A play for two people. Comedy. Desire

Attention! ALL COPYRIGHTS TO THE PLAY ARE 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. Duration 1 hour 15 minutes.

ACTORS

Kira is the main character (about 20-30 years old).

Plato is the main character (about 20-30 years old).

Scenography – at the discretion of the director, it is necessary to equip a residential apartment, in which there must be a large double bed, a shelf with a small hand-held female mirror, a TV (working connected, or you can do with the sounds of a working TV, turning the screen away from the audience), a wardrobe with things, an entrance door. From the optional – it would be useful to have additional open openings to the bathroom and kitchen, but they can also be beaten by the backstage area.

Scene 1. Passion

The actions take place in the apartment.

Cheeky striptease music sounds. Bright, powerful, charged, charging, exciting.

… approximately 8-10 seconds.

Then it would be good to give a few flashes of light so that goosebumps run along the vertebrae of the viewer. And then we light up two of our heroes coming out of different ends of the stage with light bulbs.

So, the music is hammering, the light is concentrated on our two heroes (Kira and Plato), who in a sexy, alluring, passionate slow dance movement (and not less passionate, but admittedly decent attire) come out from behind the scenes from different ends of the stage, and try to seduce each other as effectively as possible, and the viewer, of course same too. But the characters don't look at the viewer. They are completely absorbed in the growing passion that is about to pour out into something.

Our heroes are slowly approaching the climax in their passionate dance, they are already approaching each other and are about to grapple in a logical continuation …

BUT!

At this moment the music abruptly stops, all the bright passionate, emotional, external and internal mood of our heroes disappears abruptly. Normal daylight lights up on the stage, and at the same moment of the "Universal Bummer", Kira and Plato abruptly stop dancing and seductive activities.

Plato looks at Kira in a tortured, emotionless way, which in turn begins to express its dissatisfaction with what is happening quite unexpectedly for us (the viewer), but it is expected for Plato to express his dissatisfaction with what is happening.

Kira (restrained, but annoyed, expounding in a completely mundane everyday form). No, well… Well, no, no. That won't do. This is no good. We are now with you once! And everything… Well, that's it… and the whole holiday. And all the pre-training and everything in general here… that's all… (gestures) and that's it? Well, no, but we've been preparing so much. It's our anniversary. It's such a date! Yes, it's almost the same as an official wedding!

Plato shakes his head wearily, is silent. It can be seen that this is not the first time it all goes like this.

Plato (restrained, tired). Kira, dear. Tomorrow you and I are going to apply! We've decided everything. Our wedding is a completely established and irrefutable fact! But listen, today you and I have already celebrated our landmark date. Our year in a civil marriage is already history! We have clearly marked this milestone today. We sat in a restaurant, took a ride on a river tram, we went to the Philharmonic hall, as you wanted! (Quietly, almost imperceptibly for Kira) be it… well, okay, tolerable.

Kira (restrained, agreeing, but a little capricious). Yes! Yes, that's right, but, Platosha, dear, I want our whole gorgeous cake of today's events to be crowned with a certain cherry! And I want this cherry to be as bright, long, long, memorable as possible… do you understand? Well, so as not to crumple everything turned out in the end.

Plato (restrained, annoyed, and it's already clear that he doesn't need anything anymore). Yes, I am here… I see that there is no longer a crumpled end, nor any other.

Kira (running up to Plato, calms and invigorates him). Oh, come on… Well, Plato, what are you doing? Well, my good one… Well, what are you. Well… well, I'm sorry, yes, I… well, here I am… well, that's it. I want everything, at once and more. But… Well, it's simple… well, understand, we will remember this day and this evening for the rest of our lives. Today and especially tonight – it will be the brightest event in our future life. I understand perfectly well what life will be like later… children… worries… mortgages, loans, certificates, kindergartens, sleepless nights. And tomorrow you and I will take our conscious step towards this. But today, please, let's have a good time today! (Emotionally, encouraging Plato) The last time so as to just blow each other up! Just smash, scatter! Well!

Plato, cheered up by Kira's words, begins to shine with his mischievous eyes. He understands what Kira is talking about, he shares her desire. And now he is ready to tear and throw again!

Kira sees the readiness of a civil husband and it turns her on.

Plato (with intrigue, with a spark, with undisguised sexuality). Well… you asked for it! Now hold on!

Plato passionately, a little audaciously pushes Kira away, and goes "to the starting point".

Kira is a little surprised, a little taken aback, but admires this gesture of healthy aggression and under the fading light she also returns "to the original".

Repeat the beginning. BUT!

Only now even more passionately, even more audaciously, even more openly and fiercely, but within the bounds of decency!!! Everything should be very decent, even though this production is provided for the viewer 18 +. No nudity. Yes, some role-playing costumes are allowed, but we do not bend the stick.

So, the stage is dark, empty. Charged music (the same), a few flashes of light and the passion of dance, seduction and rage rushed. And when Kira and Plato approach each other again, then again everything ends abruptly and again our heroes stand and look at each other, as if nothing had happened, without emotions, as in ordinary everyday boring life. They just keep silent, look at each other and mutually understand that… it's all wrong. You can poke our heroes in the nose here, you can scratch your leg… It seems to be a completely illogical situation, but in fact it is explicable.

Plato (restrained, calm, without emotion). Bullshit… it's all bullshit, it's all wrong.

Kira (agreeing without emotion). Uh-huh …

our heroes walk calmly to the bed, sit on it and, leaning on their hand, propping their chin, sit, gloomily looking into the auditorium.

Silence, peace. We pause for about five seconds.

Kira (speaks to Plato, but looks thoughtfully into the auditorium, speaks without emotion). You know… We're probably overeager… In an emotional sense, I mean. In a sense, everything is similar with us… well, as with food. When you eat a lot of delicious things, then you just can't surprise yourself with anything. You no longer feel the sharpness of sensations, the bliss that was once from a simple piece of bread. Feelings are dulled… sensations are dulled… the sharpness of taste is lost and there is no passionate desire… which a hungry person has. That's the same in passion, the same in life. Somehow everything… everything is very, very great, but apparently there is too much of this "great". It looks like we're getting stuffed.

Kira turns to Plato, who also looks emotionlessly into the hall.

Kira (turning to Plato, with interest). What do you think?

Plato (restrained, calm, without emotion, not looking at Kira, looking into the hall). I think you're just oh…

as if coming to your senses and continuing to speak, already looking at Kira

Plato (to Kira, with the presence of natural emotions). She cooled down a little towards me. A year of living together is a kind of milestone that not everyone can stand. This is a period of crisis that just needs to be experienced… if, of course, it is necessary. (Asks very seriously) Do you need it?

Kira jerks her head in surprise with indignation, gets out of bed, moves a little to the side and, summarizing the year they lived together, gives her verdict.

Kira (seriously, turning to Plato). Listen…, yes! Yes, everything was not always good between us. We quarreled, we reconciled. They moved away and moved in. And you and I don't have the most accommodating character, but! But listen to what I'm going to tell you, Plato! I declare to you with all responsibility that if I had a choice now, to go the same way with you, or some other, but without you, then I would wish to go this way again, with you! Do you hear? It would be my conscious choice, knowing that there will be disagreements and squabbles, but I love you and I want to be with you.

Kira changes her attitude and serve. Her manner of speaking becomes playfully aggressive, it is clear that the girl has caught fire, and Plato sees this. He already understands what all this is going to and is even getting ready, sitting further away and more comfortably on the bed.

Kira (boldly, with a spark, with passion). So you are my conscious choice. Tomorrow we are going to apply to the registry office, and today I will shake the last of your strength out of you, regardless of whether you want it or not! (As audaciously as possible and as emotionally, passionately as possible) So pray if you want to to all your gods, but you won't be able to make it tonight!!!

Sounds the loudest audacious charged music (the same), the light is dimmed, but at the same time everything is clearly visible on stage.

Kira furiously runs to the bed, on which a ready-made Plato is already waiting for her. Kira boldly jumps on top of him, but somehow manages to fall awkwardly, so that the heroes bump their heads hard.

This episode should be played very carefully, it is necessary to show the viewer very clearly this moment of unplanned and unexpected by Kira and Plato a strong blow with their heads. Perhaps it makes sense to apply some kind of sound impact effect in order to attract additional attention of the audience to this moment.

The music stops abruptly at the moment of impact, Kara and Plato cry out in pain, both holding their heads, each for his own. Kira, gasping, groaning and squinting in pain, barely gets out of bed, but after taking a couple of steps, falls the same on the floor and loses consciousness.

Plato, seemingly overcoming the pain, tries to get off the bed to help Kira, lift her up, but he loses consciousness and passes out there on the bed, not having had time to get off her.

ZTM.

Scene 2. Oblivion

The actions take place in the apartment.

Morning is coming!

The light turns on smoothly. Our heroes are in the places where they stayed in the last scene.

Here is Kira with a disheveled head, all out of herself and out of shape at all, begins to slowly move her leg …, then her hand. Here she is already starting to move little by little, to wake up somehow. "Grunting and mooing" from the inconvenience, from the ringing in her head, she rises. He puts his hand to his head and writhes. She still does not see the bed with Plato, the bed is still out of Kira's viewing area.

Here she stands up smoothly, carefully. Staggering, she examines with sincere surprise her strange, as it seems to her, outfit, which is unclear (for her) why of a sexual nature.

And so Kira smoothly, surprised by everything that is happening, heads towards the bed where Plato is lying. Kira sees Plato on the bed, shudders and at the same moment begins to scream hysterically and fearfully!

Kira (frightened, loudly). AAAAAAA!!!

Plato jumps up on the bed from such a squeal, mechanically, still not having understood from sleep, tries to run somewhere, but since he is sleepy and his attention is still somewhere far away, then Plato in confusion in his unknown race hits some jamb and falls.

Kira stops screaming. Plato finally wakes up, gets up on the floor, but still sits on it, shakes his head and looks with surprise at Kira, who looks at Plato with no less surprise and apprehension.

Plato (coming to himself, but in a different way, busily, to Kira). So! My dear, please take the trouble to explain a couple of things to me. First, why the hell are you yelling like that! And the second – …who are you anyway?

Kira (indignantly, putting her hands on her hips). Huh!?

Plato is holding his head, a little distracted from Kira.

Plato (as if to himself). And I also wonder why my head hurts so much…

Kira (indignantly, nervously, but cautiously, to Plato). Who am I? Who are you? He's lying down, you know, on my bed, and he's acting so cheeky.

Kira indignantly throws off her hands, takes a breath.

Kira (trying to pull herself together). Listen, man, I don't know what's in there… it happened here yesterday. And whether you and I had anything or not. It doesn't matter, I don't know you. So… As they say… Thank you for a pleasant evening, everything was great, I'll call you sometime. And now it's time for you.

Kira points Plato to the door.

Plato grins, takes Kira's words quite calmly. He gets up, stretches his neck, shakes his head, wipes his face, "throws off the last remnants of sleep." After that, he approaches Kira, takes her by the hand and pulls her without words – leads her to the door (exit).

Kira resists, is indignant.

Kira (indignantly, resisting). Eeeee! What are you doing? Let go! What are you doing?

Kira breaks free. Plato turns to her and now points to the girl at the door, and supports this pass with an unambiguous gesture (a nod of the head).

Kira (indignantly, surprised). I don't understand.

Plato (calmly, without losing his composure). We've made a joke and that's enough. I do not know how you ended up in my apartment, but believe me, it's better for you to leave now. I will check things, and God forbid, something will not be in place. Keep in mind, there are cameras on the entrances. If anything, you'll be tied up today.

Конец ознакомительного фрагмента.

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