The thing you should pay much attention is a pattern in the space that appears spontaneously and goes exactly into the sense of what is happening.

You move intuitionally and it is unknown where the emerged pattern will lead you. But you move through it very precisely and suddenly find out that Anna has taken a chair of a witch and her own chair was occupied by Sergey-Mephisto in absolute improvisation. And when she was going home there wasn’t any place to go for her. There is him at her place. She wants to run home but he is there. That’s it. This clearly supplies all the energy of the scene. This energy just should be given out. And Danil takes the chair from her and gives it back to witches. This chair prepares her story. She is already waited for.

Understand, I don’t speak about a ballet, neither about a theater. Here the real metaphysical action is laid which suddenly works as a mechanism in the scene. Really. She is totally in a trap. The whole space, the whole mechanism snapped into action. Clack. There is no way. She went out from where she would never come back. Her place is everywhere occupied. Her way is everywhere marked, marked by the blood. Everywhere. And there is no place for her to escape. For her — how? She can’t go back home. And she gets into this story. That’s it. Then she has only one men who desires to lead her. He actually didn’t say where. But he will lead her to the end.

This very seeing off is something that opens the meaning. This seeing off Gretchen is lead by this men. On one hand he is a figure who says: “I will lead”. And he will. But on the other hand from this second she has totally nothing because everything else does not exist at all. Mephistopheles does not come to frighten her. Consider that she just finds him inside herself. And she has no place to run, nowhere to jump out. She is already in the hell. In the meaning of this situation. And she is here. The absolute “trap” mechanism has worked out.

Then when you work with a space pattern which you start to mark you should just deliver it. Here it is: the run and after it there is only the wish to sit back to your place. And you find yourself totally out of this line and it is unbearable for you. You must get into it. But your place in it is occupied. But it is your home.

Imagine such a structure. You are getting to your home running away from everything that frightens you. You open the house but there is a stranger in it, but it is your home. But, there is the stranger. But, it is your home. And the stranger is not that one whom you can kick out of the house or get rid of. And the house suddenly changes its contours. On the one hand it is still the only place on Earth where you can hide, but on the other hand it does not belong to you anymore. And you mechanically do the action “to hide”, but there is nowhere to hide anymore.

The principal of the trap has been totally acted now.
This is the composition play.

A fragment of the rehearsal.
March 2010.