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Cechov: “Three Sisters” in Napoli




NAPOLI/ITALY: Napoliteatrofestival, the theatre festival held in the important south Italy city, has reached its seventh edition

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. While at the beginning it offered a big space to new form of plays, research and experimentation, since last year it is also focused on traditional Italian and notably local, Neapolitan realities.

Andrei Konchalovsky photographed in 2010

 

Review by Bruno Tredicine

This year there has been also a special attention to Anton Cechov
. Four of his plays have been represented: A cherry orchard, A seagull, Uncle Vania and Three sisters

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. The last two in Russian, so to give to the audience the possibility to hear his works in the language they were written, as they were conceived.

Uncle Vania and Three sisters were presented in the original language one night after the other under the direction of Russian Andrei Konchalovskij, in beautiful old 18th Mercadante, already existing when the author wrote this comedies. After the success of last year’s Taming of the Shrew, created specially for the festival, Konchalovsky was invited to bring his Moscow productions in Naples as they have been created for Moscow’s Mossovet Theatre (one oof the oldest in Russian capital, founded in 1923). The two plays had already been on tour in many cities, more recently in Londoin with great success.

Knowing the commercial results of many of his films like Tango and Cash, one forget that Konchalovskij is a skilled theatre man, and a controversial personality: for instance, even if he won the prize of People’s artist of Russia, in the 1990s he directed a hardly anti stalinistc movie like The inner circle.

Obviously the play is represented with surtitles, projected on stage in background. They seem often shorter thgan the actual lines as played by the actors; probably something has been cut but it’s good so, or else the audience would have been capturated by the reading more than by the emotional strength of the ctors. Actally theuir impact was so evident that sometimes we forgot to read the surtitle and afyter the performance we remembered the lines as they had been pronouncede in our language.

Konchalovsky says that he started to be interested in Cechov thanks to the film of Ingmar Bergman, who as his turn said how he took inspiration from Cechov for his movies, and that Whispers and cries was inspired by Three sisters.

The staging goes on traditionally but very very effective, there’s no scenery but the right furniture (scene design signed by the same Konchalovskij and Lubov Skorina) with beautiful pieces perfectly on style so as the nice costumes created by Rustam Khamdamov. Very good the light design by Andrei Izotov, which is specially to be appreciated in the nighty tired and almost ill athmosphere of third act century Teatro

Digital projections on background represent the changing of seasons and at the end give space to images of  World War I, so to show what’s expecting in the future world and letting understand who is right, according the director, between optimistic Baron convinced that what would have followed would have been a better world, and the three sisters who see the small village like suffocating or sceptical doctor Cebutykin.

In the short entr’actes while men in the dark change scenes, black and white videos on foreground show close ups of the cast’s members telling about their characters and Cechov himself, sometimes seriously or touching sometimes giving space to hirony or jokes between themselves.

The direction has many traces of pure elegance starting from the flash on the three sisters on a see saw at the very beginning, but the real force is the strong characterization of these three main characters above the others: all are well depicted and carefully played, but Irina, Olga and Masha emerge from the crowd also thanks to three wonderful actresses that won’t be easy to forget.

Olga is played with almost neurotic attitude by Larina Kuznetsova. Konchalovskij’s wife Yulia Vysotskaya is and elegant and restraint Masha who keeps her inner rage closed in herself, and Galina Bob is the fragile idealistic Irina, showing perfectly the progressive fall into disillusion, one step before despair.

Natalia Vdovina, wife of their brother gives a strong but controlles performance of the icy Natalja. Excellent Alexey Grishin as the irresolute and somehow vicious Andrej as well as Pavel Derevyanko, idealistic Baron condemned to tragedy.

Not to be forgotten the clear, although sometimes lightly absent-minded, and sceptical Doctor Cebutkyn as played by Vladas Bagdonas and Irina Kartasheva’s old Nanja. Her apparent hardness hide a big soul and one can feel her presence in the house also when she’s not on scene.

Alexander Domogarov and Alexander Brobovsky match perfectly their respective characters, Captain Vershinin and Marsha’s husband, weak and human Kulygin.

Last but not leasts, we don’t forget Vitaly Kishchenko, Vladislav Bokov and Evgeny Ratkov all guests from the garnison in town, and Vladimir Goryushinin as the old Ferapont.

At the end, a big success with endless applause from the audience who filled the house.

Distribution:

DIRECTION ANDREI KONCHALOVSKY

WITH ALEXEY GRISHIN, NATALIA VDOVINA, LARISA KUZNETSOVA, YULIA

VYSOTSKAYA, GALINA BOB, ALEXANDER BOBROVSKY, ALEXANDER

DOMOGAROV, PAVEL DEREVYANKO, VITALY KISHCHENKO, VLADAS BAGDONAS,

VLADISLAV BOKOVIN, EVGENY RATKOV, VLADIMIR GORYUSHIN, IRINA

KARTASHEVA, RAMUNE CHODORKAITE, ELENA LOBANOVA, ALEXANDER PAVLOV

SCENES ANDREI KONCHALOVSKY

COSTUMES RUSTAM KHAMDAMOV

MUSIC ALEXANDER SKRJABIN, SERGEY RACHMANINOV, FRANZ SCHUBERT, EDWARD ARTEMIEV

LIGHT ANDREI IZOTOV

PRODUCTION TEATRO ACCADEMICO STATALE MOSSOVET

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