Director Gleb Cherepanov: "Our performance is about the destruction of talent and the chopping of the soul. The most terrible thing is to deceive oneself, engage in unloved business, communicate with people who are not close, to live not their own lives. Sometimes this leads to sad consequences ... And, of course, the performance is dedicated to the Music, above which there is nothing for the hero of Konstantin Khabensky. But at the same time there will be almost no music in our production, but there will be a lot of sound - very different and unexpected. "

Theatrical version of "Contrabass" by Patrick Zuskind like to be called a solo performance, but its authors ask not to do it: Konstantin Khabensky will be on the stage not alone. The director and the actor set out to escape from monologue, literary, in which the artist inevitably falls on the stage, mastering a huge array of text. There is no special choreography in the play, but the authors tried to present the "Contrabass" through a physical action that is understandable without words, like a silent movie, grotesque, tragic and tragic, tragic. This is not a conversation with the auditorium, everything preserves the principle of the tightness of history. In Nikolai Simonov's scenography there are the effects of the big stage of the Moscow Art Theater, various mechanisms, but also not only: the world in which the Contrabassist lives is closed, stifled, impenetrable. His home is also a soundproof music studio, where no noise from outside can penetrate. But here, inside, in this artificial world, everything the Contrabassist touches, can come alive, make sounds, become the object of a game for a lonely person. In the finale of the spectator a surprise awaits - the action will not go exactly as Ziyskind wrote.