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coaches training of it all and carry on and find happiness.Visiting Russian performer Oleg Liptsin's very fine theatrical conceit, that of playing Winnie in a modern form of the Kabuki onnagata (male actor playing a stylized woman), accompanied complementarily by Jayne Entwistle (of Big City Improv) as Willie, only adds to Happy Days' spare, elegant poetry that pares existence to the bone.This balancing act between absurd humor and a strangely familiar pathos comes to the Berkeley City Club, presented by Antares Ensemble as a benefit for PAAP a scholarship fund to send Berkeley and Oakland students to UC one night only, Saturday Sept. 30, after closing a very short run this Thursday at the Shelton Theatre in downtown San Francisco.Liptsin has directed at Shelton on previous visits, and his production of Tolstoy's The Living Corpse is due to open there Oct. 7. But he seldom performs here, and to see him essay the female lead of this modern classic (which he directed earlier this year at the Beckett Centenary Festival in Krakow) is to witness a sterling example of the innovations of Russian theatrical technique that trace back to V. S. Meyerhold, to his student Eisenstein and its adaptation to Soviet film, to Bio Mechanics and Eccentrism much heralded styles that we hear of, but seldom see, except second (or third) hand.Liptsin's the genuine article, and though the rigors of Winnie's predicament prevent him from employing the more acrobatic means of his style, the range and play of expressions on the living mask of his/Winnie's face, as well as the vigor of gesture (hands darting in and out of a handbag,