The director star infuses the work of Chekhov an ironic and a unique modernity, now discover the Theatre of Europe.
“My work is imbued with the trip to prison Sakhalin” we read on the gray wall backdrop before the start – light lit room – the show at the poor decor in modern costumes. Always with the minimum of tools ready to rock the music thundering job on a tray on the side. “Who went to hell sees the world and men differently,” continues on the wall inscription Anton Chekhov signed and dated 1890; six years before the creation of the Seagull which promises some improvisations by the actors before the public. Russian doctor and playwright (1860-1904) was rubbed in Sakhalin all the distress of the world. Before the others, it was a sort of humanitarian worker in the service of the poor, he never ceased to rescue his brief life.
Melancholy and improvisation
it is this social fiber, this selfless generosity that makes us feel the second set and amazing french director of the German master Ostermeier. A priori, Chekhov and entangled aristocrats pain, suicidal, did not belong to her Shakespearean fantasy, active and energetic. It usually prefers characters who are. And defeat. But with French actors who do not have the muscular style of play from his Berlin troupe Schaubühne, Ostermeier seems here to surrender. More melancholy, more tender.
To address The Seagull, dark history of art and love, mother and son, officials and rebels artists beside a lake funeral, he has worked improvisation with his actors; This storytelling, not so far experiences of Stanislavski (the first to stage Chekhov) and prompting the actors to tap in themselves enough to feed their role.
“Rules of personal accounts Ostermeier?”
So, oddly, to find the presence and attention to the world of Chekhov, they evoke early show Syria; or engage in critical tics and excesses of a contemporary theater of fashion. Regulations of personal accounts Ostermeier? These positions on the edge of coquetry – political, narcissistic – yet make the room closest to our current questions. And passionate dramas that haunt The Seagull are only the most moving.
Désillusions sentimental
overwhelming cruelty of his son Arkadina, successful actress aging abandoned by a renowned academic and novelist lover, who only has eyes for the young hot “seagull”. But yet too cowardly to abandon the sequined comfort of his mundane life moscovite.Tous possible love coexist in this drama where painful feelings, disappointments sentimental flush of replica replica. As in Racine, this unbroken chain of frustrations and fantasies, nobody liked the one he wants. With art as background sound, the rhythm of a ubiquitous rock. All conceptions of art. One that explores, invents and tears; one that reinforces ensures reconciles
Which side is Chekhov with this choral work that breaks new ground in form -. all characters are equally important – in the modesty of the action – it happens not much, the floor is the main character. A work that nevertheless keeps a smiling benevolence toward his characters, who console, brings together more than divides? At the bottom of the tray, where all actors are sat to watch play their partners throughout the performance, where they change themselves humbly sets, a young woman painted on the gray back wall of large solid blacks that go soon cover everything. First is believed to draw a seagull, or a storm. Or death, no. Who better than maybe too much pain. This is painting art, which more than love have the last word. Or rather the last silence. “The rest is silence”, Hamlet whispered before disappearing. That continually cite in Chekhov’s The Seagull. The string of theatrical art.
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