The Story of the Lost Castle. Nikolay Lakutin
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.
Comedy. Drama. Horror. In two acts. Duration 2 hours.
WARNINGS!!!
For theaters that focus this production on horror!
During the production, it is desirable to have two law enforcement officers or two theater administrators in a constant field of view of the viewer (along the edges of the stage), because at certain moments of the production, panic is possible in the hall. We need those who will be aware of the events and will remain calm, thereby setting an example to the viewer, explaining, if necessary, that everything that is happening is staged.
The viewer should be warned about shocking episodes and be ready emotionally and physically to perceive them!
If the emphasis is on drama, and shocking scenes are not exaggerated, then warnings in the production can be ignored.
ACTORS
Callista is the main character (about 20 years old).
Erast is the owner of the castle (about 30 years old – in appearance).
Maina is the girlfriend of the main character (about 20 years old)
Ermolai is the father of the main character (about 60-70 years old).
Elena is the mother of the main character (about 20 years old – in appearance).
Polycarp is the father of a friend (the natural age of the parent).
Vera is the mother of a friend (the natural age of the parent).
Antip is a servant (a role without replicas).
The production involves extras (20-30 people).
Act One
The viewer should not see the scene before the action begins! The curtain must be closed before the performance begins!
Before the beginning of the action of the first scene (about 10 seconds before the start of the action), we give a loud, angry roar of Venom (or something similar, but very bloodthirsty and spectacular)!!!
Scene 1. Polycarp's Barracks
A remote village. Evening. Barracks.
It's dark in the hall and on the stage. I can't see anything, but I can hear something.
Some household sounds are heard on the stage. Someone walks, someone knocks something, moves something. The sound of a spoon on an iron bowl. Heavy dissatisfied male exhalations.
In the auditorium a few people can linger and fidget in their chairs impatience understandably, the excitement and expectations of the unknown (this issue can be partially solved decoy actors, but the viewer to the point until the light on the stage does not illuminate, usually rustles, rustling, etc., that's what we need).
Polycarp (suddenly loud, strictly to the viewer chills ran down his back, and there was mixed feelings, to whom and from whom the appeal, or to the viewer, whether it already is the play). So what? How long are you going to get in?
We give a small pause of 3-4 seconds before the next remark, so that the viewer does not have time to understand anything.
Vera (nervously). Yes, what is it? Don't you know what yourself? The traffic jams must have been knocked out again! Maina – drag the lantern, so you can't see anything.
Polycarp (strictly). Okay, don't make any noise there! Not for the first time!
Myna (excitedly). I don't see it, Mom! There is no lantern in place. Petrukha, come on, he's taken it again! He spends the night at his grandmother's, constantly takes it with him. There is no lantern in place, no – that's the cross!
Vera (nervously). The dog is with him with a lantern, bring matches, light up with something already!
Rustling, walking, movement, the clink of a spoon against an iron bowl.
Myna lights a match.
In the light of the match, the faces of the mother and daughter are barely visible, who are trying to see something at the electric panel.
Myna (hesitantly). No, everything seems to be in place… Something I don't understand then…
at this moment the light turns on.
The viewer sees a cozy, rather poor house. The atmosphere is rural, modest, habitable. In the corner of the house there is a large backpack assembled. Dinner is in the house. The table is set for all family members. The father is sitting at the table, calmly eating soup from an iron bowl, in fact, he taps the spoon on this very bowl, bites a piece of bread. Mother and daughter are bridging at the electrical panel. Myna blows out the match.
Mother and daughter transfer dissatisfied glances to the head of the family. He continues to eat calmly, and clink a spoon.
Polycarp (calmly, without looking up "from the case"). And …, well, that's right. The announcement hung on the building of the village Council. Short-term outages are possible. I completely forgot.
Vera (throws up her hands nervously). No, I am so touched by this imperturbable calmness! As he ate, so he eats. At least for the sake of appearances, whether the place of deployment has changed. My daughter and I are trying something here, trying, and he, you see, is eating!
Polycarp (calmly, without looking up "from the case"). Nervous worries for health do not contribute much. And then – the guy came home from work! Don't you dare touch the man! This law has been honored for centuries in the families of our village. That's how it should be. And there's nothing for me to stir up trouble!
Polycarp turns to the ladies.
Polycarp (calmly). Well, what are you standing for? Let's get to the table before the lights go out again. It's not so convenient to have dinner in the dark. I tried. So hurry up, ladies, hurry up… Don't waste your time.
The father of the family hands his bowl to his daughter.
Polycarp (in a masterly manner). Come on, Myna, give me another splash! And then the mother, something is not in the spirit today.
Myna takes her father's bowl, goes to the pot, pours the soup.
Vera, dissatisfied, goes to her place at the table. But before she can reach it, Polycarp grabs her playfully and pulls her to him. Vera squeals in surprise. The daughter turns around, smiles, understanding what's what.
Vera (playfully, through resentment). Let go, crazy! Polycarp, let go, the tea has decided the wrong moment!
Polycarp (cheerfully). Don't puff, you're Vera. All is well! Look at how my daughter was raised! The hostess! Hooch soup folder pour, hooch…
Vera (interrupts). She can do everything! My school!
Vera breaks out of the embrace and sits down at her place, starts eating.
Maina brings her father a bowl.
Everyone sits down at the table, dinner continues, as, apparently, before that, before the lights go out.
They eat quietly for five to ten seconds, without excesses. Suddenly Vera throws up her hands, groans, takes off, runs into the hall.
Vera (wailing and running into the pantry). Ugh! I almost forgot!
Father and daughter calmly watch Vera, exchange glances, are silent.
Vera returns with a flask in her hands, carries this flask to her backpack, and puts it inside there.
Vera (pointing to the flask). That's it! I prepared it in advance, but I almost forgot. It seems that she prepared everything, provided for everything, and almost left the flask in the hallway.
Vera returns to the table.
Polycarp (daughters). So what, you say, for a hike you have? Where are you going?
Myna (indifferently).