The young Sergey is mad about ancient theater. He is inspired by books on the history of the theater and the works of modern ‘archaists-innovators’: N. N. Evreinov and Vs. Meyerhold. At the beginning of the 20th century there is a return to the topic of mass street theater. The theater is being rethought. On the eve of the great upheavals, artists again are interested in the carnival, in the comedy of masks, dating from antiquity. On the other hand, theater is a mystery act. It was played out in the Middle Ages on the porches of cathedrals. The mysteries explained the Christian sacraments, the ‘miracles’ showed the miracles of the saints. Ancient theater performances ridiculed vices and taught virtues. Often, they combined the culture of carnival and farce with the pathos of the sermon. And the roots of such performances were in ancient rituals. It is not by chance that the ritual theater Noh and the folk farce Kyōgen co-exist in Japan within the framework of a unified theatrical performance. ‘A general view of the theater’ is the set drawn by Sergei for one of his ‘imaginary productions.’ On stage, there is a farce of itinerant comedians, set on the cathedral square.