该片描写一位男孩子随着舅父和神甫到城里读书过程中的所见所闻。在穿过大草原时，他遇到了形形色色的人物，为神秘宽广的大草原而惊讶。

挑战不可演的契诃夫
颠覆戏剧大师技惊各地

「引人入胜，面目全非地与契诃夫面对面」《金融时报》

1917年正值俄国革命，戏剧泰斗契诃夫的姊姊，把弟弟的一些剧本收在保险箱里。1921年，俄国学者发现一份契诃夫的手稿，因缺了第一页，这份剧本变成了没有剧名的一出戏。事实上，这个作品结构庞大，枝叶繁杂、角色及情节纠缠不清，像真实的人生一样，被公认为是契诃夫无法被搬上舞台的剧本。

正点剧团偏向难度挑战，拿起这部契诃夫的处女作，创作了得奖作品《契诃夫处女作》。契诃夫恒常探讨的生死、无聊、抑郁、失败的婚姻和对改变的渴望等一系列主题，由演员在纷乱的舞台上，交织出一幕幕层次丰富的戏中戏，观众同时戴着耳机看戏，还听到别开生面的导演现场评述。观众眼看耳听，两个层次的重叠与冲突，反照众声喧哗的当代社会景况。

自2015年首演以来，《契诃夫处女作》已于11个国家的艺术节及剧院上演，好评不绝。

The Wooster Group’s production of Anton Chekhov’s Three Sisters, translated by Paul Schmidt and directed by Elizabeth LeCompte, with performances from Kate Valk, Peyton Smith, Scott Shepherd, Ari Fliakos, Anna Kohler, Beatrice Roth, Ron Vawter, and Willem Dafoe. This presentation of the 2003 production of BRACE UP!, designed by Ken Kobland and LeCompte, incorporates close-up recordings of the performers simultaneously with continuous wide-angle footage.

Review by Ben Brantley on the New York Times:

”What With They Went to Moscow?” is the continuity of the research on the relation between theater and cinema on the scene, and of the transposition of the classics to the contemporary reality. The adaptation brings the protagonism of the play to focus on the characters of “The Three Sisters”. The basis of dramaturgy is the text of Anton Tchekhov “The Three Sisters” and the utopia they create about this “other place” called Moscow.

It is the mirror game between theater and cinema. Happening simultaneously in two distinct spaces, the cinematographic images are captured in the theater by three cameras that are integrated to the scene. The film is assembled live and sent to another space, a movie theater, the instant the audio is being mixed. Theater and cinema are happening in the present time, but seen in different spaces and viewpoints.

The challenge is to build two works that exist fully in their territories, but which complement each other when viewed by the same viewer as a unique work. The presence of the cameras needs to be absorbed by the dramaturgy of the scene, since the video projection happen in another environment.

Each camera is related to one of the sisters. Irina, the youngest, has a camera she herself uses, which is more documentary. Olga, the most static, has a camera that is only moved on the tripod and has the function of revealing the house – the architecture of the space and the most open frames – and Macha lovingly relates to her camera. In the theater, Macha’s relationship is with the cameraman, who looks through the viewer, so that in the cinema her look can be directed directly to the camera / lover. In this way, the look of this character, and his desire, is for what it is – for the public, for the cinema. The audience of the theater also has two layers of performance – real and fictional – as the actresses. The viewers are themselves and also the party guests – and sometimes movie extras. The technicians are also integrated into the action, and move the set / stage, the tripods and cables in the theater, being characters from the movie and from Irina’s party. Everything in the theater is apparent and in the service of the scene to realize the film, that has no pre-filmed image.

Premiered at Espaço Sesc Copacabana (Rio de Janeiro, march 2014) and at Sesc Belenzinho (São Paulo, july 2014). Won the awards Shell 2015 for best direction and best actress (Stella Rabello), APTR 2015 Award for best direction, Questão de crítica – best direction 2015, Questão de crítica – best show 2015.

Une soirée, une bande d’amis réunis histoire de bavarder, de cancaner, de tromper l’ennui, de manger, de danser, de boire aussi bien sûr. La musique s’enraye. Le drame survient mais la fête continue. Une adaptation mouvementée aux accents balkaniques.
« Mes origines balkaniques guident ma sensibilité vers des personnages slaves, écorchés vifs qui ont une fureur de vivre, à tout prix, et tout le temps »

Une soirée, une bande d’amis réunis histoire de bavarder, de cancaner, de tromper l’ennui, de manger, de danser, de boire aussi bien sûr. La musique s’enraye. Le drame survient mais la fête continue. Une adaptation mouvementée aux accents balkaniques.
« Mes origines balkaniques guident ma sensibilité vers des personnages slaves, écorchés vifs qui ont une fureur de vivre, à tout prix, et tout le temps »

19世纪末20世纪初，俄国资本主义迅速发展，贵族庄园逐渐崩溃。
天蒙蒙亮，柳苞芙带着她的小女儿还有仆人，从巴黎回到了俄罗斯。柳苞芙的樱桃园即将被拍卖抵债，她必须回来看看，想想办法，如何保住她心爱的庄园。
虽然樱桃园拍卖在即，但庄园里的人还是整天悠闲自在地消磨时光，他们更多的在幻想而非身体力行。庄园早已资不抵债，却要给一张书柜开个纪念晚会，柳苞芙早已囊中羞涩，却要在乞丐面前装阔气，女仆幻想着自己是位小姐，白发的先生依然把自己当成一名在校大学生……
远处传来空空的砍树声、天边外神秘的弦裂声，在众人的幻想中，樱桃园被拍卖了，而它的新主人竟然是……

19世纪末20世纪初，俄国资本主义迅速发展，贵族庄园逐渐崩溃。
天蒙蒙亮，柳苞芙带着她的小女儿还有仆人，从巴黎回到了俄罗斯。柳苞芙的樱桃园即将被拍卖抵债，她必须回来看看，想想办法，如何保住她心爱的庄园。
虽然樱桃园拍卖在即，但庄园里的人还是整天悠闲自在地消磨时光，他们更多的在幻想而非身体力行。庄园早已资不抵债，却要给一张书柜开个纪念晚会，柳苞芙早已囊中羞涩，却要在乞丐面前装阔气，女仆幻想着自己是位小姐，白发的先生依然把自己当成一名在校大学生……
远处传来空空的砍树声、天边外神秘的弦裂声，在众人的幻想中，樱桃园被拍卖了，而它的新主人竟然是……

Anton Yakovlev: «They are random people, join only by time and space. All of them are far from home now. On the Caucasus. Anybody from them does not know about each other a naked truth. Almost everybody in a conflict condition. Someone tries to live simply. Someone searches for sense in the existence. Constant duel with oneself or whether with each other … Can unite them something, or everyone should find their own way?…»

Distant future, the year AD 4015, Earth calendar. As a result of a reincarnation experiment, three sisters – Masha, Irina and Olga, deceased in 1900, find a new life in the new world.

They have the classic Anton Chekhov’s play The Three Sisters uploaded into their newly reincarnated brains.

Different kinds of sound, noise and consonance, snatches of phrases they used to utter long ago give the three sisters visions of the past, while simultaneously enabling them to start a new life. Yet their half-forgotten words are filled with the same old hopes and yearnings, and it makes no difference whether the destination of the 41st century heroines is the far away space station called Moscow or the actual ancient capital of the Russian Empire. Is there no way to bypass the programme and to change your destiny?


It is the aim of the experiment to answer this question.


Actors are givers, who ignite a sparkle and keep the fire going in hopes for a better living. They tell the world how to live a better life. The first ever actor was Prometheus, who had challenged the Gods and stolen the light from their feast. He took it for humanity and gave it to us. You are chosen and marked, you are special, you are oracles and preachers. You are not made from plastic, you have red living blood coursing through your veins, which gives you the firsthand instincts of life. How can I remind you that you are kind and generous, or that your hearts start racing and hurting at the smallest instant of ugliness and injustice? You are the guardians of people’s inner beauty, you are the prophets. You have ideal principles stored and hidden inside you and your desires are strong. You are in the middle of the fight for good and evil, between the purity and the dirt. Much, very much today depends entirely on you.

“那时，她才亲自了解了生活的悲剧，人生的悲剧，一个必须尝过悲剧之后才能懂得悲剧的悲剧……”
被契诃夫自己称之为喜剧的《海鸥》，讲述了一个平凡家庭的乡下庄园生活中，几对错位的爱情。作为契诃夫的首部四幕剧，它成为契诃夫戏剧革新与个人艺术成熟的标志。此版复排由莫斯科萨蒂里孔剧院出品，导演尤里•巴图索夫用颇具现代感的阐释，摘得金面具奖最佳导演奖。

Through both comedy and tragedy, "Seagull" explores lives that are precariously balanced between love and indifference, success and failure, hope and despair. The first of what are considered to be Chekhov's four great plays, it sets the scene for the playwright's unmistakable mix of melancholia and laughter combined with a unique understanding of the daily torment of an unfulfilled.　

Through both comedy and tragedy, "Seagull" explores lives that are precariously balanced between love and indifference, success and failure, hope and despair. The first of what are considered to be Chekhov's four great plays, it sets the scene for the playwright's unmistakable mix of melancholia and laughter combined with a unique understanding of the daily torment of an unfulfilled.　

Through both comedy and tragedy, "Seagull" explores lives that are precariously balanced between love and indifference, success and failure, hope and despair. The first of what are considered to be Chekhov's four great plays, it sets the scene for the playwright's unmistakable mix of melancholia and laughter combined with a unique understanding of the daily torment of an unfulfilled.　

Through both comedy and tragedy, "Seagull" explores lives that are precariously balanced between love and indifference, success and failure, hope and despair. The first of what are considered to be Chekhov's four great plays, it sets the scene for the playwright's unmistakable mix of melancholia and laughter combined with a unique understanding of the daily torment of an unfulfilled.　

Through both comedy and tragedy, "Seagull" explores lives that are precariously balanced between love and indifference, success and failure, hope and despair. The first of what are considered to be Chekhov's four great plays, it sets the scene for the playwright's unmistakable mix of melancholia and laughter combined with a unique understanding of the daily torment of an unfulfilled.　

Through both comedy and tragedy, "Seagull" explores lives that are precariously balanced between love and indifference, success and failure, hope and despair. The first of what are considered to be Chekhov's four great plays, it sets the scene for the playwright's unmistakable mix of melancholia and laughter combined with a unique understanding of the daily torment of an unfulfilled.　

Through both comedy and tragedy, "Seagull" explores lives that are precariously balanced between love and indifference, success and failure, hope and despair. The first of what are considered to be Chekhov's four great plays, it sets the scene for the playwright's unmistakable mix of melancholia and laughter combined with a unique understanding of the daily torment of an unfulfilled.