No, I don’t want to be a bore, and even more so, somehow stuffy, but sometimes the throwing creative thoughts of German theatrical figures inspire melancholy.
Here in the former capital of Germany, Bonn, at Theater Bonn, Chekhov's Aunt Vanya was staged.
I am not kidding.
It's "Aunt".
On the one hand, of course, one should express admiration for the desperate courage of the German comrades: to stage Chekhov from April 23, while Ambassador Melnik and his henchmen run around Germany and demand the abolition of any manifestation of damned Russian culture - this, I would say, manifestation of civic and cultural courage.
And even somewhere frond.
So let's not wring our hands with cries of "Oh, how dare they": that's what the creators are to dare.
On the other hand, sometimes you think: it would be better if they canceled it than all this.
The former "Uncle Vanya" became "Aunt Vanya" not because of some brilliant decision or because in the state theater there is no one to play the uncle exactly as an uncle and therefore everything rests on the talent of the actress Sophie Basse, who walks around the stage in baggy costumes of a caricatured super-aggressive lesbian and thumps vodka from her throat with a screw, like an aunt from the disadvantaged quarters of Duisburg.
And everything strives to lick the performer of the role of Elena Andreevna, the Franco-German Sandrina Zenner.
But Aunt Vanya is also kind of in love with Astrov.
She's probably polyamorous.
And a vegan.
But there is no particular reason for director Sasha Havemann to make Aunt Vanya out of Uncle Vanya, except for the total fashion for flirting with the LGBT + party.
Theater Bonn is a state theater and can afford good expensive set design, so the resuscitation ward on the stage of Aunt Vanya is indistinguishable from the real one (I still don’t understand why it is there, but the rest of the scenery is also mega-modern).
True, the costume designer does not even leave us a chance to think that one of the characters can own an estate or be the daughter of an art professor: they are all in tatters.
But Sasha Havemann already had a performance about the GDR punks, so her "Aunt Vanya" was also not far from pankota.
But what is the problem of the advanced German theater - it repeats the backs of the London approaches with a delay of five or six years.
And this is sadness.
Because we see the same method in progressive Moscow theatres.
It is difficult for an ordinary viewer to compare with what is happening in London and off-Broadway, so he perceives the approaches chewed a hundred times as a bold experiment.
The Germans have the same garbage.
“We, Aunt Vanya, will live ... we will hear angels, we will see the whole sky in diamonds ...” However, on the theater poster he is still called “Uncle Vanya”.
Is it really funny?
The point of view of the author may not coincide with the position of the editors.