{"id":1371,"date":"2016-09-04T11:40:18","date_gmt":"2016-09-04T08:40:18","guid":{"rendered":"http:\/\/yanaross.com\/?p=1371"},"modified":"2018-01-19T12:45:40","modified_gmt":"2018-01-19T10:45:40","slug":"anton-chekhov-three-sisters-upcoming","status":"publish","type":"post","link":"https:\/\/yanaross.com\/?p=1371","title":{"rendered":"Anton Chekhov \u201cThree Sisters\u201d"},"content":{"rendered":"<p><img decoding=\"async\" loading=\"lazy\" class=\"wp-image-1375 aligncenter\" src=\"https:\/\/yanaross.com\/wp-content\/uploads\/2016\/09\/nato-lt3.jpg\" alt=\"nato lt3\" width=\"1001\" height=\"667\" srcset=\"https:\/\/yanaross.com\/wp-content\/uploads\/2016\/09\/nato-lt3.jpg 5472w, https:\/\/yanaross.com\/wp-content\/uploads\/2016\/09\/nato-lt3-300x200.jpg 300w, https:\/\/yanaross.com\/wp-content\/uploads\/2016\/09\/nato-lt3-768x512.jpg 768w, https:\/\/yanaross.com\/wp-content\/uploads\/2016\/09\/nato-lt3-1024x683.jpg 1024w, https:\/\/yanaross.com\/wp-content\/uploads\/2016\/09\/nato-lt3-250x167.jpg 250w\" sizes=\"(max-width: 1001px) 100vw, 1001px\" \/><\/p>\n<p><em>Yana Ross<\/em><\/p>\n<p>The militarization of Imperial Russia at the start of the 20th century when Chekhov was writing Three Sisters is uncanny parallel to our current frantic mobilization of NATO forces in Central and Eastern Europe as well as the Russian Imperial phantom pains on the border with Ukraine and the Baltics.<\/p>\n<p>Chekhov was looking at the violent intrusion of the military force into civilian routine. He was anticipating World War I and the anxious mood across every class of a modern society.<\/p>\n<p>We look at Central Europe political and ideological landscape and the shift to the intellectual apathy, so similar to Chekhov\u2019s mood at the time of the play.\u00a0 Our Sisters are stuck in 2017 town of Vilnius and dreaming of Moscow or Bruxelles \u2014 and the army marching away towards Poland at the end of the play.<br \/>\n<center><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/EVrl54luiiQ\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/center>&nbsp;<\/p>\n<h3><strong>Three Sisters reviews 2017<\/strong><\/h3>\n<p>&#8220;&#8230;Adaptation moves the play to our time: three sisters and a brother Prozorov are ethnic Russians who were forced to move to Lithuanian Socialist Republic in 1984 because of their father&#8217;s military service in Soviet Union. These sisters are much older than originals, they are between forty-five and fifty (actress Monica Bi\u010di\u016bnait\u0117, Vitaly Mockevi\u010di\u016bt\u0117, Rimant\u0117 Valiukait\u0117) and are still connected to military &#8211; mingling with deployed NATO troops battalion. Stage design is a huge aircraft hangar, including impressive moving baggage belt, which carries many objects including weapons. A young scenographer Simon Biek\u0161ait\u0117, successfully continues to collaborate with Yana Ross, (Wunschkonzert, TR Warszawa); she moves the action from private Prozorov home into a kind of transit zone, area with a pool and dining tables, festive lights and fireworks. Hangar&#8217;s backwall&#8217;s live-media is designed by Algirdas Gradauskas feeds an omni-present eye of six surveillance cameras which switch from multi- to a single camera close-ups in moments of tension. When video goes black and white, it reminds us that all images once and forall will become historical and potential long-distance perspective is born: what is happening now, will soon be reviewed as historical evidence. Along those close-ups of military men celebrating New Year, awakens memories of a past world wars.<\/p>\n<p>The final monologue shifts a conceptual focus from the sisters to a new character, Agnieszka Wersynska (in this adaptation a wife of\u00a0lieutenant colonel\u00a0wife) \u00a0(actress Migl\u0117 Polikevi\u010di\u016bt\u0117). The play about Versinina wife only hinted at, and the play it becomes an important character, which not only embodies the widespread society of Tipaza (called the man to the arts, popular spiritual theories and practices clich\u00e9s suffused thinking and manners, is not sought dividing the left and right pseudofilosofinius tips) but also is a kind of the socium seismometer: mentally unstable, irrational, fragile Agnieszka his &#8220;spiritual I caught during (where any pseudo approaches and becomes difficult to be separated from archetipi\u0161kos god Silly assertions) near the many platitudes expresses the performance of important insights, and featured in the New year night bandaged wrists, ghost make-up and somnambuli\u0161ka posture creates our aggressive, militant public offerings image. Actress Migl\u0117 Polikevi\u010di\u016bt\u0117 exactly feels and conveys his character&#8217;s duality, without losing (intervals macabre) humor distance.&#8221;<\/p>\n<p><em>Alma Braskyte, Menufaktura<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>\u201dIn this performance, Ross radically deconstructs and reassembles the play, pushing it to the edge of the 21-st century and the edge is not only geographical, the edge of Europe or the world, the borderline is also symbolic and full of linguistic tension. There are none of the usual \u201cChekhovian\u201d tones or cliches\u2014 everything is adjusted to reflect the moment in time. Ross is considering the responsibility of parents for the fate of their children and vise versa but it yields no sympathy or blame from director, objective, pragmatic and critical stance. [\u2026] The military here is multi-national, representing NATO forces and able to communicate among themselves in broken English, German and even Polish, but what unites them most is the constant games (literally and figuratively, the theater of war) which they perpetually play. Games are the substitute and hide latent aggression and readiness, mobility. The sisters are not young or naive\u2014 these women, in their late forties, are capable of reconciling with their fears and mistakes, hopes and failures.\u00a0 Masha is drinking herself to death, Irina slaves away in the kitchen, and Olga is most likely responsible of pushing her younger brother into hastened marriage, just to get away from this triple \u201cmothering.\u201d [\u2026] Instead of the long final soliloquy about hope and salvation through labor, director once again (as with her earlier Chekhov productions) turns to the theme o self-destruction. Baron von Tusenbach does not lose his life in a duel, he does use the pistol, facing the trigger himself. Suicide is a brutal ending, but nonetheless Chekhovian to the core.\u201d<\/p>\n<p><em>Nina Karpova, Theater Journal<\/em><\/p>\n<p>&nbsp;<\/p>\n[&#8230;] one has to remember that Chekhov rote this play while spending his summer in Crimea, part of the Russian Empire at the time. It is crucial for Ross to reflect upon political implication of Russian expansion, specially since Crimea has been annexed by Russia, once again. Not many directors (except for a few in Germany, perhaps) who turn to dangerous and volatile political context, but for Ross it has become inseparable context for most of her performances.&#8221;<\/p>\n<p><em>Thomas Irmer, Berliner Freitag<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Premiere March 17, 2017<\/strong><\/p>\n<div class=\"su-spoiler su-spoiler-style-fancy su-spoiler-icon-chevron su-spoiler-closed\" data-scroll-offset=\"0\" data-anchor-in-url=\"no\"><div class=\"su-spoiler-title\" tabindex=\"0\" role=\"button\"><span class=\"su-spoiler-icon\"><\/span>Team<\/div><div class=\"su-spoiler-content su-u-clearfix su-u-trim\"><strong>Director:\u00a0<\/strong>Yana Ross<\/p>\n<div id=\":11i\" class=\"ii gt adP adO\">\n<div id=\":111\" class=\"a3s aXjCH m156f0d032c6e0b4e\">\n<div dir=\"ltr\">\n<div>\n<p><strong>Set and Costume Designer:<\/strong> Simona Biek\u0161aite<\/p>\n<p><strong>Video Designer:<\/strong> Algirdas Gradauskas<\/p>\n<p><strong>Light Designer:<\/strong> Vilius Vilutis<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Cast:<\/strong><\/p>\n<p>Rimant\u0117 Valiukait\u0117<br \/>\nVitalija Mockevi\u010di\u016bt\u0117<br \/>\nMonika Bi\u010di\u016bnait\u0117<br \/>\nMarius Rep\u0161ys<br \/>\nPaulius Tamol\u0117<br \/>\nDainius Jankauskas<br \/>\nDaumantas Ciunis<br \/>\nToma Va\u0161kevi\u010di\u016bt\u0117<br \/>\nTadas Gryn<br \/>\nMigle Polikevi\u010diut\u0117<br \/>\nRam\u016bnas Cic\u0117nas<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\":11i\" class=\"ii gt adP adO\">\n<div id=\":111\" class=\"a3s aXjCH m156f0d032c6e0b4e\">\n<div dir=\"ltr\">\n<div>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 33%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see 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https:\/\/yanaross.com\/wp-content\/uploads\/2016\/09\/TS16-48x48.jpg 48w, https:\/\/yanaross.com\/wp-content\/uploads\/2016\/09\/TS16-64x64.jpg 64w\" sizes=\"(max-width: 150px) 100vw, 150px\" \/><\/a>\n\t\t\t<\/dt><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Yana Ross The militarization of Imperial Russia at the start of the 20th century when Chekhov was writing Three Sisters is uncanny parallel to our current frantic mobilization of NATO forces in Central and Eastern Europe as well as the Russian Imperial phantom pains on the border with Ukraine and the Baltics. Chekhov was looking <a href='https:\/\/yanaross.com\/?p=1371' class='excerpt-more'>[&#8230;]<\/a><\/p>\n","protected":false},"author":1,"featured_media":1375,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[3],"tags":[],"_links":{"self":[{"href":"https:\/\/yanaross.com\/index.php?rest_route=\/wp\/v2\/posts\/1371"}],"collection":[{"href":"https:\/\/yanaross.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/yanaross.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/yanaross.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/yanaross.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1371"}],"version-history":[{"count":16,"href":"https:\/\/yanaross.com\/index.php?rest_route=\/wp\/v2\/posts\/1371\/revisions"}],"predecessor-version":[{"id":1609,"href":"https:\/\/yanaross.com\/index.php?rest_route=\/wp\/v2\/posts\/1371\/revisions\/1609"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/yanaross.com\/index.php?rest_route=\/wp\/v2\/media\/1375"}],"wp:attachment":[{"href":"https:\/\/yanaross.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1371"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yanaross.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1371"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yanaross.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1371"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}