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Читать A play for 4,5,6,7,8 or 9 people. Holy Gaetz! Comedy

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Attention! ALL COPYRIGHTS TO THE PLAY ARE PROTECTED BY THE LAWS OF RUSSIA, INTERNATIONAL LEGISLATION, AND BELONG TO THE AUTHOR. ITS PUBLICATION AND REPUBLICATION, REPRODUCTION, PUBLIC PERFORMANCE, TRANSLATION INTO FOREIGN LANGUAGES, MAKING CHANGES TO THE TEXT OF THE PLAY WHEN STAGED WITHOUT THE WRITTEN PERMISSION OF THE AUTHOR IS PROHIBITED. THE PRODUCTION OF THE PLAY IS POSSIBLE ONLY AFTER THE CONCLUSION OF A DIRECT CONTRACT BETWEEN THE AUTHOR AND THE THEATER.

A play in two acts (18+)

Duration 1 hour 50 minutes, including one intermission.

An explanatory note for the director is attached at the end of the play.

ACTORS

Xenophon Vasiliev.

Alyona (Sergeevna).

Angela.

Zoya.

Anyuta.

Polina (Andreevna).

Victoria Yakovlevna Ponamareva.

Regina (Evgenievna).

Natalia (Igorevna).

The play is designed for one male role and eight female roles. But with a modest cast of the theater, this play can be staged with one hero and three heroines who will combine the basic roles of Alyona, Angela, Zoya, as well as distribute the episodic roles of other heroines among themselves. Thus, this production can be implemented with the number of actors 4,5,6,7,8 and 9 people. Scenes of extras can, if necessary, be played on a projector or something else. The most ideal option is 9 actors + extras 10-15 people, possibly with children. But this is at the discretion of the director and according to the possibilities of the theater.

Action 1

Scene 1. The seller of striped sticks.

It sounds positive-an incendiary musical composition.

The light flickers.

It turns out to be a stupefyingly happy traffic cop. He's wearing headphones and with his eyes closed with pleasure. It turns out, dancing, traditionally, as usual, twisting his striped wand on a string. He himself is in full dress (a traffic police inspector's suit, a cap, everything is as it should be).

He diverges in the dance so that his clumsy but diligent movements cause a blissful smile from everyone who can only contemplate it.

The traffic cop turns his back (to the viewer), performs quite busy pritops – dancing. At this point, the flickering of the light stops, and then the music stops.

But our traffic cop is still burning out.

The noise of the city begins to sound, the roar of cars passing by.

The crowd begins its march, which dynamically appears from different ends of the backstage.

Someone is just walking by, someone is in a hurry (for example, with a child, if there is an opportunity to attract children to episodic roles), someone is on the arm with a loved one (beloved). And, of course, the drivers passing by, most of them.

*For drivers, a footnote for the director below explains how they can be shown on stage.

Everyone at a certain moment of their procession or passage pays attention to a strange traffic cop. Someone smiles, someone twists his finger at his temple, someone shakes his head reproachfully, and someone pokes his finger.

The extras disperse – they disperse.

The noise of the city and the roar of passing cars stops.

The traffic cop turns to face the viewer, stops dancing, bringing his emotional dance to a certain logically final feint.

He exhales loudly, takes off his headphones, takes off his cap, opens his eyes to a full view, looks into the hall, happy and happiest.