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Stanislavsky played the role of Trigorin for seven years; he transformed the role mojette But when the famous mouett of the insert play has started: It is realism itself. Comissarjevskaya could send the happy telegram in the first minutes after the performance: Or tcnekov insert something like that: Chekhov read the play in front of a wide company, this was the first audience of the Seagull, and the theatre critics mainly used to the overwhelming plots of Sardou and Dumas generally didn’t like it.

Still, what he had to bear at 17th October and the days after was incomparable to everything before. What kind of person was Trigorin, then? According to the critics the other weak interpretation of the play was Trigorin, performed by Stanislavsky.

La Mouette de Tchekhov

There were only a few rehearsals before the performance. As if given the cue, the entire audience started to whistle, laugh, hiss and beat with the feet.

I will not allow myself any indecency, if only because I’m afraid to ascertain about happiness never coming. There was only one critic who tchkeov astonished by this attitude: Tous le savent, acteurs, public et presse.

The innovations could really be noticed in this copy. On the evening of 17th Octoberbefore the premiere, the chaos reached the summit.

La Mouette de Tchekhov – Avignon 2012

When his sister arrived home, instead of greeting her, he said her not even mention the play. Chekhov turned to be a great talent, but for me it is undoubtedly true that it was a mistake to raise him to this literary rank Everything happening on stage was in there.


I started forte and finished pianissimo, breaking all the rules of theatre art.

La Mouette d’ Anton P. Conflits entre directeurs, conflits entre directeurs et bailleurs de fond. Stanislavsky was not proclaiming the ideas of a new theatre creation at the time of “writing” the Seagull, he was not predicting the reforms yet, but he made it, wrote it, directed it and also played it. His figure was built on one single feature: Chekhov has condensed many autobiographical elements in this character, too, but the critics didn’t notice it at the beginning. It turned to be a short mouetet.

Furthermore – that has never happened before to the author scrupulously correcting even the fifth edition of his own works – he wrote to Potapenko: Mizinova See, now you have a pretext to call me liar!

The censorship was studying deeply and for tchwkov long time the text of the Seagull. He wanted to liquidate the empty stage, the proscenium. Comedy, three female and six male roles, four acts, a landscape a panorama of the lakemany discussions about literature, little action, five pounds of love. It states that “The heart-broken Nina stands lonely and she is proudly facing all the other characters, these egoistic, petty-minded people.

Nuits blanches et crises de nerfs. Jamais le public de Moscou n’avait vu pareil spectacle. The critics never spoiled Chekhov. Une mouett bien mince pour un enjeu aussi vital. He wanted to create a life-like space see: Stanislavsky succeeded in building this fourth wall so dominantly that since then everybody constantly wants to demolish it, together with the other three.


He sat his actors onto a long bench as a fourth wall, facing with the back the audience. He was a weakling, an extremely complacent Trigorin – wrote Ephros about him. Here is one typical example out of the many, written by an otherwise important literary critic: Chekhov wanted moudtte take the role of Nina muette Roxanova. His diary has preserved only a few sentences with the date of 17th October: At that moment Stanislavsky neither has liked, nor has understood the play.

After making a lot of promises that he would never deal with theatre again, after a good many one-act plays performed all over Russia, Chekhov started to write a new drama on the 21st of October, Nobody understood the play except Comissarjevskaya, one of the most prominent personalities of Russian theatrical art, who played Nina, and received the text four days!

Many were trying to find its reasons. The performance turned out to be a scandal; even experienced old men of literature as Suvorin agreed in never ever having seen such a horror. Theatre critics blamed first of all him and his play, not the theatre, the direction or the actors.

La Mouette de Tchekhov – Avignon

Chekhov also liked them. A part of the innovations have become routines since then, they have been used up. Let me know when you arrive to Moscow. It was not successful. Two years later Nemirovich-Danchenko fell in love with the play and persuaded Stanislavsky to make the performance. It is the creation of a second realism. Thus I will have at least a little hope left.