PRINT November 1989


Reinterpreting Chekhov

IN EVERY GREAT THEATRICAL TEXT there are internal tendencies, subterranean movements that illuminate its fate for future epochs and different cultures. In fact, every work is subject to periods of dormancy that alternate with moments of brilliant renewal, during which, thanks to a latent vitality that remains unchanged, there occurs, between the text and those who re-read it, a movement of asynchronic recognition.

This recently happened in Europe with Three Sisters, one of Chekhov’s most famous texts, one that this century’s theatrical tradition had rigidified into melodramatic stilemes, a melancholy portrait of a doomed epoch and way of life. It is an intimate domestic drama, but also a drama of history, private and marginal, yet perfectly in harmony with the spirit of its time. This pivotal text can communicate the regret for what is no longer and what will be no longer, as well as

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