Act I

Act one begins with Olga (the eldest of the sisters) working as a teacher in a school, but at the end of the play she is made Headmistress, a promotion she had no interest in. Masha, the middle sister and the artist of the family (she was trained as a concert pianist), is married to Feodor Ilyich Kulygin, a schoolteacher. At the time of their marriage, Masha, younger than he, was enchanted by what she took to be wisdom, but seven years later, she sees through his pedantry and his clownish attempts to compensate for the emptiness between them. Irina, the youngest sister, is still full of expectation. She speaks of her dream of going to Moscow and meeting her true love. It was in Moscow that the sisters grew up, and they all long to return to the sophistication and happiness of that time. Andrei is the only boy in the family and the sisters idolize him. He is in love with Natalia Ivanovna (Natasha), who is somewhat common in relation to the sisters and suffers under their glance. The play begins on the first anniversary of their father's death, but it is also Irina's name-day, and everyone, including the soldiers (led by the gallant Vershinin) bringing with them a sense of noble idealism, comes together to celebrate it. At the very close of the act, Andrei exultantly confesses his feelings to Natasha in private and asks her to marry him.
Act II

Act two begins about 21 months later with Andrei and Natasha married with their first child (offstage), a baby boy named Bóbik. Natasha is having an affair with Protopopov, Andrei's superior, a character who is mentioned but never seen onstage. Masha comes home flushed from a night out, and it is clear that she and her companion, Lieutenant-Colonel Vershinin, are giddy with the secret of their mutual love for one another. Little seems to happen but that Natasha manipulatively quashes the plans for a party in the home, but the resultant quiet suggests that all gaiety is being quashed as well. The play turns on such subtle, lifelike touches. Tuzenbach and Solyony declare their love for Irina.
Act III

Act three takes place about a year later in Olga and Irina's room (a clear sign that Natasha is taking over the household as she asked them to share rooms so that her child could have a different room). There has been a fire in the town, and, in the crisis, people are passing in and out of the room, carrying blankets and clothes to give aid. Olga, Masha and Irina are angry with their brother, Andrei, for mortgaging their home, keeping the money to pay off his gambling debts and conceding all his power to his wife. However, when faced with Natasha's cruelty to their aged family servant Anfisa, Olga's own best efforts to stand up to Natasha come to naught. Masha, alone with her sisters, confides in them her romance with Vershinin ("I love, love, love that man."). At one point, Kulygin (her husband) blunders into the room, doting ever more foolishly on her, and she stalks out. Irina despairs at the common turn her life has taken, the life of a schoolteacher, even as she rails at the folly of her aspirations and her education ("I can't remember the Italian for 'window'.") Out of her resignation, supported in this by Olga's realistic outlook, Irina decides to accept Tuzenbach's offer of marriage even though she does not love him. Chebutykin drunkenly stumbles on and smashes a clock belonging to the sister's and Andrei's mother, whom he loved. Andrei gives vent to his self-hatred, acknowledges his own awareness of life's folly and his disappointment in Natasha's character, and begs his sisters' forgiveness for everything.
Act IV

In the fourth and final act, outdoors behind the home, the soldiers, who by now are friends of the family, are preparing to leave the area. A flash-photograph is taken. There is an undercurrent of tension because Solyony has challenged the Baron (Tuzenbach) to a duel, but Tuzenbach is intent on hiding it from Irina. He and Irina share a heartbreaking delicate scene in which she confesses that she cannot love him, likening her heart to a piano whose key has been lost. Just as the soldiers are leaving, a shot is heard, and Tuzenbach's death in the duel is announced shortly before the end of the play. Masha has to be pulled, sobbing, from Vershinin's arms, but her husband willingly, compassionately and all too generously accepts her back, no questions asked. Olga has reluctantly accepted the position of permanent headmistress of the school where she teaches and is moving out. She is taking Anfisa with her, thus rescuing the elderly woman from more of Natasha's blunt cruelties. Irina's fate is uncertain but, even in her grief at Tuzenbach's death, she wants to persevere in her work as a teacher. Natasha remains as the chatelaine, in charge and in control—of everything. ("What is this fork doing here?" Natasha hollers.). Andrei is stuck in his marriage with two children, the only people that Natasha truly dotes on. As the play closes, the three sisters stand in a desperate embrace, gazing off as the soldiers depart to the sound of a band's gay march. As Chebutykin sings "Ta-ra-ra-boom-di-ay" to himself, Olga's final lines call out for an end to the confusion all three feel at life's sufferings and joy: "If we only knew… If we only knew."

Act I

Act one begins with Olga (the eldest of the sisters) working as a teacher in a school, but at the end of the play she is made Headmistress, a promotion she had no interest in. Masha, the middle sister and the artist of the family (she was trained as a concert pianist), is married to Feodor Ilyich Kulygin, a schoolteacher. At the time of their marriage, Masha, younger than he, was enchanted by what she took to be wisdom, but seven years later, she sees through his pedantry and his clownish attempts to compensate for the emptiness between them. Irina, the youngest sister, is still full of expectation. She speaks of her dream of going to Moscow and meeting her true love. It was in Moscow that the sisters grew up, and they all long to return to the sophistication and happiness of that time. Andrei is the only boy in the family and the sisters idolize him. He is in love with Natalia Ivanovna (Natasha), who is somewhat common in relation to the sisters and suffers under their glance. The play begins on the first anniversary of their father's death, but it is also Irina's name-day, and everyone, including the soldiers (led by the gallant Vershinin) bringing with them a sense of noble idealism, comes together to celebrate it. At the very close of the act, Andrei exultantly confesses his feelings to Natasha in private and asks her to marry him.
Act II

Act two begins about 21 months later with Andrei and Natasha married with their first child (offstage), a baby boy named Bóbik. Natasha is having an affair with Protopopov, Andrei's superior, a character who is mentioned but never seen onstage. Masha comes home flushed from a night out, and it is clear that she and her companion, Lieutenant-Colonel Vershinin, are giddy with the secret of their mutual love for one another. Little seems to happen but that Natasha manipulatively quashes the plans for a party in the home, but the resultant quiet suggests that all gaiety is being quashed as well. The play turns on such subtle, lifelike touches. Tuzenbach and Solyony declare their love for Irina.
Act III

Act three takes place about a year later in Olga and Irina's room (a clear sign that Natasha is taking over the household as she asked them to share rooms so that her child could have a different room). There has been a fire in the town, and, in the crisis, people are passing in and out of the room, carrying blankets and clothes to give aid. Olga, Masha and Irina are angry with their brother, Andrei, for mortgaging their home, keeping the money to pay off his gambling debts and conceding all his power to his wife. However, when faced with Natasha's cruelty to their aged family servant Anfisa, Olga's own best efforts to stand up to Natasha come to naught. Masha, alone with her sisters, confides in them her romance with Vershinin ("I love, love, love that man."). At one point, Kulygin (her husband) blunders into the room, doting ever more foolishly on her, and she stalks out. Irina despairs at the common turn her life has taken, the life of a schoolteacher, even as she rails at the folly of her aspirations and her education ("I can't remember the Italian for 'window'.") Out of her resignation, supported in this by Olga's realistic outlook, Irina decides to accept Tuzenbach's offer of marriage even though she does not love him. Chebutykin drunkenly stumbles on and smashes a clock belonging to the sister's and Andrei's mother, whom he loved. Andrei gives vent to his self-hatred, acknowledges his own awareness of life's folly and his disappointment in Natasha's character, and begs his sisters' forgiveness for everything.
Act IV

In the fourth and final act, outdoors behind the home, the soldiers, who by now are friends of the family, are preparing to leave the area. A flash-photograph is taken. There is an undercurrent of tension because Solyony has challenged the Baron (Tuzenbach) to a duel, but Tuzenbach is intent on hiding it from Irina. He and Irina share a heartbreaking delicate scene in which she confesses that she cannot love him, likening her heart to a piano whose key has been lost. Just as the soldiers are leaving, a shot is heard, and Tuzenbach's death in the duel is announced shortly before the end of the play. Masha has to be pulled, sobbing, from Vershinin's arms, but her husband willingly, compassionately and all too generously accepts her back, no questions asked. Olga has reluctantly accepted the position of permanent headmistress of the school where she teaches and is moving out. She is taking Anfisa with her, thus rescuing the elderly woman from more of Natasha's blunt cruelties. Irina's fate is uncertain but, even in her grief at Tuzenbach's death, she wants to persevere in her work as a teacher. Natasha remains as the chatelaine, in charge and in control—of everything. ("What is this fork doing here?" Natasha hollers.). Andrei is stuck in his marriage with two children, the only people that Natasha truly dotes on. As the play closes, the three sisters stand in a desperate embrace, gazing off as the soldiers depart to the sound of a band's gay march. As Chebutykin sings "Ta-ra-ra-boom-di-ay" to himself, Olga's final lines call out for an end to the confusion all three feel at life's sufferings and joy: "If we only knew… If we only knew."

19 世纪 80 年代，在俄国中部的一个县城，庄园主伊凡诺夫正过着潦倒的生活，他已经无力支付庄园里工人们的工资 ， 还欠了列别杰夫家一大笔债 ， 家里全靠油腔滑调的管家包尔金来支撑 ， 但是伊凡诺夫极其厌恶包尔金投机取巧的为人和做事方式 。 更糟糕的是 ， 伊凡诺夫的妻子安娜已经病入膏肓 ， 伊凡诺夫没有钱把妻子送到外地去进行更好的治疗 。 消极沮丧的伊凡诺夫对生活充满了质疑和苦闷 ， 他从对社会和生活的冲动走向厌倦 , 又由厌倦走向颓唐和沉沦 。 理想的幻灭 、 生活信念和信仰的丧失 ， 面对日渐荒芜的庄园和病榻上需要他安慰的妻子 ， 伊凡诺夫所能做的却只有外出逃避 ， 只留下潦倒年长的舅舅莎贝尔斯基陪伴妻子 。乡村医生列沃夫对伊凡诺夫的做法感到十分厌恶，认为他是一个道德败坏的人。伊凡诺夫不得不到列别杰夫家去请求到期的债务宽限几日 ， 恰逢列别杰夫家的女儿莎霞过生日 ， 家中宾客满座 ， 列别杰夫的妻子齐娜是出了名的吝啬鬼 ， 客人们都怨声载道 。 莎霞对伊凡诺夫爱慕已久，终于找到机会向伊凡诺夫表白，而此景此景被随后赶到的安娜看到 。安娜当场晕倒 ， 伊凡诺夫再也不敢到列别杰夫家去 ， 列别杰夫奉妻子之命上门讨债 ， 而莎霞也偷偷跑来向伊凡诺夫诉说相思之苦。
安娜过世之后，伊凡诺夫向莎霞求婚，大家都认为伊凡诺夫想借此躲避欠下的债务 。 列沃夫愤慨之极 ， 决定要在他们的婚礼上揭开伊凡诺夫伪君子的真面目 。 而在婚礼之前 ， 莎霞对自己选择的爱人开始感到困惑和烦恼 ， 忍不住向父亲倾诉一番 。 而伊凡诺夫则在婚礼之前向莎霞和列别杰夫提出解除婚约的要求 ， 因为他无法忍受内心强烈的自责与折磨 ， 莎霞却执意要举行婚礼。在婚礼上，列沃夫大声斥责伊凡诺夫是 “ 无耻之徒 ” ，众目睽睽之下，伊凡诺夫举枪结束了自己的生命。
《伊凡诺夫》（1888）是契诃夫的第一部戏剧力作，讲述俄罗斯知识分子的代表——伊凡诺夫的自省和纠结的矛盾人生。主人公伊凡诺夫遭遇破产，他深爱着妻子安娜，同时一个年轻可爱的姑娘萨莎同样深爱着他，他有过金钱，有过土地，有过收入，他拥有过一切，却失去了生活的目标和意义，最终选择了离开人世......
契诃夫与《伊凡诺夫》 契诃夫与《伊凡诺夫》 契诃夫与《伊凡诺夫》 契诃夫与《伊凡诺夫》契诃夫是俄国小说家 、 戏剧家 、 十九世纪末期俄国批判现实主义作家 、 短篇小说艺术大师 。 他和法国的莫泊桑 ， 美国的欧 · 亨利一起被为三大短篇小说巨匠 。 高尔基曾经说过 ： “ 这是一个独特的巨大天才，是那些在文学史上和在社会情绪中构成时代的作家中的一个 。 ” 列夫 · 托尔斯泰也给契诃夫极高的评价 ， 称他是 “ 无与伦比的艺术家 ” 。 契诃夫也是鲁迅 、 巴金 、
茅盾等中国文学大家所推崇的文学家 。 契诃夫的小说与戏剧创作在中国具有长久的艺术生命力。曾有统计表明，直至 1987 年，契诃夫作品在中国的出版数量仅次于托尔斯泰。至今 ，契诃夫名篇《变色龙 》 、 《套中人》等仍然入选中学语文课本，成为中学生必读课文。《伊凡诺夫 》 写于 1887 至 1889 年间 ， 是契诃夫正式发表的第一个剧本 。 在莫斯科艺术剧院上演的契诃夫戏剧中 ， 《伊凡诺夫》是最后一部被搬上舞台的作品，而且是在契诃夫去世以后，在丹钦柯的主持下演出的，以纪念这位伟大的剧作家的早逝。

19 世纪 80 年代，在俄国中部的一个县城，庄园主伊凡诺夫正过着潦倒的生活，他已经无力支付庄园里工人们的工资 ， 还欠了列别杰夫家一大笔债 ， 家里全靠油腔滑调的管家包尔金来支撑 ， 但是伊凡诺夫极其厌恶包尔金投机取巧的为人和做事方式 。 更糟糕的是 ， 伊凡诺夫的妻子安娜已经病入膏肓 ， 伊凡诺夫没有钱把妻子送到外地去进行更好的治疗 。 消极沮丧的伊凡诺夫对生活充满了质疑和苦闷 ， 他从对社会和生活的冲动走向厌倦 , 又由厌倦走向颓唐和沉沦 。 理想的幻灭 、 生活信念和信仰的丧失 ， 面对日渐荒芜的庄园和病榻上需要他安慰的妻子 ， 伊凡诺夫所能做的却只有外出逃避 ， 只留下潦倒年长的舅舅莎贝尔斯基陪伴妻子 。乡村医生列沃夫对伊凡诺夫的做法感到十分厌恶，认为他是一个道德败坏的人。伊凡诺夫不得不到列别杰夫家去请求到期的债务宽限几日 ， 恰逢列别杰夫家的女儿莎霞过生日 ， 家中宾客满座 ， 列别杰夫的妻子齐娜是出了名的吝啬鬼 ， 客人们都怨声载道 。 莎霞对伊凡诺夫爱慕已久，终于找到机会向伊凡诺夫表白，而此景此景被随后赶到的安娜看到 。安娜当场晕倒 ， 伊凡诺夫再也不敢到列别杰夫家去 ， 列别杰夫奉妻子之命上门讨债 ， 而莎霞也偷偷跑来向伊凡诺夫诉说相思之苦。
安娜过世之后，伊凡诺夫向莎霞求婚，大家都认为伊凡诺夫想借此躲避欠下的债务 。 列沃夫愤慨之极 ， 决定要在他们的婚礼上揭开伊凡诺夫伪君子的真面目 。 而在婚礼之前 ， 莎霞对自己选择的爱人开始感到困惑和烦恼 ， 忍不住向父亲倾诉一番 。 而伊凡诺夫则在婚礼之前向莎霞和列别杰夫提出解除婚约的要求 ， 因为他无法忍受内心强烈的自责与折磨 ， 莎霞却执意要举行婚礼。在婚礼上，列沃夫大声斥责伊凡诺夫是 “ 无耻之徒 ” ，众目睽睽之下，伊凡诺夫举枪结束了自己的生命。
《伊凡诺夫》（1888）是契诃夫的第一部戏剧力作，讲述俄罗斯知识分子的代表——伊凡诺夫的自省和纠结的矛盾人生。主人公伊凡诺夫遭遇破产，他深爱着妻子安娜，同时一个年轻可爱的姑娘萨莎同样深爱着他，他有过金钱，有过土地，有过收入，他拥有过一切，却失去了生活的目标和意义，最终选择了离开人世......
契诃夫与《伊凡诺夫》 契诃夫与《伊凡诺夫》 契诃夫与《伊凡诺夫》 契诃夫与《伊凡诺夫》契诃夫是俄国小说家 、 戏剧家 、 十九世纪末期俄国批判现实主义作家 、 短篇小说艺术大师 。 他和法国的莫泊桑 ， 美国的欧 · 亨利一起被为三大短篇小说巨匠 。 高尔基曾经说过 ： “ 这是一个独特的巨大天才，是那些在文学史上和在社会情绪中构成时代的作家中的一个 。 ” 列夫 · 托尔斯泰也给契诃夫极高的评价 ， 称他是 “ 无与伦比的艺术家 ” 。 契诃夫也是鲁迅 、 巴金 、
茅盾等中国文学大家所推崇的文学家 。 契诃夫的小说与戏剧创作在中国具有长久的艺术生命力。曾有统计表明，直至 1987 年，契诃夫作品在中国的出版数量仅次于托尔斯泰。至今 ，契诃夫名篇《变色龙 》 、 《套中人》等仍然入选中学语文课本，成为中学生必读课文。《伊凡诺夫 》 写于 1887 至 1889 年间 ， 是契诃夫正式发表的第一个剧本 。 在莫斯科艺术剧院上演的契诃夫戏剧中 ， 《伊凡诺夫》是最后一部被搬上舞台的作品，而且是在契诃夫去世以后，在丹钦柯的主持下演出的，以纪念这位伟大的剧作家的早逝。

作为契诃夫的代表剧作，《万尼亚舅舅》独特的戏剧张力内化于乡间庄园的生活图景中。日常枯燥琐碎的潜流下，一家人各自怨恨、相互折磨，不堪重负的万尼亚两次举枪谋杀未遂后，不得不重回循环往复的生活深渊中。
立陶宛导演里马斯·图米纳斯2007年就任俄罗斯瓦赫坦戈夫剧院艺术总监后执导的这版《万尼亚舅舅》获得当年俄罗斯戏剧最高奖项——金面具奖，也奠定了图米纳斯在俄罗斯戏剧界不可撼动的地位。返璞归真的家饰设计重构了原作中的写意空间，风格化的表演一步步剥离出生活的真相，整体呈现十分契合契诃夫作品中克制、内敛的情感倾向。正是这种图米纳斯式的“幻想现实主义”，让契诃夫超越时代的先锋思考在当下落地。

We are pleased to welcome back audiences with Minor Character: Six Translations of Uncle Vanya at the Same Time, a joyful and music-filled comedic kaleidoscope. A band of actors come together to perform a warm-hearted yet bittersweet look at love, longing, and the limitations of language, from the flowery 1916 version to Google Translate's profoundly nonsensical rendition

What gets lost in translation?

Vanya feels like he’s wasted his life, and lost his chance at love. In this revolutionary new work, the classic character of Uncle Vanya gets reflected through the prisms of different translations and contrasting performers.

凭借英剧《神探夏洛克》《伦敦生活》、话剧《哈姆雷特》《乐在当下》多次获得奥利弗奖、艾美奖、金球奖大奖及提名的英国演员安德鲁·斯科特（Andrew Scott）将再次挑战个人演艺生涯的又一高峰——一人分饰多角出演契诃夫名作的独角戏改编版《万尼亚》。无论是将原著中深沉阴险的莫里亚蒂演绎得狡黠而略带神经质，还是将禁欲的神父塑造得温柔又性感，安德鲁·斯科特尤善为人物赋予自己的思考和独特的气质，这次他将在万尼亚舅舅、索尼娅、教授、医生等九个角色间自如切换，期待值拉满！

《万尼亚》由凭借《深夜小狗离奇事件》获得奥利弗奖、托尼奖的西蒙·史蒂芬斯（Simon Stephens）操刀改编，在改编作品中，希望、梦想和遗憾都成为探索的焦点。导演萨姆·耶茨（Sam Yates）搭建出封闭的、生活化的舞台空间，让安德鲁·斯科特在其中塑造了众多栩栩如生的角色，带来一个被人类共通的情感包裹的夜晚。该剧在伦敦西区演出时场场爆满，备受好评，本次影像也摄于演出现场。

"The Cherry Orchard" a posthumous work of great playwright Anton Chekhov, has broken the tradition of classical framework and been reborn as a story of Korea in the present era. The play,produced by LG Arts Center, is gaining a lot of high expectationsdue to the first visit to Korea by Simon Stone, a world-renowned director who is actively working from the U.K, National Theater to Netflix, and the starring of Korean actors who will be rarely seentogether again on the same stage. Dare to say, please forget about the classics that have been repeated on the stage. lt is time to welcome a masterpiece that is born in the midst of a turbulent Korean society through this historic encounter across the world.