What amazes, perhaps even shocks, but at the same time excites the audience, who have just entered the hall, is what is seen for a moment from a vast field of wheat, which, as soon as the curtain rises, we will understand, covers a considerable space of the stage, the front stage, and the first few rows of the Great Hall of the National Theater in Tirgu Mures. Where a new version of a famous song is playing Uncle Vanya by A.P. Chekhov. Edited by Sorin Militaru.

The vast majority of the public admires the generous amount of work spent on the realization of the scenographic concept proposed by Alina Herescu. Spectators who are more familiar with the history of the theater cannot fail to recall the scenographic decision made several decades ago by the director Lucian Pintilier and the production designer Paul Bortnovsky to present the famous cherry orchard in an anthology play with Bulandra.

Somewhere in the middle of the scene, in a wheat field, there is a table. On which there is an indispensable samovar. Without which it is impossible to imagine the Russian world, and therefore the world of Chekhov. Only nanny Marina (Kristina Holzli) is not far away, except that she is busy making tea. There is another mirror on the table, so the nanny, still lively and by no means hunchbacked, as we are used to in the previous montages, adjusts her outfit again.

Doctor Astrov is next to her. Kostin Gavaza brings a still young, undoubtedly handsome, elegant man to the stage. Pay attention to clothes and gestures. Astrov realizes that in his youth he was a great conqueror. The conqueror even today, although he likes to flirt with age. Perhaps that is why he considers himself a failure. He declares his lack of interest in love, but is clearly in love with Elena Andriivna. Costin Gavaza perfectly plays the moment of asserting disinterest. It is clear that Astrov perceives himself in a completely different way. This is not even compared to Ivan Voynitskyi (Mihai Crăciun), who at 47 years old is already old. Ivan, that is, Vanya’s uncle, even at some point sums up his life and what is left of him. So, apparently, he has about 13 years left to live. But what will he do if Professor Serebryakov (Dan Redulescu) succeeds in carrying out his plan to sell the estate?

Vanya is the main loser in the play. The attempt to kill the teacher was also unsuccessful, and the regret is volcanically expressed by the character and perfectly by Mihai Krechun. .

But for now, at the beginning of the performance, Astrov dominates the stage. He is, as I said, a charming man. Costin Gavaza transforms Astrov into a bored, tested, jaded man marked by repeated nights of drinking. speaker. The doctor captivates not only with the elegance of his clothes, but also with his appearance. As Olena Andriivna later described him, “this doctor has a tired, nervous strength.” Astrov will always be looked upon with love, with respect for the self-esteemed episodic character Sonya (I see Larisa Dobrin on stage for the first time, who is absolutely wonderful in this role, and this is although she is still very young, maybe even too young for the heroine, but the actress convinces with a well-dosed mixture of impetuosity and despair), but at least for now he proves independence, if not necessarily from existence in general, then at least from others.

Independence will drown and mix with alcohol. This will turn into more and more frequent drunkards. Some of the periods have become almost daily. Moreover, a little later, the samovar will be transformed into a still, which will be poured by both Astrov and the servants (Stefan Mura and Christian Jorga). At least this is how a subject taken from Russian mythology will prove its usefulness. Because nobody really wants tea. Or if he wants, he asks, like Serebryakov, to be sent to his room.

The drinking will continue, the samovar will be replaced by a klondyr, which Astrov almost took with him. Disabled. Forced to fulfill a promise. As if he didn’t come every day. Save poor Sonya from suffering. Is Olena Andriivna (Loredana Daskalou) sincere when she asks him about it? Does she not want to see Astrov herself? Doesn’t she want to be possessed herself? And he is inappropriately interrupted by the inadequate introductions of the now even funnier Vani. Astrov promises. He did it so many times.

Astrov, Marina, Sonya, servants, Vanya, such a rude and inappropriate Telegin (Ion Vantu) – that’s what the critics called the main characters. For now, they are all waiting to return from the walk Parade Serebryakov It was opened by a confused Maria Vasilievna Vonitskaya (Gabriela Bakali). The director of the play, Sorin Militaru, honors the tradition here. In Chekhov, arrival and departure are the main ones. Sometimes funny, endless, but obligatory, Almost ritualistic.

The teacher does not miss any opportunity to present himself as a victim. A disease with clearly exaggerated symptoms would be one that would have prevented him from being among other scholars and among his supposed students. It does not exist at all, if you believe Ivan Voynitskyi. Serebryakov always informs that he has something to do. Read, write, worthless things. As Uncle Vanya often says. Here we are dealing with Voynitsky, crushed by hatred. Hooray for a wonderful crescendo performed by Mihai Krechun. Hatred, justified both by the teacher’s demonstrated arrogance and by the fact that Vanya finally realizes that he has been mocking her all her life. How can you say that Olena Andriivna is now in Serebryakov’s hands. With whom Vanya was also in love. Vanya, who sacrificed herself for Serebryakov.

Leonid Teodorescu (cf. Chekhov’s dramaturgy, Univers Publishing House, Bucharest, 1972) believes that “in a certain way, Uncle Vanya it is almost entirely a play about sacrifices.” Each of the heroes of the play, the exegete notes, sacrificed himself for someone or something. “Voynitsky and Telegin because they sacrificed themselves for someone, Serebryakov and Maria Vasilievna because they sacrificed themselves for the sake of something, Olena because she married an old man, Sonya because she did not marry an old man (Astrov). Voynitsky begins his monologues because he did not sacrifice himself for something (he could have become Dostoevsky); Astrov calls them because he sacrificed himself for something.”

Elena is undoubtedly what is called a beautiful woman. One day it turns out that she might actually be smart. However, like most heroes, she is eternally bored. She really is a theorist of boredom. We will see her reading a book with relative indifference. It seems that the director Sorin Militaru did not want to make her a woman neither mysterious nor whimsical.- Read the whole article on Contributors.ro