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Theater 34.2 (2004) 72-102


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Plasticine

Vassily Sigarev

Translated by Sasha Dugdale

Click for larger view		 Figure 1
Vassily Sigarev's Plasticine at the
Bonn Biennale, 2002. Photo:
M. Gutermann
[End Page 72]
It has passed
The roses are dead
Their petals float down
Why did I dream of roses
All the time
We hunted them together
We hunted out the roses ...
... It has passed and the roses are forgotten.
—Dino Campana

Characters

MAKSIM
LYOKHA (ALEXEI VASSILIEV)
BRIDEGROOM (SLAVA)
BRIDE
SCHOOLTEACHER (LUDMILA IVANOVNA)
LYOKHA'S MOTHER
HEADMASTER (OLEG PETROVICH)
MAKSIM'S GRANDMOTHER (OLGA IVANOVNA)
SPIRA
NEIGHBOR
NATASHA
MAN IN T-SHIRT (CADET)
BARE-CHESTED MAN (SEDOY)
SHE, HER (TANYA)
Various men, women, and children [End Page 73]

1

He sits on the floor in a room that is bare, apart from a table, a bed, and a carpet hanging on the wall. His fingers are working plasticine into a strange shape. He finishes and puts the strange thing he has created in a bowl of glutinous dirty-white mixture. Then he takes the lead plates out of a car battery and bangs them on the edge of the bed to knock the residue off them, breaks them into pieces, and puts them in a pan. He fetches a small hob with a bare element, places the pan on the hob, and turns the hob on. He takes the bowl and touches its contents with his hand: it is as hard as stone. He scrapes out the plasticine. He looks into the pan—a small lead-colored pool of liquid reflects his face and a white pin of light from the lampshade on the ceiling. He takes the pan and pours the lead into the bowl. The remains of the plasticine hiss, catching light, and flare up. Smoke rises to the ceiling and goes in his eyes. The tears well up. He turns away, but the tears continue to roll down his nose and then down to the corners of his mouth. Now he is actually crying. He is sobbing.
Crying as if he knew something ...
The bowl cracks ...

2

The entrance hall of a shabby five-story block of flats. MAKSIM climbs up the stairs to the fourth floor. People pass him on the way up. They are silent, their faces empty. The stairway comes to an end. There is a door in front of MAKSIM. It is open; a felt boot stuffed in the crack keeps it ajar. There is a mirror hanging inside opposite the door. A red plush tablecloth with a fringe hangs over it, covering it. MAKSIM stops by the mirror and looks at it. The tablecloth suddenly falls to the floor, and MAKSIM sees his own reflection in the mirror. He looks at it in amazement, as if he were looking at it for the first time.
Someone touches him on the shoulder. MAKSIM turns around and sees a WOMAN in a black shawl.
WOMAN
What you do that for? You shouldn't have. Are you a schoolmate of his?
MAKSIM nods.
WOMAN
Go on through ...
MAKSIM goes into the main room. It is full of people. In the middle of the room there is a coffin with its lid on.
MAKSIM stands behind two OLD WOMEN . He stands on tiptoe, trying to look at the coffin.
FIRST OLD WOMAN
Hey—don't push!
MAKSIM
You what?
FIRST OLD WOMAN
Get out of it.
MAKSIM looks at her in bewilderment.
FIRST OLD WOMAN
I said get out of it.
MAKSIM
But I ...
SECOND OLD WOMAN
Go on, then.
MAKSIM moves away.
FIRST OLD WOMAN
There was one like him on the bus. He got right behind me and started to rub himself up and down on me. Got a hard-on straightaway. I took a-hold of him and pulled his hair. The things that blimmin' go on. I mean, you'd think he was only a kid—but he was already getting it up ...
A VOICE FROM THE ENTRANCE HALL
The crane is here.
The WOMAN in the black shawl goes over to the window and looks out. A...

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