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Drummer. Display within the Golden Mask.
Since there is a dragon on the stage – compact, but quite convincing-the heroine of this one-man show, invented by choreographer Tatyana Chizhikova and playwright Anna Semenova-Ganz, I want to immediately compare with Daenerys.
A woman goes through life, runs through life, crawls through life – and periodically gets a punch in the face from this very life. He falls and stands up, grins, moves forward again-and in this movement there is a fierce energy of hatred. That's just the heroine of " Game of Thrones "this energy eventually destroyed – and the heroine of" Drummer " grew out of more powerful literature, and her nerves are stronger. Her hatred can be called Hamlet's: not only enmity with the dirty time, but also a willingness to mend it with yourself. The most spectacular scenes in the play, of course, are those when the brave music turns on – and there is a thunderous contrast between the suffering of a living person who is ready to fight for a sane world, and the mechanical conventional joy. No wonder the next performance by Chizhikova is called "City Day".
I do not know how the desire to fight arises, but I know this moment when there is a feeling of unbearability inside the body, when there is not enough air in the chest, and when at the same time an almost bestial rage is born in response. It is not clear where this aggression is aimed: I feel like I'm a Don Quixote who fights windmills. With an invisible but still real enemy. Invisible, like an airborne infection. I want to strike, but my hand falls into the void. Something important slipped away, only adding to my frustration. Where, when, and how does the desire to fight arise in the air? Where is this primary impulse born?