ABSTRACT
In Shengelaya's Elisa, for instance, the playing - the work of the actors - is pale and colourless but the people are properly produced or, rather, reproduced. In the ethnographic character Vazhiya we find his script position as Don Quixote. The most common Caucasian film sequence - the lezginka139 - is transposed into a motif of grief, the social significance of the dance is reinstated, revealed by its new motivation. The film exists without the playing of actors and it exists successfully.
