I somehow lost sight of and only now noticed that in the theater. Mayakovsky, there is a studio-off - rather informal education, whose activities within the general repertoire policy differ, as far as I understand, primarily in a greater degree of self-organization (that is, not actors are assigned to roles, but a “group of like-minded people” gathers and offers something), but although “off” does not stick out as a kind of “brand”, it is thanks to the studio that such iconic names as “The Decalogue” or now “The Man Who Mistook His Wife for a Hat” appear on the theater poster.

Oliver Sachs's book is not a novel or even a collection of short stories, but a description of cases from medical practice, suppose, excellent with literary point vision (I once read fragments in the first, journal publication), but still not fiction, and even more so, it would seem, not material for theatrical staging. Nikita Kobelev builds the composition of the "play" and offers a stage solution, at first glance, unpretentious. The structure of "novellas" is preserved, although, of course, a selection of stories has been made. Space decoration (Olga Nevolina) - stylish minimalistic: a white wall associated with the interior psychiatric clinic, there is a movie screen here as if inside a studio pavilion - fortunately, Dr. Sachs widely used a video camera in his therapeutic activities (well, just not digital, as now, they had not yet been invented), allowing patients to see themselves from the outside and compare the “objective” picture with their "subjective" self-perception. The costumes (from the debutante Marina Busygina) are brand new, elegant, fashionable. And musicians on both sides of the site are a common thing today, but here the role of music turns out to be special, deserving special attention.

The most difficult thing, of course, is with the actors - and when the theater refers to the book of Sachs the main problem, as it seems to me, that busting in terms of colors will turn patient characters into funny freaks, and actors into clowns; but playing with restraint, pale, firstly, it is impossible to convey the specifics of the "disorder" of patients, and secondly, it is not long to lose that humor, which, despite the seriousness of the majority clinical cases is still embedded in the text. Kobelev's approach is free from crafty sophistication - in fact, the actors work using the "etude method", using the entire traditional set means of expression both performing and external paraphernalia: from plasticity and facial expressions, slightly, but moderately caricature, to make-up, wigs, accessories and auxiliary props. Combined with video projection, the result is a spectacle that is both modern and unpretentious. But the success of "Man ..." is not only that the director and actors managed to make a fun performance for three hours with memorable characters and their heartbreaking stories.

Oliver Sachs explored the brain and consciousness, that is, the biological, physiological basis of human mental activity and the degree to which thinking is determined by physiology, but paradoxically came to the conclusion that self-identification of a person is not reduced to a physiological factor. In Nikita Kobelev, the characters of the patient characters are exaggerated a little, due to which the degree of comedy of individual types increases, as well as the degree of sentimentality in relation to them from the outside. The format, somewhat close to a youth, student performance, when the performers get several roles, when the roles change along the way, in “The Man ...” acquires a meaningful aspect. An artist who plays a doctor in one episode becomes a patient in the next, and vice versa; and the doctor, therefore, can be a woman - here it is to a greater extent than in Sachs (who nevertheless writes about concrete examples from personal experience) is an abstract figure, both conditionally and the opposition of a doctor to a patient.

Other important feature Kobelev’s stage composition — given the plot self-sufficiency of the stories, most of them are permeated with a leitmotif that reveals a connection between, let’s say, the “peculiarities” of the character’s worldview and his creative interests, in particular, in music. Hence the role musical accompaniment in the performance, and the specifics of the seating of the musicians (except for one guitarist, they are also actors of the theater troupe) on both sides of the stage, these are, as it were, two “ears” in which “imaginary” music sounds from the heroines of the short story “Reminiscences” by Mrs. a filling in a tooth that supposedly receives radio signals from church hymns) and Mrs. OS (this one hears Irish dance rhythms at high volume), or Ray, who suffers from Tourette's syndrome, is able to resonate with jazz percussion; not to mention the "title character" - Professor of Music P., who distinguished objects only by abstract outlines, and could function in everyday life only by singing this or that melody. Incidentally, it is hardly coincidental that Sacks' documentary book served as the basis for one of the most popular contemporary operas- the work of the same name by Michael Nyman, whose fragments, however, are not used in the play, but in the short story about the killer Donald with amnesia, who first forgot the circumstances of his crime, and then, after a head injury, began to remember it, there is a fragment from Philip Glass (the same minimalist direction, close to Naiman in style).

The central theme of the performance, arising from the proposed selection of stories, is the loss of self-identification, or rather, the inability to understand this loss: “If a person loses his personality, there is no one to realize the loss.” But despite the disorder of consciousness and some comedy, the characters of the performance do not look ugly - at least not more than the audience sitting in the hall (I would even notice that here you feel like you are on the bench, any of the halls can be pulled onto the stage - and it turns out that his head is worse than that of the heroes of the staging, and it’s not necessary to pull out, it’s enough to look around - and it’s clear that the “second cast” is ready, only less elegant than the actors in the costumes of Marina Busygina). Such a humanistic view of the director's character-patients, let's say, is somewhat simple (in my personal opinion), but it allows the director to talk about narrow medical cases in a universal, universal way.

"Why did you treat me?!" - the hero of Chekhov's "Black Monk" desperately asks, especially piercingly - performed by Sergei Makovetsky from the performance of Kama Ginkas. "You feel too good... you must be sick!" - the broken and amorous 89-year-old Natasha K. argues to herself in "The Man Who Mistook His Wife for a Hat". "The Man Who Mistook His Wife for a Hat" seems to have little in common with the "Black Monk" in all ” and “madness”, which also determines the ability of the individual to original, creative thinking (which is also “abnormal” in its own way), is affected at its level here as well. Some of Sax's characters are very pleased to have been relieved of "music in their ears" with the help of haloperidol and psychotherapy. Others, on the contrary, "miss" the lost "features". And still others are looking for a compromise, wanting to combine “normality”, socialization skills with “peculiarities” that often exclude socialization - like the aforementioned “tick wit”, jazz drummer Ray, who tries to observe “normality” on weekdays, but “comes off” on weekends. Or 89-year-old Natasha K., a former prostitute with "amorous disease".

Roman Fomin, Pavel Parkhomenko, Alexandra Rovenskikh, Yulia Silaeva, Alexey Zolotovitsky, Anastasia Tsvetanovich take on the role of the "doctor" in turn. But each of them and the rest also gets a patient, but not just one. Natalia Palagushkina's Mrs. OS and Natasha K. are two completely different models of people who hear differently than others, and feel differently than those around them, and most importantly, they see themselves differently. Indian-born American Bhagavandi (Anastasia Tsvetanovich) and autistic Jewish orphan girl Rebecca (Olga Yergina) are extremely touching characters, their stories are dramatic and heartbreaking, straight to tears; and some characters more humorous figures - like the carpenter MacGregor, who fights Parkinson with his own invention of a “spirit level” for the eye, or Mrs. S., performed by Alexandra Rovenskikh, who stubbornly “does not want” to notice what is located to the left of her, it is easier for her to spin on a rotating chair, making full turns from left to right than moving the eyes to the left. But even in these cases, laughter is harmless, harmless.

For the director, even more than for the writer, the "features" of the characters are not cases of clinical pathology, but some kind of "opportunity" alternative view on life, on society, and above all on themselves. To lose the "music in the head" for many of them would be a problem, if not a fatal catastrophe: so, you see, it won't be long and you'll miss it - and everyone has their own and one. The external, formal unpretentiousness of individual "etudes" enhances this feeling. While acting, some of the images are built very sophisticatedly - simply brilliantly, masterfully, for example, Yulia Silaeva, before reincarnating as a "doctor", designates a series of parodies-caricatures with which a completely nameless, off-stage heroine with Tourette's syndrome, met by a doctor, reacts to passers-by. a storyteller on the street: with the same good old etude method, the actress, as they say, “in real time”, running through an impromptu proscenium, shows with facial expressions and gestures “cartoons” at the spectators sitting in the forefront. And Aleksey Zolotovitsky sharply but accurately embodies Professor P., whose syndrome gave the name to the book and the play - leaving no doubt that we are not sick, not a psycho and not a freak, but still, first of all, a person, even if he accepts a wife for a hat. (At the same time, I confess, I am still convinced that among those who take a wife for a wife, and a hat for a hat, there are a lot of freaks and nonhumans - such is the specificity of my perception of reality, medicine is powerless here, art even more so).

However, in addition to the humanistic, tolerant (in best sense this highly discredited different sides concepts) of attitude towards those who see the world “differently”, demonstrating not only the inferiority, but also the advantages of the ability to perceive reality subjectively, in one’s own way, in Nikita Kobelev’s performance, in my opinion, there is another meaningful plan. It is not discovered immediately, but starting with the story of a Hindu girl who, through “reminiscences”, plunging into the memories of the world of her ancestors, in the end, dying, as if returning from him - and I think that for the director, unlike the author, this is not just a figure of speech, like the "incorporeal realm of nothingness" - more than a metaphor. Thus, the physiological aspect, through the study of the problem of the brain and thinking, merges with the metaphysical. With special theatrical clarity, the same motif manifests itself in the finale, when the screen falls, the pavilion-cabinet white space moves apart into the space and darkness of the “black cabinet” of the entire hall on Sretenka, through which the “lost sailor”, the character of Pavel Parkhomenko, wanders for decades. 1945, imagining himself a 19-year-old sailor, not recognizing sister- but still managed, cultivating the monastery garden, to find for himself a comfortable place in the world to live.

On stage at Sretenka director Nikita Kobelev put on a performance famous book neuropsychologist, neurologist and popularizer of medicine Oliver Sacks "The Man Who Mistook His Wife for a Hat". Only half of the book was used, and twelve stories are shown on stage in the wrong order, as Sachs arranged them, but "The Man" in general could be a transforming performance: an arbitrary neighborhood of episodes would carve out new meanings each time. Quite an experiment for the STUDIA-OFF project, which specializes in them, within the framework of which verbatims appeared earlier “ Decalogue on Sretenka" and " nine to ten».

Collected under one cover for the first time in 1985, Sax's stories from own practice describe amazing cases of how brain diseases affect the worldview of people. A US patient with an astrocytoma (brain tumor) during treatment inexplicably began to have documentary dreams about India, where she was born (as a rule, patients under the influence of therapy repeat one audio or visual "vision"). The man who killed his girlfriend in a state of drug intoxication completely forgot about it (“total eclipse of memory”), but cycling reminded him - it turned out that the repression mechanism did not work for him, and the memories literally drove him crazy, destroying him with guilt. Because of the tumor, the music conservatory professor began to perceive the world more and more through abstract categories than concrete ones: giving accurate characteristics of the surrounding objects, he could not call a glove a glove, and he really mistook his wife for a hat.

Finally, the episode central to the performance (and the second chapter of the book) - "The Lost Sailor" - describes an intricate form of Korsakov's syndrome (a kind of amnesia, often arising, for example, due to alcohol abuse), when an elderly ex-employee of a submarine forgot everything that happened to him after 1945 (that is, over three decades).

The production of "Man" in "Mayakovka" is almost the first in Russia, while in the world, for example, the great one was taken for the same text, and Sax's memoirs formed the basis of the film "". A certain memoir is also inherent in "The Man Who Mistook His Wife for a Hat" - Sacks offers not just a look at the case histories, but at the people who are hiding behind them. Such an approach, according to Alexander Luria, a Soviet scientist and founder of neuropsychology, could be called "romantic science."

At this junction of cold research and interest in the patient's personality, Kobelev's performance is naturally born - the theater of observation, which previously appeared on the stage on Sretenka in the format of verbatim. The scenery of "Man" is like a photo studio: lighting devices, a white backdrop, musical instruments along the edges of the stage (artists not involved in the episode create the soundtrack). The text is played out with often minor cuts. The actors seem to illustrate the words, existing in the format of an ironic radio performance with an accentuated play on the audience: all remarks are given to the audience, patients often seem to justify themselves with these remarks. Professor P. ( ) has a green hat (he took his wife for it). The patient ( ), who has had dreams about India, speaks with a kind of conventional accent. In The Lost Sailor, Pavel Parkhomin generally plays both a doctor and a patient at the same time.

This detachment reveals the connection between theater and medicine, "romantic science": deep humanity, the search for best features in a person who are able to compensate for his shortcomings (this is most clearly manifested in the chapter "Rebecca", where she very touchingly and delicately plays a girl with developmental disabilities, who is transformed in dance, poetry, reading the Bible). When the white screen falls, showing a much larger space behind a small stage, this describes the experience of the performance in the best possible way: a person is much more complex than we can imagine, much in him is still inexplicable and is hardly rammed into numerous schemes and systems of evaluation. Finally, the concepts of "doctor" and "patient" are also just roles, so their artists perform alternately - yesterday's doctor in another area may turn out to be sick, just like vice versa.

ATTENTION! The deadline for booking tickets for all performances of the theater. Mayakovsky is 30 minutes!

Oliver Sacks
Meetings with wonderful people

Staging - Nikita Kobelev
Costume Designer - Marina Busygina
Video artist - Elizabeth Keshisheva
Choreographer - Alexander Andriyashkin
Lighting designer - Andrey Abramov
Translation - Grigory Khasin, Yulia Chislenko
Musical director - Tatyana Pykhonina

The work of the world-famous American neuropsychologist and writer Oliver Sacks "The Man Who Mistook His Wife for a Hat", based on the stories of his patients, has long become a world bestseller and has an interesting stage fate: Michael Nyman wrote the opera, and the first dramatic production was staged by Peter Brook.
The Mayakovsky Theater was the first to stage a book by Oliver Sachs in Russia to tell about people trying to overcome various paradoxical deviations.
Among the heroes of these stories: a guy with Tourette's syndrome, which subsides only at the moment when he starts beating a frantic rhythm on the drums, an old woman, in whose head the music does not stop for a second. With the help of media technologies, exotic musical instruments and delicate humor, the creators of the play explore deviation as a revelation, changes in brain function as the discovery of the unknown in ordinary life ways.

The play "The Man Who Mistook His Wife for a Hat" became the third project of Studio-OFF of the Mayakovsky Theatre. The performances "Decalogue on Sretenka" and "Nine-to-ten" became the result of the previous work. Studio-OFF projects are the territory of experiment and free co-creation of all participants of the performance.

“Classic narrative stories revolve around archetypal characters: heroes, victims, martyrs, warriors. Patients embody all these characters, but in the narrated strange stories they appear to be something more. They can be called wanderers, but in unimaginably distant lands, in places that without them it would be difficult to even imagine. I see in their wanderings a reflection of a miracle and a fairy tale.
Oliver Sacks

“We came up with a funny formula for the performance: “meeting wonderful people.” We would really like the performance to become such a meeting - not with characters, but with people, with their stories, completely different from each other. Peering into their destinies, once reversed by disease, Dr. Sacks explores the connection between brain and consciousness, consciousness and soul."
Nikita Kobelev

Eye-water level - Roman Fomin, Pavel Parkhomenko, Oleg Rebrov
Right, around Alexandra Rovenskikh, Alexey Zolotovitsky
Reminiscences - Nina Shchegoleva, Natalya Palagushkina, Alexandra Rovenskikh
Tick ​​wit - Pavel Parkhomenko, Yulia Silaeva, Oleg Rebrov
The man who mistook his wife for a hat - Alexey Zolotovitsky, Nina Shchegoleva, Yulia Silaeva
Journey to India - Anastasia Tsvetanovich, Pavel Parkhomenko, Oleg Rebrov
Rebecca - Olga Yergina, Alexandra Rovenskikh, Roman Fomin
Amorous disease - Natalia Palagushkina, Alexei Zolotovitsky
Disembodied Christy - Julia Silaeva
Murder - Roman Fomin, Anastasia Tsvetanovich
Lost sailor - Pavel Parkhomenko, Yulia Silaeva, Alexei Zolotovitsky, Olga Yergina, Nina Shchegoleva, Oleg Rebrov

Andrey Abroskin- guitar, sitar

Duration:2 hours 40 minutes (with intermission).

. "The man who mistook his wife for a hat" at the Mayakovsky Theater ( Kommersant, 12/21/2016).

The man who mistook his wife for a hat. Theatre. Mayakovsky. Press about the play

Theatergoer, November 30, 2016

Olga Egoshina

"Could you play the nocturne"

In Mayakovka, they turned to the cult book of an American neuropsychologist

Together with a team of like-minded people, the young director Nikita Kobelev turned to the book of the popular American neuropsychologist Oliver Sacks for the first time in Russia. A successful practitioner and authoritative theorist, Oliver Sachs was able to present his theories and long-term observations in the form of popular books. His works are on the shelves of scientists and attract people who are far from science. Based on the book The Man Who Mistook His Wife for a Hat, Michael Nyman wrote an opera, Peter Brook staged a dramatic performance.

In this work, Nikita Kobelev invited only like-minded people. There was no preliminary distribution of roles, whole line people tried themselves in new proposed circumstances. All together bravely dived into the world of clinic patients, regulars in the offices of neurologists, psychologists and psychiatrists. To the world of people suffering from tics and hearing music and voices, losing orientation in space and time, juggling with numbers, losing control over the body, not recognizing relatives and hearing God.

Almost all the performers involved in the performance take turns trying on a white doctor's coat. The props are changing - in the center of the stage is either a wheelchair, or a chair, or a racing bike. That is a drum kit. On the sides of the stage, five musicians replace each other, whose improvisations accompany and lead the action.

In each episode, a new patient with his own individual story, with his own unique problem. Sachs dealt with a variety of brain injuries - the hook of the brain, the amygdala, the limbic system and the temporal lobe. Damage that leads to the loss of the ability to distinguish faces and recognize objects, cause auditory, visual hallucinations, polydipsia, satyriasis, bulimia, aphasia, confabulation, and so on and so forth. From the doctor's comments, we learn that a small glioma in the brain can lead to hallucinations so colorful that the person loses contact with the outside world. And narcotic substances can suddenly wake up the sense of smell, giving it a “dog-like” sharpness.

The actors of Mayakovka with genuine pleasure portray their incredible characters with their tics, dysfunctions, phobias and psychoses.

Natalya Palagushina easily and famously shows the 89-year-old Natasha K., in whom the syphilis spirochetes suddenly awakened “amorous disease”. Because of these invisible stimuli, the venerable widow suddenly felt youthful enthusiasm and playfulness one fine day. Putting on sneakers with large rhinestones, Natasha K. nonchalantly flirts with the audience, and addresses the audience in a friendly way: “Well, girls, do you understand what I mean?”

Pavel Parkhomenko with pleasure and outstanding mimic skill shows all the "ticks" of his drummer hero Ray: a change of grimaces, a protruding tongue, furious volleys of curses. And then, settling down drum set, knocks out inspired rhythmic improvisations from the drums. Ray's temperament, intolerable in everyday life, - here stimulates inspiration and captivates listeners.

“What a perfect creature is man!” sighed Prince Hamlet.

But how vulnerable!

One grain of sand that gets into the mechanism is enough to make it all go wrong. Do you think that your old friend just went crazy and turned into a world-hating evil bitch? It was from the disease that was eating her that her hormonal background changed. Do you think this impudent person who gets on the bus and pushes everyone around is drunk? He's lost proprioception.

A small blood clot that briefly cuts off the blood supply to part of your head is enough to completely erase an entire part of your personality. Alcohol can destroy memory. Turn the drug into a brutal killer. Finally, the mysterious causes of the interaction, which the doctors will not be able to determine, overnight will deprive you of the feeling of your own body, so that you will have to rebuild your relationship with walking, sitting, motor skills.

So one fine morning, Christina lost her “joint-muscular” feeling. Actress Yuliya Silaeva takes an absolutely impossible pose on a chair, trying to convey her heroine's attempts to maintain the position of her body in space, when the “feeling” of this body has completely disappeared. And you look at your hands as foreign objects. And you do not feel the skin, joints, muscles. And it takes months to learn to sit, walk, relying only on visual control ... And still, you can’t calculate the effort with which you need to hold a fork or spoon so that the joints do not turn white from tension.

Life in society is a thing that requires constant effort even from perfectly healthy people. Oliver Sachs patients have to put in ten times, hundreds of times more effort to compensate for the opportunities taken away by the disease.

Carpenter MacGregor (Roman Fomin) invents for himself a device attached to glasses, which replaces the internal spirit level - a sense of balance.

Professor P., suffering from agnosia and not distinguishing between people's faces or the shapes of objects, is developing a whole system musical melodies, which help him to perform the simplest household activities: independently wash, dress, eat. And Alexey Zolotovitsky wonderfully shows these endless melodies that lead his hero through an impersonal world.

The heroes of the play are people who wage a constant and exhausting war with their illness. And thus polish the will and mind, learn humility and kindness.

Not fully built logically (only premiere screenings were held) and rhythmically Mayakovka performance main topic Oliver Sachs - the theme of surprise before the miracle human personality- leads surprisingly clearly.

Perhaps the most poignant moment is the episode with Rebecca.

Disabled since childhood, clumsy, awkward, trying for hours to put her left glove on right hand, she knows how to enjoy the wind and the sun, the blossoming leaves. Can hear music and poetry. Knows how to love and grieve. When the beautiful Olga Yergina, picked up by the melody, suddenly becomes weightless, plastic, luminous, this moment of transformation becomes the highest point of a journey into a world so far from our everyday experience and so close to spiritual experience, a world full of miracles, secrets, discoveries and adventures.

Summing up his life, Oliver Sachs wrote: “I loved and was loved; much has been given to me and I have given something in return; I read a lot, traveled, thought, wrote. I communicated with the world in the special way that writers communicate with readers. Most importantly, this beautiful planet I felt and thought, which in itself was a great privilege and adventure.” Perhaps many of the characters in The Man Who Mistook His Wife for a Hat could repeat his words.

Kommersant, December 21, 2016

Insanely ill

"The Man Who Mistook His Wife for a Hat" at the Mayakovsky Theater

A branch of the Moscow Mayakovsky Theater played the premiere of a play directed by Nikita Kobelev based on the well-known book by the American doctor Oliver Sachs, The Man Who Mistook His Wife for a Hat. By ROMAN DOLZHANSKY.

The book of the American neuropsychologist Oliver Sachs "The Man Who Mistook His Wife for a Hat" at one time literally shocked the world, and after being translated into Russian - many who read it in Russia. Not only a practicing physician, but also a popularizer of medicine, Sachs collected in this book stories from his practice - a variety of cases of severe neurological disorders, combined into a kind of encyclopedia of diseases. Of course, incomplete: the more cases the doctor describes, the more unpredictable and unknowable the world of the human brain appears, the more variable the very concept of the disease turns out to be - what is called abnormality in common, everyday language.

Nikita Kobelev collected several chapters of the book on stage; The name of the performance, like the book, was given by one of the stories - about a music professor whose eyesight refused to recognize objects (the same chapter from the book by Oliver Sachs was once the basis of the famous opera by Michael Nyman). The performance is made up of separate episodes played in a small space - the hall on Sretenka is already small, but here the audience is sitting right on the stage, and the chamber playground, fenced off by two white surfaces, is somewhat similar to a photo studio. There are musical instruments to the right and left of her, most of those who sit down at them are the actors themselves, which makes the performance even more trusting.

It could be said that this is a performance-concert - if such a definition did not tune in to some frivolity of the audience's perception. But frivolity does not seem to have a place here: we are talking about gloomy things. The performance of Nikita Kobelev can be easily entered into a series social projects, which in recent seasons have appeared on many Moscow stages - the theater has finally ceased to be afraid to look into those areas real life which were previously considered alien to high art. Today, no one will dare to say that our audience does not want problems.

However, the performance of the Mayakovsky Theater is made and played so contagiously that there is no need to feed your interest solely on the importance of the declared topic. Of course, a strict connoisseur can say that a person is nothing more than a collection of high-quality acting sketches. After all, each of the situations is like a small gift for a learning task: to play a woman who does not feel her body, or a former sailor whose mind is stuck in his youth, or an awkward, ugly Jewish girl who is unable to concentrate on anything, or a musician struck by a nervous tic. , or a comic old woman trying to seduce every man she sees... And the doctors of both sexes who are present in all the stories are often interesting, albeit captured by only a couple of phrases characters. And not a single actor will miss the opportunity to reincarnate, playing several roles in one performance. When there is a talent to transform like Alexey Zolotovitsky, Pavel Parkhomenko or Yulia Silaeva, then the joy of the audience is added to the insatiable acting joy.

And yet, the purely theatrical tasks that actors and the director have to solve are not at all as simple as they might seem. For example, how to portray a sick person, so as not to cross the invisible line, beyond which art ends and awkwardness begins? How to select the very couple of details that are necessary for this particular story: either an expressive costume, or a couple of candles, or a video camera, or powder that turns a fresh actor's hair into gray hair? What plastic to choose for the hero? In most cases, these tasks were solved by the director and his team reasonably and justifiably, and yet the most important result is not that the performance deserves a "pass" rating. And the fact that the aftertaste of it remains the main humanistic thought of Oliver Sacks - on the one hand, neurological ailments deprive patients of philistine happiness, but on the other hand, they single out in them some one, their own, unique corridor of abilities and opportunities. Perhaps bring them their own, unique, unknowable by other people happiness. After all, the passion for the theater can also be explained in this way.