The Seagull

Much has been written and said about Chekhov's comedy «The Seagull». Yet it remains one of the greatest mysteries of the Russian theatre. It is not accidental that of late we have been increasingly attracted by Chekhov's characters. Why these intelligent and generous people, capable of profound revelations and spiritual quests, overwhelmed with the passionate desire to change the world, every now and then make silly, absurd and often dangerous actions? Perhaps, the present-day fascination with the great Russian writer and intellectual is a distinctive act of self-knowledge? " I don't dare describe the productions of Chekhov's plays", Stanislavski wrote about his work on «The Seagull», "This would be impossible. The beauty of these plays is what cannot be expressed by words, but is hidden beneath the words... The emitting of the inner feeling".

The present-day sensibilities are focused on Chekhov. One can fly to the outer space and learn things about this space that were unknown in Chekhov's time. But coming back to earth one still cannot achieve balance which is necessary for co-existence with others. Having raised himself to the cosmic dimensions, in the small dimension of the earth the man still remains frightened and confused.
The motif of global hopelessness enters the production. And under its pressure all other motifs, comprised by The Seagull, retreat. The complexity of human relations loses timidness, warmth and light. It is cold, very cold...
I have no intention to reproach Zakharov for pessimism. In his play Chekhov didn't show the way out either. He started with forte and ended with pianissimo.
Zakharov changed nothing in the text and for this we ought to be grateful to him. His actors play without cliched melancholy. Their performance is energetic, distinct and articulate.The production is free of poetic veil, ambiguity, but it has very interesting accents.