex human soul as accurately and powerfully as body language”.

The value of the new style “Plastic Drama” lies in the fact that it translates dramatic works into a language understandable in any country in the world. After all, emotions are understandable to everyone. Only the deepest meaning remains, cleared of the falsehood of words. Depriving the dramatic actor of his most important tools - text and voice, Zemlyansky finds new tools of expression. Music, scenography, and visual effects come to his aid.

Sergey Zemlyansky: « The idea to stage "Caligula" arose a long time ago. The historical figure of Guy Julius Caesar himself still continues to live, being reborn from century to century in literature, cinema and theatrical productions. We will work in our traditional non-verbal manner, depriving the characters of “words”. In the playHearing-impaired artists will take part. We find it interesting to use their familiar sign language, which will be given an artistic form. This joint philosophy will make the work even more multifaceted!

Sergey Bezrukov, artistic director:

“Perhaps the choice of this material for production in our time will cause surprise. It would seem that what do we need in the history of the Roman emperor Gaius Julius Caesar, nicknamed Caligula? The classic question is - what do we need Hecuba? But there is nothing more important and interesting than exploring human nature, his passions, ups, downs - “the life of the human spirit” that Stanislavsky spoke about. How does a vulnerable youth grow into a tyrant, whose cruelty was legendary, what happens to him? Sergei Zemlyansky is a talented director with his own unusual theatrical language, and I think for our actors to work with him, to try themselves in a new genre, is a very useful experience.”

Duration:1 hour 40 minutes (no intermission)

It seemed that quite recently an artist had to prove himself in the theater before the cinema would be interested in him. Now, more and more often, artists, having gained popularity with their roles in films or television series, are beginning to master the theatrical stage. Play "Caligula" based on the play Albert Camus- another confirmation of this. In it, they will appear in a new role for themselves Katerina Shpitsa, And Ravshana Kurkova, until recently better known as “just very beautiful actress" In addition to these famous people, the prima of the Bolshoi Theater also takes part in the performance Maria Alexandrova, as well as artists of the Moscow Provincial Theater, on whose stage it is performed. " Sergei Zemlyansky is a talented director with his own unusual theatrical language,- the artistic director of the theater is confident Sergey Bezrukov. “I think for our actors to work with him, to try themselves in a new genre, is a very useful experience.”. Apparently, based on these considerations, Sergei Bezrukov also invested funds from his Foundation in the implementation of this project.

"Caligula" staged by a popular choreographer Sergei Zemlyansky, in fact, is a plastic drama, which the director himself prefers to call wordless, “a performance without words.” He has already staged several performances in this style, creating artistic images not only with the help of body plasticity and musical accents, but also dance elements. This synthesis allows you to invite artists with names from different areas- from drama theater and cinema to ballet.

Scene from the play Photo: Anna Koonen

In Camus's play, the action takes place in the palace of the Roman Emperor Gaius Caesar Germanicus, better known as Caligula, which means “boot.” This nickname stuck to the future emperor in childhood, since the boy grew up in a military camp in Germany. But if in the play all the events take place when Caligula was emperor, then Sergei Zemlyansky introduces Caligula’s memories of his childhood into the play. When the previous emperor, his great-uncle Tiberius, brutally murdered his parents. And he persuaded the youngest Caligula to love affair with sister Drusilla. And this gives a lot to reveal the image of a bloodthirsty tyrant who stops at nothing. All human complexes, as well as vices, come from childhood. As a result, Caligula kills Tiberius and becomes emperor himself. It would seem that now he can only enjoy life, but his beloved sister suddenly dies.

The play begins with Caligula's farewell to his deceased sister Drusilla. There is a minimum of scenery on the stage - a throne and a pedestal on which the emperor’s sister lies. It can cause bewilderment when, it would seem, Drusilla, who has already passed into another world, makes some signs with her hands. But it turns out that these gestures are addressed to deaf and mute spectators. And this language is used throughout the performance, since it also has a humanitarian aspect - Provincial Theater continues its policy of “being accessible to everyone”: even among the performers in the performance there are hearing impaired people. Crushed by the sudden death of his beloved sister, the young emperor leaves the palace. And returning a few days later, he proclaims himself equal to God and promises to establish a kingdom in which the impossible will rule. All those who disagree will be executed. Huge balls with painted faces roll across the stage, representing severed heads. The Roman nobility lives in fear and submission. And even when the emperor rapes and mutilates the wife of one of the noble Roman men in front of everyone, he does not dare to stand up for her. The only ally of the distraught emperor remains his wife, Caesonia. But she too will be killed by the maddened emperor, before the Roman nobility, united with a group of conspirators, kills him himself.

Ilya Malakov Photo: Anna Koonen

The content is so clearly expressed in the language of plastic, pantomime and dance that everything becomes understandable, even if someone has forgotten the biography of Caligula written by Suetonius, or is not at all familiar with Camus’ play. Amazingly beautiful costumes and set design Maxim Obrezkova, as well as the composer's music Pavel Akimkina make this performance incredibly spectacular. The set design is thought out to the smallest detail. When, during the course of the action, a transparent curtain falls from above, there is no doubt that these are already the memories tormenting Caligula.

Katerina Shpitsa takes the stage as Drusilla, the emperor's sister. The role, which contains drama, plasticity, and dance, was clearly a success for her. Her current experience working in cinema, where she is now in great demand, and her long-standing experience as a go-go dancer in clubs also have an impact. A professional ballerina of the Bolshoi Theater also plays the same role in the performance. Marina Bogdanovich.

Katerina Shpitsa Photo: Ksenia Ugolnikova

But will it be possible to compete? Ravshana Kurkova as the emperor's wife, Caesonia, with a ballerina Maria Alexandrova- question. It was she, the prima of the Bolshoi Theater, who appeared on stage in premiere performances in this role. It will not be easy to replicate both the regal posture and the polished movements of a professional ballerina. Dramatic artists play the role of Caligula Ilya Malakov And Stanislav Bondarenko. Ilya Malakov, an artist of the Provincial Theater troupe, once worked as a teacher-choreographer, so for him a role with an abundance of plasticity and dance obviously did not represent any difficulty. And he manages to convey the dramatic component of the role brilliantly.

Caligula. Version without words 18+

The Moscow Provincial Theater presents the play "Caligula".

On December 23 and 24, the premiere of the play “Caligula” staged by director-choreographer Sergei Zemlyansky will take place on the stage of the Moscow Provincial Theater under the direction of Sergei Bezrukov.

Director-choreographer - Sergei Zemlyansky
Scenography and costumes - Maxim Obrezkov
Composer: Pavel Akimkin
Libretto author: Vladimir Motashnev
Lighting Designer: Alexander Sivaev
Assistant choreographer - Dmitry Akimov

Starring: Ilya Malakov, Stanislav Bondarenko, Maria Alexandrova (prima of the Bolshoi Theater), Ravshana Kurkova, Maria Bogdanovich (ballerina of the Bolshoi Theater), Vera Shpak, Katerina Shpitsa, Zoya Berber and others.

Sergei Zemlyansky creates plastic performances with dramatic artists and is essentially the founder of a new direction in the dramatic theater - “plastic drama”. This direction appeared at the intersection of three theatrical genres: dramatic performance, dance theater and the expressive emotions of pantomime. The basis of the wordless style, as the director himself denotes it, was the creation of an artistic image not only with the help of body plasticity and bright musical accents, but also with the use of characteristic dance elements. Sergei Zemlyansky's performances are distinguished by enormous expression, grotesque presentation of character images, and the use of visual and musical effects. Creating plastic performances with dramatic artists, he believes that “nothing can reveal and convey all the facets and nooks of the complex human soul as accurately and powerfully as body language.”

In addition, “Caligula” will continue to develop the direction chosen by the Moscow Provincial Theater - to be “a theater accessible to everyone.” Its repertoire already includes performances with audio commentary services, accessible to visually impaired viewers. And in “Caligula”, in addition to dramatic artists, hearing-impaired actors will be employed. “If earlier we worked to be accessible to spectators with disabilities, now we will bring artists with disabilities to the stage,” explains the theater’s artistic director Sergei Bezrukov.

Sergey Zemlyansky, director-choreographer

« The idea to stage “Caligula” arose a long time ago. The historical figure of Guy Julius Caesar himself still continues to live, being reborn from century to century in literature, cinema and theatrical productions. We will work in our traditional non-verbal manner, depriving the characters of “words.” In the play Hearing-impaired artists will take part. We find it interesting to use their familiar sign language, which will be given an artistic form. This joint philosophy will make the work even more multifaceted!

At the coreproductions - not only the plot of the play of the same name by Albert Camus, but also historical materials, plots of works of art by other authors. We don't want to limit ourselves to one story. We are interested in fantasizing, composing a play together with the actors, creating the world of the hero, the reasons for his actions and desires. We are not interested in who is good and who is bad. We explore the reasons for what exactly makes a person cruel and why people still crave such rulers. What creates fear and the desire to obey? Is this a curse or the only form of existence?”

Sergey Bezrukov, artistic director

“Perhaps the choice of this material for production in our time will cause surprise. It would seem that what do we need in the history of the Roman emperor Gaius Julius Caesar, nicknamed Caligula? The classic question is: what do we need Hecuba? But there is nothing more important and interesting than exploring human nature, his passions, ups, downs - “the life of the human spirit” that Stanislavsky spoke about. How does a vulnerable young man grow into a tyrant, whose cruelty was legendary, what happens to him? Sergei Zemlyansky is a talented director with his own unusual theatrical language, and I think for our actors to work with him, to try themselves in a new genre, is a very useful experience.”

Information about the director:

Sergey Zemlyansky was born in the city of Chelyabinsk in 1980. In 2002 he graduated from the Chelyabinsk State Academy of Culture and Arts (specializing in choreography). He studied at master classes with European and American teachers and choreographers. In the period 2001-2005 he was a dancer at the Provincial Dances Theater (Ekaterinburg) under the direction of Tatyana Baganova. He worked in the performances “On the Road” by choreographer J. Schlemer (Germany) and “STAU” by Dutch choreographer Anouk Van Dyck (the project was implemented in July 2004 in Moscow). Since 2006, he has been collaborating with the SounDrama studio, with which he has staged more than 15 performances in Russia and abroad.

As a choreographer, Sergei Zemlyansky has staged more than 30 performances, including:

"Transition". (2005 Center for Drama and Directing Kazantsev and Roshchin, SounDrama Studio, Director V. Pankov, Moscow)

"Morphine". (2006 Et Cetera Theater, Director V. Pankov, Moscow)

“Gogol. Evenings" Part I. (2007, V. Meyerhold Center, SounDrama Studio "Theatrical Solutions", Director V. Pankov, Moscow).

"After me". 2008 (Lose dance company, Chelyabinsk)

“No matter what” Duet for the “Arabesque” ballet competition. (2008 Perm)

“Gogol. Evenings" Part II. (2008 V. Meyerhold Center, SounDrama Studio, “Theater Solutions”, Director V. Pankov, Moscow)

“The Third Shift” (2008, Joseph Beuys Theater, director F. Grigoryan, Moscow)

“Territory of Love” (2009 “Art-Partner XXI”, SounDrama Studio, Director V. Pankov, Moscow)

“Phaedra” (2009, A.S. Pushkin Theater, director M. Khemleb)

“Chukchi” (2009, Scene-Hammer Theater, director F. Grigoryan, Perm)

“Gogol. Evenings" Part III. (2009 V. Meyerhold Center, SounDrama Studio, “Theater Solutions”, Director V. Pankov, Moscow)

“Phaedra” (2009, A. S. Pushkin Theater, director L. Khemleb, Moscow)

“Les deux genres” (2009 Grand Ballet Gala “Masterpieces”, Moscow)

“Romeo and Juliet” (2009 Theater of Nations, Director V. Pankov, Moscow)

“Room” (2010, Dialog-Dance company, Art-site “Station”, Kostroma)

“Seven Moons” (2010, M. Weil Theater “Ilkhom”, SounDrama studio, Director V. Pankov, Tashkent)

“I, Machine Gunner” (2010, SounDrama Studio, “Theatrical Solutions”, Director V. Pankov, Moscow)

"ABOUT. S.”(SounDrama studio, 2011)

"City. OK", experimental program of the international theater festival named after. A.P. Chekhov, SounDrama studio in collaboration with Studio 6 (USA), 2011. Director V. Pankov.

“Woe from Wit” (Perm State academic theater“THEATRE”, 2011 Director F. Grigoryan)

“Sneakers” (2012, dir. Ruslan Malikov, Praktika theater)

“Country of Residence” Dialog-Dance company, art site “Station”, Kostroma, 2012

“Doctor” is a film directed by Vladimir Pankov, scripted by Elena Isaeva, produced by Vladimir Menshov and Alexander Litvinov. year 2012

“Autumn Sonata” (Contemporary, 2012. Director Ekaterina Polovtseva.)

"Orpheus Syndrome" ( a joint project theater "Vidy-Lausanne", Switzerland, SounDrama studio, school of Maurice Bejart's ballet "Rudra Bejart" and the International Confederation theatrical unions, 2012 Director V. Pankov)

“The Wife” (Dir. Mikhail Stankevich, Moscow Theater under the direction of O. P. Tabakov, 2012)

“Machine” (“Gogol Center”, 2013 director V. Pankov), winner of the Golden Mask award

“The Yard” (“Gogol Center”, 2014, director V. Pankov)

"War" (Co-production) International festival named after Chekhov, Moscow, Edinburgh theater festival, Confederation of Theater Unions, studio “SounDrama” 2014, Director Vladimir Pankov.

“The Stupid Artist” (Dir. Mikhail Stankevich, Moscow Theater under the direction of O. P. Tabakov, 2014)

“Jealous of myself” (E. Vakhtangov Theatre, director A. Koruchekov, 2014)

Chamber theater. 100 years. Performance dedication. (2014, director Evgeny Pisarev, the set designer of the dedication performance was Zinovy Margolin, the choreographer was Sergey Zemlyansky)

“Peter Pan” (New stage of the E. Vakhtangov Theater, director A. Koruchekov, 2015)

“A Clockwork Orange” (2016, Theater of Nations)

"Metamorphoses" (2016 Academy of Cinematographic and theatrical arts Nikita Mikhalkov)

As a stage director:

“Mother’s Field” (2012, A.S. Pushkin Theater)

“The Lady with Camellias” (2013, A.S. Pushkin Theater)

"Winter" (2014 Theatre Institute named after Boris Shchukin)

“Demon” (2014, M.N. Ermolova Theater)

“Indulis and Aria” (2014, Liepaja Drama Theater)

Director-choreographer Sergei Zemlyansky is one of them prominent representatives modern plastic drama, and new performance“Caligula” was created in the same modern style- as a combination of the genres of drama, dance and pantomime. The basis for the production was the play of the same name by Albert Camus, written in 1945, in which the existentialist playwright explores the fate of Caligula as the story of a kind of insane rebellion against the gods and death. And this is not just a literary or historical, but a philosophical, ideological statement in a context where every word, every formulation was important to the author - now on the theater stage in wordless format, that is, “without words.”

This production is also interesting because it involves hearing-impaired actors who, more than anyone else, appreciate and understand the expressiveness of movement, the language of gestures that replace the spoken word, and the nature of rhythm, which sometimes turns out to be more important than traditional melody. And this “wordlessness” turns the biography of one of the Caesars into a phenomenon outside of time and outside of nationality. Into a conversation about eternal questions and eternal truths, understandable without translation.

Photo: Evgeny Chesnokov

Sergei Zemlyansky, together with the composer Pavel Akimkin and the author of the libretto Vladimir Motashnev, using music and plastic arts, talk about a man who, in despair, declares his unlimited freedom and arranges a monstrous lesson for all his contemporaries, proving to them through torture, atrocities, provocations that they should not look for the world of truth and regularity.

Photo: Evgeny Chesnokov

Caligula seems to be consciously trying to tear off the veil of external decency and decency, revealing the hidden disastrous chaos that at any moment can interrupt the life of a beloved being. But besides the history of a particular Roman emperor, what was at the center of the story plays by Camus, for the creators of the play it was important to show how a tyrant is born and how tyranny arises, to try to understand the origins of the strange humility with which high-born patricians, warriors and simple people accept the cruelty of the ruler. And not so much to understand as to feel, to involve the viewer in the atmosphere of the strange and scary world, as if agonizing in flashes of bloody light, musical arrhythmia and dance convulsions.

Photo: Evgeny Chesnokov

At the beginning of the play, Caligula, performed by Ilya Malakov, is a beautiful young man in white robes, mourning the death of his sister and lover as if it were the collapse of the entire universe. There is still a lot of lightness and light in him, sincere love, like ancient hero, who will certainly defeat the minotaur or gorgon, find the way to Ariadne or save Andromeda. But nothing can revive Drusilla, who remains motionless in his arms like a broken doll.

Photo: Evgeny Chesnokov

And now the clouds are gathering, the music is becoming more and more alarming, the clatter of the hooves of the horse, which, according to legend, Caligula introduced into the Senate, is becoming more and more audible. Caligula himself also changes, first wearing black masquerade-military robes, and in the finale - all red, as if the hero had bathed in someone else's blood. Movements become sharper, more erratic, heavier. He rushes around the stage, obsessively and frantically.

Photo: Evgeny Chesnokov

The entire performance exists in maximum emotional and plastic tension. As if he was taking revenge on himself and everyone around him. It’s as if he’s deliberately erasing from himself all the good that was once in his soul. And his madness is contagious - it amazes all the characters, electrifying so that every next gesture, every new melodic or light change hits the target.

Photo: Evgeny Chesnokov

In hard men's world there are three female characters. Actress Katerina Shpitsa plays Julia Drusilla, that very kind and bright component of Caligula. Tender, fragile, trembling, she is the shadow of his past, his dream, his soul. His Psyche. A ghost appearing from the depths of memory during the most difficult moments of Caligula's life.

Photo: Evgeny Chesnokov

Caligula's wife Caesonia is brilliantly played by Bolshoi Theater prima ballerina Maria Alexandrova, who creates the image of passionate love. Love is blind and furious. And all-forgiving - she is ready not to notice the sophisticated cruelty of Caligula, gradually changing, as if turning to stone. And soon he looks at the atrocities happening like a cold and unforgiving statue of a Roman goddess - perhaps Juno. This similarity is emphasized by Alexandrova’s entire plasticity - restrained, laconic movements, short and precise. But behind this regal avarice of gesture hide the strongest emotions. In Caesonia amazingly combines indifference, authority and sensual tension.

Photo: Evgeny Chesnokov

The third heroine is the wife of the patrician Mutius, performed by Zoe Berber. Another victim of Caligula’s cruelty, whose torture on display to the public could lead to open protest, but the aristocrats remain silent, either fearing their fate, or becoming accomplices in the crime.

Photo: Evgeny Chesnokov

The visual design of the play “Caligula” is mesmerizing. The first scene, where the emperor says goodbye to his sister, is simple and laconic, done in black and white. The bed is like a pedestal for a gray stone throne with a bas-relief of a snake. And in the ray of light there are only two - Caligula and Drusilla. But then, from somewhere out of the bizarre folds of the swaying curtain, as if from the sick imagination of the protagonist, other characters appear, ordinary and strange, in constant motion. And they roll straight into auditorium huge head-masks, and the disk of the moon either turns into the face of a formidable deity, then fills with blood, tempting the god-fighting ruler with its reach, beckons upward, then collapses, completing the tragedy.